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Monthly Archives: April 2010

At the same time, the research studio or the graduate critique space allows room for reflective insight, away from the day-to-day pressures of professional practice. Risk and rigor are what graduate schools do best. This makes them a productive space for activities such as theorizing, learning from failure, and generating fantastical visions of the future. While the profession isn’t always receptive to the new directions that emerge, this activity helps to advance knowledge in the field.

This is a great time for graduate education. With the right support, students can learn to navigate the instability and actively participate in the invention of their own futures and the future of design—knowing full well that everything may be different tomorrow.

Graduate Education


Do you think there’s a deficit of play in the lives of children or adults? If so, what’s your suggested antidote?

We seem to witness both an overkill of entertainment—and its pedagogical servant: edutainment—and a lack of open-ended and constructive play—and its pedagogical equivalent—genuine “hard fun”: the ability to move or operate freely in a bounded space. The metaphor of the “leap” is often used to capture the sense of exuberance and freedom that characterize children’s play, as well as its boundary-crossing nature. Problem is: We can’t just leap without a place to land, and there would be no levity without gravity. It is in this deep sense that play is not merely an escape from reality but the freedom to participate in, transform and be transformed by the world.

As John Holt put it “Children use fantasy not to get out of, but to get into, the real world”. It is their way of understanding it and coming to grips with their experience, turning it over and owning it. To play is to become a part of a reality in constant transformative engagement with itself. Play does not disappear with adulthood, nor is it a luxury reserved to poets and artists alone.

What’s to be learned from kids?

According to the exhibition press release, Skin Fruit aims to “evoke the tensions between exterior and interior, between what we see and what we consume.” It posits a corporeal theme garnered by heavy doses of sensuality, sexuality, and multitudinous examinations of the flesh. But is this really what Skin Fruit does? On a whole, I would argue otherwise. What the exhibition does succeed at is generating a buzz about contemporary art, the practice and philosophy of collecting, the art market and the museum as paradox: one part commercial venue, the other part educational institution. As a result, the New Museum has some considerable (re)thinking to do. Everyone learns from their mistakes. Hopefully this beacon of the Bowery is no exception to the rule.

Brookly Rail Review

Skin Fuit Exhibition

My real subject is people. I am ultimately fascinated by the question: What is reality for us? We have all learned that there is no single true reality. But how do we get our bearings, and how are we aligned? Even the idea of a reality “construct” is only a construction, after all.

Olafur Eliasson

Eliasson Interview

It seemed to me that a lot of people started going to art school recently because they thought they could be famous and make a lot of money. They might be in for a bad turn. People will still make great art, but I think it’s good to assume you will always be a failure. People were believing the opposite.

Wade Guyton

Wade Guyton Interview

It’s true that when I speak in public, everyone asks me about life and I always have to bring them back to the fact that it’s a work of art. The difference with many of my works is the fact that they are also my life. They happened. This is what sets me apart and makes people strongly like or dislike what I do. It is also why I have a public beyond the art world.

Sophie Calle

Sophie Calle Interview

We have to let people talk directly to people, in that sense, the most important element in this globalization process is the artist. because artists
speak in a universal language that has no boundaries. between
past and present, between east and west, art is all equal. if the
artists don’t get a voice in this new global system, there will be
trouble because art is the universal language of mankind.

Bill Viola

Bill Viola Interview

I think that you do things to find out if you believe in it in the first place, just like often you’ll say things in conversation, just to test, and so you do that. I think a lot of work is done that way, which doesn’t make a fake or anything, it’s the only way you find out is to do it. So there was a lot of that. I made that neon sign which said, “The True Artist Is an Amazing Luminous Fountain,” and “The True Artist Helps the World by Revealing Mystic Truths.”

Bruce Nauman

Bruce Nauman Oral History Interview

 de Balincourt has always painted from his imagination, now he’s looking inward even more. “It’s my own sort of escapism,” he says. “Everything inspires my work: lived experiences, cultural and social phenomena. But it is more and more about that internal gaze, a mix of these utopian and dystopian ideals. It all sounds kind of New Agey, but these days, that’s what I’m interested in.”

Modern Painters Interview

Jules de Balincourt

“People forget that I want to disappoint.” That strategy, targeting “the expectations of the one who waits to be amazed,” has worked well for him. I vividly remember being outraged in the proverbial manner of a philistine exposed to modern art when, for his first solo gallery show in New York, in 1994, Orozco displayed, on the walls of the main room at Marian Goodman, nothing but four Dannon yogurt lids. I recovered, by and by, to take the artist’s point, which amounted to disappointment as aesthetic therapy.