Reflection of the sentences to conceptual art

These sentences are sort of some philosophy sentences and discussed about art from philosophy or more profound level. They remind me some basic question such as “what is the art?” “Art for whom?”.

Actually, it is kind of abstract, like a conversion inside artist themselves. Although these sentences are ideas for conceptual art, but I think it is also can be put in a more wild art world. In general, art always start from a concept whatever its final form.

I choose some quotes which inspired me and impressed me a lot. I written comments of my personal understanding below these.

-“A work of art may be understood as a conductor from the artist’s mind to the viewer’s. But it may never reach the viewer, or it may never leave the artist’s mind.”

Audiences can understand by their own experience, but they can go inside artists’ mind. The artwork in artist’s mind will be the unique one.

-Since no form is intrinsically superior to another, the artist may use any form, from an expression of words (written or spoken) to physical reality, equally.

If words are used, and they proceed from ideas about art, then they are art and not literature; numbers are not mathematics.

This is why Duchamp always used found objects as a carrier and media to convey his thinking.

Sometimes artwork is defined just because they are putted in a specific context. Sometimes, in some extent, some common objects which be putted in a special environment are looks wired and funny, provoking thinking of people. For example, in my apartment, a honey is be wrapped, because it is used to lure cockroaches not for eating. We put it in a dark corner in cabinet,as if it is a bottle of dangerous poison not sweet honey.

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-Perception is subjective.

Wittgenstein said that anyone’s experience is not engraved, everyone in the world is not the same.

-Once the idea of the piece is established in the artist’s mind and the final form is decided, the process is carried out blindly.

Creative processing is a complicated experience like adventure,  even the artist cannot imagine. In my opinion, the creative process is the art itself. In the processing of creation, there would be some unbelievable things happen.

-These sentences comment on art, but are not art.

It is a too “DADA” sentence. Art is like sort of a trick, kind of cynicism. Art is not a game with literal meaning. It based on human’s experience and the nature which is the fun and sustained artistic point.

Book Recommendation

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Context Providers explores the ways in which digital art and culture are challenging and changing the creative process and our ways of constructing meaning. The authors introduce the concept of artists as context providers—people who establish networks of information in a highly collaborative creative process, blurring boundaries between disciplines. Technological change has affected the function of art, the role of the artist, and the way artistic productions are shared, creating a need for flexible information filters as a framework for establishing meaning and identity. Context Providers considers the work of media artists today who are directly engaging the scientific community through collaboration, active dialogue, and creative work that challenges the scientific.

Two wonderful performance related to Digital/Visual Art In NYC

MASSIVE ATTACK V ADAM CURTIS

September 28 – 30 at 8:00pm
October 2 – 4 at 8:00pm

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http://www.armoryonpark.org/programs_events/detail/Massive_Attack_V_Adam_Curtis

Massive Attack are an English musical group from Bristol consisting of Robert “3D” Del Naja and Grant “Daddy G” Marshall, formed in 1988. The duo are considered to be progenitors of the trip hop genre. Their debut album Blue Lines was released in 1991, with the single “Unfinished Sympathy” reaching the charts and later being voted the 10th greatest song of all time in a poll by The Guardian. 1998’s Mezzanine, containing “Teardrop“, and 2003’s 100th Window charted in the UK at number 1. Both Blue Lines and Mezzanine feature in Rolling Stones list of the 500 Greatest Albums of All Time.[2][3]

The group has won numerous music awards throughout their career, including a Brit Award—winning Best British Dance Act, two MTV Europe Music Awards, and two Q Awards.[4][5] They have released 5 studio albums that have sold over 11 million copies worldwide.

cyclo.id

Sunday, October 6, 2013, 8:00–11:00 p.m.

