OCTOBER 30 2008, 7:00PM
GUILD & GREYSHKUL
28 WOOSTER STREET, NEW YORK, NY 10013
Featuring Jan Avgikos, Ben Davis, John Miller, Joao Ribas, Martha Schwendener, and Roger White.
Ad Hoc Vox and Guild & Greyshkul are pleased to invite you to On Criticism, a panel discussion that will take place at the gallery on Thursday, October 30th at 7:00pm.
ERNEST: I have foolish habit of reading periodicals, and it seems to me that most modern criticism is perfectly valueless.
GILBERT: So is most modern creative work also. Mediocrity weighing mediocrity in the balance, and incompetence applauding its brother - that is the spectacle which the artistic activity of England affords us from time to time.
-Oscar Wilde, The Critic as Artist, 1891
Questioning the relevancy of criticism is hardly the exclusive sport of a contemporary audience. The roles, values, and goals of criticism have been as contested as any individual critic's pronouncements. What factors, then, uniquely beset art criticism now? What basis is there for the widely espoused claim that we are in a "post critical" age? In a highly diversified and cross-disciplinary art world, what constitutes a conflict of interest for a critic? How have blogging and self-publishing through the Internet affected art writing?
On Criticism will bring together critics writing for print and online publications, editors, and artists writing criticism to discuss such questions. Our goal is to address present-day art criticism by creating a space for its self-identified practitioners to turn a critical eye on both the concerns of their discipline and potential models to address those concerns. Colleen Asper will moderate the discussion, which will be followed by a Q & A with the audience.
Monday, October 27, 2008
MONDAY NOV 3, 2008, 7 PM | LECTURE IN ENGLISH
Freedom as Art
The concept of freedom is intimately tied to the political economy of capitalism; the received notion of parity between development and liberty intrinsic to modern political philosophy asserts that a free market is a necessary condition for political freedom. Yet as it has become impossible to conceive of freedom without capitalism, it is also impossible to discuss the modern concept of art without reference to the subject of capitalism—that is, the form of a radical individual subject. It is in fact through an assertion of unquantifiable values—taste, madness, inspiration—and through the formation of a radical political subject—that of the artist—that the production of art comes to be defined precisely by values that distance it from those of capital. Yet if the figure of the artist and his labor was once emblematic of the emancipatory idea of the ‘individual,’ in a society where it had not yet fully emerged, is this notion deradicalized by the democratization of subjective expression today? Can one trace the production of art through its relationship with—or rather distance from—capitalism, from the dawn of the modern market to the immaterial economy of late capitalism? Can art and its implicit subject of freedom provide a horizon of possibilities for new forms of social organization? Or are art and capital inevitably intertwined?
João Ribas (b. Braga, Portugal 1979) is Curator at The Drawing Center in New York and a widely published critic. His writing on art, film, literature, and design has appeared in numerous publications worldwide, and he is the curator of several surveys, projects, and exhibitions in the US and abroad. He is a frequent lecturer on aesthetics and cultural theory and currently adjunct professor at The School of Visual Arts, New York.
For further information and photographic material please contact:
Secession, Association of Visual Artists Vienna Secession, Friedrichstraße 12, 1010 Vienna
Tel: +43-1-5875307-21, Fax: +43-1-5875307-34
Posted by João Ribas at 2:24 PM
Monday, October 13, 2008
Rirkrit Tiravanija: Demonstrations Drawings reviewed by David Cohen in the now-defunct New York Sun and Holland Cotter in the New York Times.
Posted by João Ribas at 3:32 PM