Wednesday, July 31, 2013
The String and the Mirror, organized by Lawrence Kumpf and Justin Luke, opens August 1st @ Lisa Cooley
The String and the Mirror
Organized by Lawrence Kumpf and Justin Luke
Seth Cluett
Melissa Dubbin & Aaron S. Davidson
Melissa Dubbin & Aaron S. Davidson
Dave Dyment
Lawrence Abu Hamdan
James Hoff
James Hoff
Rolf Julius
Alan Licht
Mattin
Mattin
Christof Migone
Essex Olivares
Ultra Red
Essex Olivares
Ultra Red
Marina Rosenfeld
Matthieu Saladin
Akio Suzuki
Stefan Tcherepnin
Hong-Kai Wang
C. Spencer Yeh
Ken Price: Zoo @ Franklin Parrasch Gallery
Australian Lizard Cups, 1968
Frog Cup, 1967
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Frog Cup, 1967
Galapagos Turtle Cup, 1970
Untitled (Snail Cup), 1967
Untitled (Landscape with Two Seagulls), 1993
,+1993.jpg)
Untitled, 1964
Untitled, 1980
Von Bayros Snail Cups, 1968
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Ken Price
Tuesday, July 30, 2013
Peter Halley: Notes on Nostalgia
| Notes on Nostalgia Published in New Observations, New York, No. 28, 1985. Simulation is master, and nostalgia, the phantasmal parodic rehabilitation of all lost referentials, alone remains. --Baudrillard 1. Nostalgia is not a passing phenomenon precipitated by the 'conservatism' of the '80's. Rather it is a structural 'reality': it affects all current utterances - in the media, in politics, and in art. 2. Nostalgia has replaced nature as a referent in post-industrial culture. Nostalgia is the result of the massive realization of the concept of history that has occurred in all areas of thought; but, at the same time, it is also a result of the leveling of history that accompanies this surfeit of historical thought. The image of history is no longer the rough-hewn, well-defined road winding up the mountain's side. Its image has become instead the swamp, a morass criss-crossed by the myriad muddy paths that go nowhere, that disappear into the fogged-in horizon. 3. Every aspect of the social is subject to the rule of this history severed from determinism. In the daily TV news, the present is transformed into the historical: "events" are selected to make each day conform to the system of history. On the radio news, history is written on-the-hour. But national revolutions, car accidents, and the comments of film stars are all treated the same by this leveled historicity. 4. History becomes entertainment and entertainment become history. There are TV docu-dramas, and there are the Academy Awards. There is 60 Minutes, and there is the Baseball Hall of Fame. There is the traditional Christian calendar year 1984, and there is Super Bowl XVIII. 5. In politics, nostalgia promises the return of a reality that was itself an abstract ideal. Politicians rap themselves in the mantle of this nostalgia. Gary Hart runs as Kennedy, John Glenn runs as Ike, and Mondale runs as Hubert Humphrey. But Reagan wins because he runs as John Wayne. Reagan holds out to us a return to the time when men rode horses, chopped wood and owned ranches (though in this case the ranch is in the heart of Southern California). The question is this: Can the simulation of this reality give rise to a real disaster? Or does the system of deterrence characteristic of the simulacrum continue to enclose these approximations of the real? (The epoch of reality and the epoch of total war were, of course the same.) 6. In art, nostalgia is everywhere. There is nostalgia for the early twentieth century. There is nostalgia for Romanticism. There is nostalgia for the '50's, and nostalgia for Pop. Baudrillard tells us that everything is entitled to a second life as nostalgic referential. Artists today paint the '50's the way the Impressionists painted haystacks at sunset. 7. Since history has lost its directionality, this nostalgia is no longer the same thing as when the modernist artist referred to a previous style. Picasso quoted Cezanne because Cezanne represented a marker in an historical progression. Today there is left only a commentary on the vast crisscrossing of historical styles. (Or was history already leveled when Picasso quoted Cezanne?). 8. Nostalgia has also replaced transgression, or rather, nostalgia now simulates transgression. The Abstract Expressionists simulated transgression by their nostalgic adoption of the strategies of European modernism. The Neo Expressionists simulate transgression by their "parodic rehabilitation" of the early twentieth century; the post-modern architects accomplish the same thing by rehabilitating a pre-modernist vocabulary. 9. This is the end of art 'as we know it.' It is the end of the art of art history. It is the end of urban art with its dialectical struggles. Today this simulated art takes place in cities that are also doubles of themselves, cities that only exist as nostalgic references to the idea of city and to the ideas of communication and social intercourse. These simulated cities are placed around the globe more or less exactly where the old cities were, but they no longer fulfill the function of the old cities. They are no longer centers; they only serve to simulate the phenomenon of the center. And within these simulated centers, usually exactly at their very heart, is where this simulated art activity takes place, an activity itself nostalgic for the reality of activity in art. LINK |
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Peter Halley: Notes on Nostalgia
Afrika Bambaataa / July 30 – August 2 / DJ Lineup @ GBE
JAZZY JAY
12:30PM
WEDNESDAY JULY 31
RICH MEDINA
1 PM
THURSDAY AUGUST 1
RED ALERT
12:30 PM
FRIDAY AUGUST 2
DISCUSSION WITH
JOHAN KUGELBERG
2PM
DJ SET BY
JOHAN KUGELBERG
& NICK GAZIN
2 - 4 PM
LINK
Labels:
Afrika Bambaataa,
JAZZY JAY,
JOHAN KUGELBERG,
NICK GAZIN,
RED ALERT,
RICH MEDINA
Monday, July 29, 2013
Folk Devil @ David Zwirner
Artists included in the show:
Lynn Chadwick
Spartacus Chetwynd
Marlene Dumas
Nikolas Gambaroff
Brian Griffiths
Roger Hiorns
Ryan McGinley
Oscar Murillo
Mike Nelson
Eddie Peake
Jason Rhoades
Steven Shearer
Oscar Tuazon
Sophie von Hellermann
Franz West
Lynette Yiadom-Boakye
Labels:
Folk Devil
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