We support theory. We just don't want to write it ourselves. xo Libby and Roberta
[Dre reflects on the attraction of comic cons and the emergence of "niche cons," which invite devotees of particular genres and eras to come together. -- the artblog editors] Being in a safe and fuzzy bubble with friends and like-minded people for three days equals a comic con. There, people can geek out on their favorite fan culture and dress in homemade costumes when it isn’t even Halloween. They can leave their everyday problems behind as they dive head-first into a world of fantasy and imagination for the weekend. Outsider outlets Comic cons represent an alternative to sports culture and ... More » »
–>Alaina’s essay talks about what a great thing it is when artists are in charge, as they often are at the Fringe Festival. –the artblog editors—————> The average working artist or creative professional probably wishes she had a dime for every time a client told her “We’ll send your payment at the end of this week, or early next,” and another dime when the money still failed to materialize by Monday. As an artist, it’s easy to feel powerless. But every year, when I cover the Philadelphia Fringe Festival, I’m fascinated to see that dynamic turned on its head. Somehow, something ... More » »
At a session of the College Art Association annual meeting in February (On the Social, The Relational, and the Participatory…), Martha Rosler spoke about her initial garage sale in 1973, at the gallery of the Visual Arts Department at the University of California, San Diego, and the many sales she has held since then at art venues in the U.S. and Europe. She showed images of the recent sale, held in the atrium of the Museum of Modern Art (MoMA, Nov. 17-30, 2012), which she said was her last. She remarked that it received international press attention, but there was ... More » »
I sat in my seat shaking. What was titled, “Public Forum on Gender and Race in Contemporary Art,” at the Pennsylvania Academy of Fine Arts on Sunday, February 20th, primarily became a discussion on the role, and, perhaps, responsibility of the art critic today, specifically in regards to identity-based art. The forum was also an unofficial public critique of Ken Johnson, The New York Times art-critic whose 200-word preview of PAFA’s current exhibition The Female Gaze and longer review of Now Dig This! Art & Black Los Angeles 1960-1980 received a formal petition, (later identified as an open letter), asking ... More » »
By Joshua Weibley An image of a set of conditions (as in “medical imaging”) is an overview of these conditions which summarizes them. In this way, generally, images are the concise products of analysis; they simplify to explain and provide summary.
Post by Joshua Weibley The inspiration for this piece came when author Joshua Weibley was paid by MoMA to perform two artists’ work. During the course of one of these performances–when he was employed to execute Roman Ondák’s piece “Measuring the Universe” during the summer of 2009–he collected about 30 tourist photos of himself in action from online image-sharing websites. The images in the post come from the collection of tourist photos. Take art as a series of images and take an image as the interrelationship of elements working together to form a singular impression: this definition accounts for images ... More » »
Vox Populi; We’re working on it, Andrew Suggs, ed. (Vox Populi Gallery, Philadelphia) ISBN 978-0-615-31338-2 The art scene in Philadelphia is marked by an expanding community of artists, artists’ collectives and artist-run organizations, galleries, publications and events. Word gets out, but proper documentation is important for an accurate picture and for the future. In a publication recording its 21-year history, Vox Populi Gallery has provided a record of its own history as well as that of the other artists’ organizations established in Philadelphia since the founding of Painted Bride in 1969.
Post by John Vick Execution is essential to understanding. The way in which an idea is conveyed, a picture made, or an installation constructed greatly influences the viewer’s interpretation of the piece. This is true regardless of artistic intents or aesthetic penchants. Even with supplemental information, such as wall text or artist’s statements, poorly executed work will be neither convincing nor appealing.
John Vick is a curatorial fellow in the Department of Prints, Drawings, and Photographs at the Philadelphia Museum of Art. He has a Master’s degree in Art History from the University of Pennsylvania. Successful artworks seem to fall under one of two humors – they can call attention to themselves overtly or be so plainly understated as to provoke curiosity. This has been true of modern art for quite a while. Consider the simultaneous success of the frenetic work of Jackson Pollock and the contemplative work of Mark Rothko. At present, when images, video, and sound are more readily available ... More » »