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En estos tiempos de hipercomunicación bastaría la invitación de enviar a un amigo cualquiera de los textos que consideres interesantes algo redundante: demasiada comunicación, demasiados textos y , en general, demasiado de todo.
Es posible que estemos de acuerdo... pero cuando encuentras algo interesante en cualquier sitio, la red, la calle, tu casa, o un lugar escondido y remoto, compartirlo no sólo es un acto (acción, hecho) de amistad o altruismo, también es una manera de ahorrar tiempo a los demás (y de que te lo ahorren a ti (si eres afortunado) a costa del tiempo que tu has podido derrochar (emplear) y el gustazo de mostrar que estuviste ahí (o donde fuera ) un poco antes (el tiempo ya no es más el que era).
Comparte con tus conocidos aquello que encuentras, es evolución.
Portrait of the Artist as a Young Artist
16-01-06 Jerry Saltz 

 
If there's no iconic image, does an artist's work risk becoming fuzzy in the mind?
by Jerry Saltz

Lina Bertucci
Perry Rubenstein Gallery
527 West 23rd Street
Through February 18

Portraits of Artists
Luhring Augustine
531 West 24th Street
Through February 4
At their best, photographs of artists can be totemic: They establish status within the tribe, produce value, dazzle with allure, and manufacture myth; as Barbara Kruger wrote in her 1988 essay "Picturing Greatness," they "freeze moments, create prominence, and make history." Sometimes these pictures take on talismanic lives of their own, becoming fetish objects, what philosopher Francis Bacon called "idols of the mind," as with photos of Pollock painting or Warhol doing almost anything (or nothing). We've all been transfixed by Picasso in his underpants at the beach, Bacon in his grimy studio, de Kooning studying his paintings, Leon Golub's huge head, Hockney's Dutch boy grin, Kahlo's unibrow, Schnabel in his pajamas, Mapplethorpe's image of Louise Bourgeois holding a giant phallus, and his self-portrait as a faun. In our collective mind's eye we see Beuys in his hat, Baselitz in his castle, and Basquiat in his designer suit; the young and beautiful Johns and Rauschenberg, the rakish Duchamp, and the ruddy Robert Smithson.
Whether or not these photographs contribute to these artists being chieftains of art world nation begs the question: If there's no iconic image of an artist—as is the case with Braque, Baziotes, Leger, Gris, Motherwell, or Hofmann—does an artist's work risk becoming fuzzy in the mind? Obviously, this photo-centric formulation wrongheadedly confuses cause and effect: Art only gets fuzzy if it is fuzzy, not because there's no clear image of the artist. Yet it's easy to imagine why artists might participate in and control the branding of their own image, even if this branding sometimes takes over, as with Damien Hirst, Jeff Koons, Francesco Clemente, or even Warhol—who at some point in the late 1970s became a walking photo op. Conversely, these days many artists and artist collectives seek to retard or, in Duchamp's term, "delay" this branding. They want to thwart the marketability of both the image of the artist and the art itself—the idea being that if you avoid having your likeness "captured" your work might stay fluid longer.

Two current exhibitions, the first a sort of celebratory walk-in family album, the second a revelatory glimpse of fame in the making, allow us to examine these ideas more fully. "Portraits of Artists," at Luhring Augustine, is a warm if academic walk down artistic memory lane in which one can bask in portraits of ancestor figures like Dalí and Duchamp, then scrutinize recent arrivals on the shores of renown like Janine Antoni balancing on a police barricade or Sarah Lucas being sprayed by a can of beer. More gripping, because it's more vulnerable and clairvoyant overall, is Lina Bertucci's exhibition of photographs of what amounts to a graduating class of artists who came to prominence in the 1990s. Although only two of Bertucci's photos are iconic—a doe-like-looking James Lee Byars and the grizzly Mario Merz—most of her pictures are handsome, empathetic, and self-possessed. Bertucci, 47, avoids the passport photo approach of Timothy Greenfield-Sanders and the theatricality of David LaChapelle, grazing Mapplethorpe's classicism as she arrives at a whimsical mix of ambition, innocence, sympathy, and showmanship.

Maybe Bertucci was lucky; more likely she had a premonition. Either way, what is most memorable about her pictures from the early 1990s is that a lot of these artists seem to sense they're about to emerge from a nascent state; Bertucci captures the electric instant before many of them went on to have their moment. Many of her subjects exude a coltish impatience or a resolute quietude. Often, the rooms they're in don't seem big enough to contain them. There's Rirkrit Tiravanija in his East Village apartment, Elizabeth Peyton in her storefront studio, Kiki Smith surrounded by plaster casts, and an intense John Currin standing in his East Houston Street studio. We see Chris Ofili, Charles Ray, Alex Bag, Maurizio Cattelan, and Massimo Bartolini in bedrooms or hotels. Everyone seems to be waiting for something. Some of the best pictures, including one of a princely Piotr Uklanski on his bed already looking like an Elizabeth Peyton painting, have a Nan Goldin noir quality about them.


