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Category Archives: QUOTATIONS

“I don’t necessarily feel part of a specific movement, but I do feel like there are kindred spirits out there among my peers. What’s at stake is that each generation has the opportunity to reevaluate narratives of the past in a manner that makes sense in the present. Ideas tend to recirculate, but they might mean something completely different in today’s context. It’s important to restate them in new ways in order to better communicate them, and to engage with them not always in opposition but in response.

Specifically, I consider myself to be coming out of and responding to the Robert Ryman camp of how-to-paint over the what-to-paint. The BMPT group [Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni] was very significant to me in grad school, as well as Supports-Surfaces. From these artists, I took away an understanding of painting as an apparatus that could be dismantled and rebuilt toward new meanings. I was also influenced by many of the artists featured in the exhibition High Times, Hard Times. Artists such as Ree Morton and Howardena Pindell were a revelation for their insistence on experimenting with materials and injecting subjectivity into the work without turning out overtly historic, expressionistic artworks. I see myself as building from all these perspectives, not just one singular history.”

– Alex Olson (Walker Art Center Interview with Eric Crosby)

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A work like the “The Visitors” has all the strengths of the classical Romantic sensibility, and some of its potential weak points too. It offers a glimpse into a more ecstatic world; you really want to be these people, be invited to this party. It dwells in a kind of self-enclosed universe, spellbound by images of otherwordly artists and majestic decay. Like classic Romanticism, which arose as a kind of personalistic reaction to European industrialization, such a neo-Romantic temperament draws its power as an implicit reproach of the kind of dispirited, non-ecstatic lives we normally live. Unalloyed, of course, this sort of thing might also become a kind of cloying, self-involved theater — indeed, you might even say that Kjartansson subtly thematizes the sense of wallowing in fantasy, since being stuck in art is a theme, both in this film with its endless, trance-like choruses, and in his work more generally. It’s this minor-key background note that lets “The Visitors” resonate as both out of time and of its time at once.

Ragnar Kjartansson’s “Visitor’s” (Artinfo Review)

“… Art is perceived through the senses first, and probably also second and third. Small details have profound sensible impacts, no matter how thoroughly an artwork is motivated by concepts or plans. And though we may not always be drawn in by quiet artworks on silent walls, we cannot have lost our human capacity to be moved. If Freud suggested a structure to consciousness, he also offered a model for its depth: much experience remains beneath our immediate awareness. The entire complex of “feeling”—materiality, sensation, affect, sensibility—is inevitably percolating in our experience (as are thoughts), so we needn’t worry, or even wonder, about whether words will win. 

The question is: do we dare to acknowledge that realm beyond thought, to explore that unmoored ocean of the senses? If we focus too strongly on critical angles or sensationalism, we may miss opportunities to dive more deeply into reality.”

Karen Schiff (Brooklyn Rail article)


“One of most intriguing aspects about art today is its entanglement with theory. In fact, contemporary art practice is now so highly saturated with theoretical knowledge that it is becoming a research practice in and of itself. Artists have not only taken up art criticism and negotiations, they now also integrate research methods and scientific knowledge into their artistic process to such a degree that it even seems to be developing into an independent form of knowledge on its own.”

Kathrin Busch (art & research editorial)

 

But what of the collaboration between science and the arts? Are we really prepared to live with a permanent cultural schism? If we are serious about unifying human knowledge, then we’ll need to create a new movement that coexists with the third culture but that deliberately trespasses on our cultural boundaries and seeks to create relationships between the arts and the sciences. The premise of this movement—perhaps a fourth culture—is that neither culture can exist by itself. Its goal will be to cultivate a positive feedback loop, in which works of art lead to new scientific experiments, which lead to new works of art and so on. Instead of ignoring each other, or competing, or co-opting each other in naïve or superficial ways, science and the arts will truly impact each other. The old intellectual boundaries will disappear. Neuroscience will gain new tools with which to confront the mystery of consciousness and modern physics will improve its metaphors. Art will become a crucial source of scientific ideas…At the same time, the sciences must recognize that their truths are not the only truths. No single area of knowledge has a monopoly on knowledge. As Karl Popper, an eminent defender of science wrote, “It is imperative that we give up the idea of ultimate sources of knowledge, and admit that all knowledge is human; that it is mixed with our errors, our prejudices, our dreams, and our hopes; that all we can do is to grope for truth even though it is beyond our reach.” The struggle for scientific truth is long and hard and never ending. If we want to get an answer to our deepest questions—the questions of who we are and what everything is—we will need to draw from both science and art, so that each completes the other.

-Jonah Lehrer (Seed magazine article)