Anne Elizabeth Moore joins 127 Prince as a regular contributor with a series of writings focused on labor, intellectual property, and gender issues inherent in social practice art forms. Her writings will be posted monthly, often highlighting a specific project, program, or event.
Midway through 1996, I found myself in hot, hot Georgia, seated at an elaborate table with the most brilliant minds cultural production then had on offer, as well as the most successful. Steven Durland, Maureen Sherlock, Mel Chin, Michael Brenson, Jacquelynn Baas, David Levi-Strauss, Anne Pasternak, Bill Cleveland, Mary Jane Jacob, Jeffrey Kastner, Susan Vogel, Homi K. Bhabha, Mary Ellen Strom, Doug Ashford. The food people were flown in from Italy; they were to be referred to as artists. Each meal was conceptually attuned to the intended topic of conversation, each ingredient mulled over, considered amongst the others, and arranged to draw out a unique realization reserved, usually, for the domain of art. Arguments erupted, as they do at dinner tables: opinions clashed, voices were raised, questions put forth or ignored in service of a more important point. Declarations were lost to grappa, others raised only because of it. Guests continued to eat heartily, praising the food artists anew with each course. Or, sometimes—because occasional dishes were not meant to be delicious—praising instead the aesthetic choices, emotional impact, or bold statements made vie the chosen medium of food. But always: the guests ate. Continue reading
The truth is that strategies of liar’s poker are inevitable today, as cultural institutions both public and private try to mediate between the logic of profit and prestige and the desire for alternative valuations. But that can be put more bluntly; in the age of corporate patronage and the neoliberal state, art is becoming a field of extreme hypocrisy. And so it directly reflects the crisis of the representative democracies. – Brian Holmes, Liars Poker
On May 22nd Fallen Fruit, the Silverlake based eco-artist collective organized Tomato Hootenanny in the Los Angeles County Museum of Art (LACMA) BP Grand Plaza. This was the first iteration of EATLACMA, a yearlong collaboration between the museum and the collective. At the hootenanny the old-time band Triple Chicken Foot provided music and Fallen Fruit gave away tomato plant starts to museum visitors. Nothing out of the ordinary for a collective committed to stimulating peoples connections. Bow to your partner, bow to your corner, now promenade back home and plant this tomato and consider the relationships between your partner, your corner, your concept of what art is, hierarchical institutions, and this hybridized species of Lycopersicon esculentum. Continue reading
This interview was conducted over 18 months ago. Sean and I (R. Szott) agreed early on that we would exert an extremely light editorial touch in order to allow our conversation to avoid being too polished. There are many things we might have said differently if we took the usual editorial scalpel to things. This is especially true now that so much time has passed between the exchange and its publication. It is also quite long due to its unexpurgated nature. I hope that the patient reader will find it as rewarding to follow Sean’s thoughts as I found it…
Randall Szott: There’s never really an ideal place to start an interview, but maybe my “discovery” of some things you’re up to will work. I stumbled my way into AAAARG.ORG and Telic Arts Exchange and then into The Public School before I realized that you were connected to each of them! There’s an obvious self-organizing/pedagogical thread to those enterprises and a concern with thinking in interesting ways about publics and how to organize, exchange with, or challenge them. This seems to extend across your practice as a whole. I was wondering if you could place these things in their context (as you imagine it) or say whether you see them as intersecting with broader, or even narrower, concerns from other elements in your life and work. Continue reading
I was already in a hurry when I found the tiny doorway of the “Hair 2 Stay” salon at the edge of Chinatown. I didn’t need a haircut, I didn’t have an appointment; I only wanted to take a peek at Darren O’Donnell’s latest piece, “Haircuts by Children.” But as soon as I arrived it was clear there was no way to just watch, to be a member of the audience. There was no audience. It was a tiny corridor of a salon with an even smaller waiting area and I felt ridiculous hovering in the doorway. Darren came up and asked if I was getting my hair done. When it turned out one of the kids would be free in a few minutes it suddenly seemed I had no choice but to say, “Sure.” Continue reading
As the tradition of “performance art” continues to expand, some artists have begun to use blogs as a way to record the ordinary social interactions which constitute their own creative practices. Since 2005, I’ve been creating blogs in an attempt to more intimately weave my art practice and everyday life, annotating the dozens of small events that accumulate each day. As a “blog artist,” I recognize the potential of this activity to bring to light some of the ephemeral interactions which specifically underpin my performative practice. Beyond its utility as a tool for documentation, blogging also helps hone my errant attention span, enabling me to make peace with seemingly insignificant or banal aspects of daily living. These tiny annotated moments of ephemeral experience are what I want to focus on here. Via a brief exploration of two blog projects by Australian artists, I hope to demonstrate the mutually transformative relationship between the practices of blogging and the quality of our attention. Continue reading
The creation of a journal, such as 127 Prince, on social art practice speaks to some larger issues not only about art but also about its presentation. For the inaugural issue of 127 Prince, I interviewed Nato Thompson, Chief Curator at Creative Time in New York City, NY. Via email, we discussed the issues as he sees them, specifically his views on the field and its relationship to larger cultural production, and focusing on The Creative Time Summit: Revolutions in Public Practice, which Thompson organized October 23-24, 2009. This interview is set against a backdrop of inquiry about how we, as arts practitioners, claim legitimacy in the academic and artistic fields while also trying to build a sense of community?
– Chelsea Haines Continue reading