Bertucci doesn't do much with already famous artists like John Cage and William Burroughs, but she really clicks with some of the younger artists she shoots. Together they take control: There's Michael Joo with a poster of himself in drag, Haim Steinbach as a Haim Steinbach sculpture, Mark Dion as a nerd, and Mariko Mori in matching black bra and panties. Sometimes it looks like the cast of a Fellini film. Rudolph Stingel resembles a movie star, Sean Landers a brooding poet, Matthew Barney an iron man, and Sylvie Fleury a 1960s fashion model. Not surprisingly, Jeff Koons takes the most control of all, posing as a tattooed leather boy with a tattooed biker chick. Lack of icons notwithstanding, the surplus of budding energy on hand lends a thrilling air to Bertucci's show.

Inner Workings

Speaking of icons and fetish objects, my friend and colleague Kim Levin, who was an art critic at the Voice for more than 20 years, has filled the Ronald Feldman Gallery with what I consider to be almost holy relics. Pinned to the wall of the main gallery are more than 500 of Levin's gallery itineraries. The effect is like a library, a sea of frozen prayer flags, and a journey through time. Each list has the names of galleries and artists color-coded and organized geographically by neighborhood. (One has a note that says, "Call Jerry Saltz.")

Lining the walls of the rear gallery are Levin's gallery notes on press releases and exhibition checklists. Artists should pay attention to her spot-on haiku reviews of their shows. An early Lisa Yuskavage one reads, "Chicks with jugs/Manned engines of ambivalence"; a Sarah Sze invite mentions "soaring/less improvisational"; a Jules de Balincourt note simply says, "still in school." Levin is an adept sketcher, as can be seen in her delightful drawings of paintings and sculptures. More than 500 gallery announcement cards dating from the 1970s to the present allow you to trace the history of the art world in exhibition announcements and to behold the names of galleries that no longer exist and artists who have passed away.

This show is a reminder that what may be most ephemeral about the art world is the art world itself. Objects remain but everything else will one day be gone. Levin lets you see how one critic lovingly keeps track of it all.

Artforum Again

A couple of weeks ago I wrote about the low visibility of women artists in some quarters of the art world. Among other venues I singled out Artforum's Top 10 lists. While my mail has been quite supportive, some have taken my words as an attack on the magazine itself even though I noted that "editors shouldn't police writers." In fact, over the past few years Artforum has dramatically increased the number of women featured in its articles and among its contributors. Also, a quarter of the picks on Artforum's list were devoted to group shows or pop culture phenomena, so the 10 percent women artists figure I cited, while ghastly, isn't the whole story—although these choosers still managed to name almost five times as many men. Finally, as I wrote, "I don't exempt myself." To wit: Of 18 solo exhibitions of living artists to which I devoted lengthy reviews over the past year, a barely acceptable six have been of women artists.


Publicado originalmente en www.villagevoice.com

   
 

Rating: 4 - 1 voto(s).

