I’m too sad to tell you (1971), by Bas Jan Ader
artist subject, crying, everyday, imagery, sadness, self, subject, videoSaturday, April 13th, 2013
When an individual enters the presence of others, they commonly seek to acquire information about him or to bring into play information about him already possessed. They will be interested in his general socio-economic status, his conception of self, his attitude toward them, his competence, his trust worthiness, etc. Although some of this information seems to be sought almost as an end in itself, there are usually quite prac tical reasons for acquiring it. Information about the individual helps to define the situation, enabling others to know in ad vance what he will expect of them and what they may expect of him. Informed in these ways, the others will know how best to act in order to call forth a desired response from him.
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Art is a history of doing nothing and a long tail of useful action. It is always a fetishisation of decision and indecision – with each mark, structure and engagement.
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Of all the frames, envelopes, and limits-usually not perceived and certainly never questioned-which enclose and constitute the work of art (picture frame, niche, pedestal, palace, church, gallery, museum, art history, economics, power, etc.), there is one rarely even mentioned today that remains of primary importance: the artist’s studio.
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As the art world careens this way and that, and its many institutions, markets, and audiences adapt and adjust, supporting it all is the generative activity of studio practice. The studio is a space and a condition wherein creative play and progressive thinking yield propositions for reflecting on who we are—individually and collectively—and where we might go next.
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“‘The contemporary artist … produces production itself, presentation itself … images and ideas of these that are at the same time (like it or not) ethical propositions.’” [...] “Perhaps we have already moved too quickly. Is something to be done at all? Faced with the apparent emergence of art as a fully functioning industry … might it not be better to take industrial action, that is to say to strike, to withdraw labor from the art system as it is now constituted? Maybe nothing is to be done.” [...] “While her ‘free time’ is spent working with her female friends on an art project—as she says, ‘one interesting project or another is always blowing into my house’— her days remain filled with different activities characterized by usefulness and/or idealism, both informal and normally undocumented.”
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