Recently, I had a meeting with a director of an artist-run space in Philadelphia. At many points in our discussion we touched on the issue of selling artwork. This led to reflections on the state of the art market in Philadelphia and the strong anti-commercial ethos of sections of the Philadelphia DIY art community. It strikes me that this opposition is a good place to start, not least because it forms the elementary premise on which a number of conversations that I have had with people from the arts community here in Philadelphia about the state of art in the city and the rest of the United States are based.
Read MoreWe’re bringing back a regular round-up of our upcoming posts for you to look forward to! If you’ve got an upcoming exhibition, performance, or event you think would be a good fit for Artblog coverage, feel free to pitch us a story at hello@theartblog.org.
Read MoreOverall, Gilli’s performance articulated a complexity that was welcome and it did so within a project space that promises more interesting interventions. What was distinctive about the performance was its staging of the artist’s thought process in a moment of its development.
Read MoreCarla Hayden, who has led the Baltimore library system since 1993, will be the first woman and the first African American to lead the Library of Congress since its establishment in 1800. The Library serves as the de facto national library of the United States and is open to anyone over the age of 16 who obtains a reader card.
Read MoreAre artists special? This seems like one of those big bloated questions that avoids consideration mostly because talking about it would take too long. (Sometimes I feel every artist talk or discussion should begin by asking, What is art?) In one sense, it is a fairly straightforward question–yay, artist are special or neah, artist are not special. Of course, like most seemingly straightforward questions, there is a long and complicated path to the answer–e.g., Are you hungry? It depends. To address this question I want to examine a few of the underlying terms and, perhaps more importantly, explore how this discussion is shaped by tired tropes that are perpetuated by artists and non-artists alike.
Read MoreTogether, the paint box, palette, and paintbrush reminded me of the relics of saints–the remains of holy men and women, or the objects, earth, or clothing that came in contact with them during their lives. Too precious for human hands to touch, too powerful to stay buried in the ground (or archive), they can only be accessed through the containers that surround them. The saint’s (or artist’s) power is manifested by his ability to produce miracles through his relics. With His Study of Life, Orellana offers us the possibility of a sort of post-modern miracle, making a tongue-in-cheek yet deeply serious exploration of the religion of art, and of the ghost in the machine.
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