   
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_HistÓrico_Cultura

05-12-10_ After the hacking of UbuWeb * An open letter
01-11-08_ Todos los archivos del mundo...
28-03-09_ La libertad en Internet facilita el éxito de los artistas"
18-09-08_ Entrevista * Michel Montignag
08-06-08_ Para repudiar el nuevo Guggenheim (México)
22-05-08_ Inisde Landmark Forum
07-05-08_ ELÁSTICA VARIABLE * Imagen y Conocimiento
08-04-08_ Bajo el asfalto estaba la red
19-02-08_ La palabra [imagen] encendida [apagada]: on [off]
24-03-08_ Zemos 98... 99... 100...
24-03-08_ Arriba, abajo, de lado, tirado...
27-05-08_ Fuentes de la fragmentación e hipertextualidad narrativas en la web
09-12-07_ Schwarz auf Weib (negro sobre blanco): palabras en busca de un mundo
21-11-07_ UBU * Selected by Christof Migone
09-10-07_ Elogio del editor suicida
04-10-07_ Operación: Salvar el Reina Sofía (ohjú)
01-08-07_ Hans Rosling issues new challenges 
12-07-07_ PIENSA * De gestión y pensamiento
06-07-07_ Navegacion: las huellas borradas
29-06-07_ Hipertexto * El fluir del pensamiento.
29-06-07_ MARC FUMAROLI: "La cultura se ha convertido en una ensaladilla rusa, ¡en una pizzeria!
27-06-07_ De lo insabido que hace saber...
02-06-07_ The Black Dog
03-05-07_ Nico * Frozen borderline
31-05-07_ Alex Katz * Interview
29-03-07_ Otto von Busch * Abstrak Hacktivism
31-05-07_ Alain Badiou * Truth
12-03-07_ Interview * Anthony Dunne
03-03-07_ Kill your idols
12-02-07_  El teatro imposible 
03-02-07_ An Alliance of lions
28-01-07_  Maria Antonieta o, ¿el regreso del Posmodernismo?
28-01-07_ México, el vuelo del águila
22-01-07_ Open-of-Course
19-01-07_ Santi Santamaría (interjección)
09-01-07_ Una vivencia (-sueño) nocturna * Ludwig Wittgenstein
06-01-07_ UbuWeb Featured Resources Januray 2007 Selected by Mónica de la Torre
05-01-07_ Umberto Eco: ¿para qué sirven los diarios?
19-12-06_ Interview * Mark Shepard
13-12-06_ Contra Cage
02-12-06_ UbuWeb Featured Resources December 2006 Selected by Raphael Rubinstein
23-11-06_ Jonas Mekas 32 films
22-11-06_ Sundance Winner 'The Corporation' Released for Free on BitTorrent
14-11-06_Como nos vemos. Del Renacimiento a YouTube* Hubert Burda
01-11-06_Crónica de un fin de semana anunciado
30-10-06_El espejo acústico
01-11-06_Viernes 27 a tope: aviso a navegantes
22-10-06_Un mundo sin Copyright
16-10-06_Robert Anton Wilson: The I in the Triangle
08-10-06_ Yeah Yeah Yeahs in Australia
28-09-06_Miles Davis, Romantic Hero
24-09-06_Barbara Kruger and William Gibson * on information with Tim Marlow
19-09-06_ A bibliography of Things
20-09-06_Los vaivenes de la moda en el MOMA y la Tate Modern
14-09-06_Dubstep, el underground eterno
06-09-06_Experimenting with Brands in Second Life
03-09-06_Download Public Domain Books in PDF For Free
21-08-06_Últimos «gatillazos» de Taylor-Wood
17-08-06_Writing About Virtual Words
12-08-06_The Ghost In Your Genes
06-08-06_Guy Debord (1931-1994) * Films
03-08-06_perfiles, recomendaciones y feliz verano
01-08-06_Jugando con el tiempo: Will Wright y Brian Eno
28-07-06_Bukowski y la nostalgia
20-07-06_Enigma variations * Pierre Huyghe
30-06-06_It's a Wonderful List
22-06-06_la vida secreta de los libros
17-06-06_The death of the critic
18-06-06_Del pop-art al 'videoclip'
05-06-06_Marketing to avatars
05-06-06_Generation next
12-05-06_Los escándalos de negatividad
05-05-06_El garaje Hermético de Jerry Cornelius * Moebius
31-05-07_ Miles Davis, más alla
21-04-06_Siempre la misma
19-04-06_¡¡MADRID LEE!! (y otras pildoras de su interes)
08-04-06_100 años de Beckett * Déjenlos que se rían
29-03-06_Monkish
27-03-06_Adios, Stanislaw Lem
27-03-06_Don't Do Unto Others
25-03-06_Entrevista * Slavoj Zizek
19-03-06_Los Angeles, capital del arte del siglo XXI
19-03-06_El Objeto y La Música
12-03-06_Santayana-Lowell, cartas del viejo filósofo al joven poeta
01-03-06_Hoy he visto el futuro del rock y no se llama BS
01-03-06_Sobre la ciencia ficción
28-02-06_Tommy Lee Jones / Los tres entierros de Melquiades Estrada
28-02-06_Más moderna que ninguna
23-02-06_The fine art of revenge
18-02-06_From Russia With Blood / The horrors of Night Watch.
15-02-06_Un encuentro con Giorgio Agamben
12-02-06_Happy Birthday Charlie: Darwin Celebrated With Cake, Fossils
07-02-06_Arco: con un 'picasso' en el bolsillo
30-01-06_Araki, el pornógrafo compulsivo
29-01-06_Las líneas secretas de la escritura
25-01-06_Navahoax
27-01-06_When Cosmologies Collide
20-01-06_Darwin on Trial
17-01-06_My House, Bauhaus
16-01-06_Portrait of the Artist as a Young Artist
13-01-06_Copiátelo en la cabeza
13-01-06_Los seres humanos matamos más que la muerte
08-01-06_No usarás el nombre de la cultura en vano
09-01-06_Permanencias Difusas
24-11-07_ Miles Davis: The Cellar Door Sessions 1970
21-12-05_Acid Christmas
03-12-05_Primer > Yo mismo Yo [ delayed yo-yo reloaded ]
05-11-05_Entre mis recuerdos
27-10-05_Harold Pinter / “Sobrevivir es mi principal objetivo”
02-09-05_The subject of art
20-07-05_Impermeables a Shakespeare
04-07-05_2666

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