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http://www.moma.org/visit/calendar/events/19038

PopRally invites you to the premiere U.S. performance of cyclo., the collaborative project of artist/composers Ryoji Ikeda and Carsten Nicolai. Since their collaboration began in 1999, cyclo.’s work—live performances, CDs, books, and ongoing research—has focused on their shared interest in the visualization of sound. In conjunction with MoMA’s first major exhibition of sound art,Soundings: A Contemporary Score, in which Nicolai is a featured artist, the duo will stage a performance entitled cyclo.id. In a multisensory and immersive concert experience, cyclo. will perform against a backdrop of vibrant, ever-shifting visuals generated through real-time sound analysis.

Guests will enjoy a cocktail reception, and exclusive access toSoundings: A Contemporary Score, after Museum hours

Doors open at 8:00 p.m., performance starts at 9:00 p.m.

Special thanks to Sud de France wines: Jaja de Jau, Gilles Louvet Vineyards and Gerard Bertrand. Beer for this event has been provided by Brooklyn Brewery.

In conjunction with the exhibition Soundings: A Contemporary Score

About Jeffrey Shaw

About Jeffrey Shaw:

-Jeffrey Shaw is my previous  professor in an Art and Technology New Media Workshop.

He is a pioneer of new media art and his work refer to performance, expanded cinema and installation paradigms.

I like his work very much. I recommend this artist to all my classmates, we should know him.

-Wiki

Jeffrey Shaw BACKGROUND:

http://www.icinema.unsw.edu.au

http://www.jeffrey-shaw.net

http://www.zkm.de

Jeffrey Shaw (1944 Melbourne) has been a leading figure in new media art since its emergence from the performance, expanded cinema and installation paradigms of the 1960s to its present day technology-informed and virtualized forms. In a prolific career of widely exhibited and critically acclaimed work he has pioneered the creative use of digital media technologies in the fields of virtual and augmented reality, immersive visualization environments, navigable cinematic systems and interactive narrative.

Professor Shaw was co-founder of the Eventstructure Research Group in Amsterdam (1969-1979), and founding director of the ZKM Institute for Visual Media Karlsruhe (1991-2002). At the ZKM he conceived and ran a seminal artistic research program that included the ArtIntAct series of digital publications, the MultiMediale series of international media art exhibitions, over one hundred artist-in-residence projects, and the invention of new creative platforms such as the EVE Extended Virtual Environment (1993) PLACE (1995) and the Panoramic Navigator (1997). In 1995 Shaw was appointed Professor of Media Art at the State University of Design, Media and Arts (HfG), Karlsruhe, Germany.

Professor Shaw’s landmark art works include The Legible City (1989), The Virtual Museum (1991), The Golden Calf (1994), Place-A Users Manual (1995), conFiguring the CAVE (1997) and the Web of Life (2002). He co-curated the seminal FUTURE CINEMA exhibition at the ZKM Karlsruhe, the catalogue of which was published by MIT Press. Shaw’s career is further distinguished by his collaborations with fellow artists including Peter Gabriel, David Pledger, Agnes Hegedues, The Wooster Group, William Forsyth, Harry de Wit, Theo Botschuijer, Dennis Del Favero, Peter Weibel, Bernd Lintermann, Dirk Goeneveld, Leslie Stuck, Paul Doornbusch, Jean Michel Bruyere, Saburo Teshigawara, Ulf Langheinrich and Sarah Kenderdine. Shaw has been the recipient of numerous awards including Ars Electronica, Linz, Austria, L’Immagine Elettronica, Ferrara, Italy, the Oribe Prize, Gifu, Japan and an IDEA Gold Medal in 2009.

In 2003 Professor Shaw was awarded the prestigious Australian Research Council Federation Fellowship and returned to Australia to co-found and direct the UNSW iCinema Centre for Interactive Cinema Research in Sydney from 2003-2009. At iCinema he led a theoretical, aesthetic and technological research program in immersive interactive post-narrative systems, which produced pioneering artistic and research works such as Place-Hampi and T_Visionarium, the latter shown at the Biennale of Seville in 2008. In September 2009 Shaw joined City University in Hong Kong as Chair Professor of Media Art and Dean of the School of Creative Media (SCM). Professor Shaw has a position at UNSW as co-director of the iCinema Centre for the purposes of academic and research co-operation with CityU. He will establish a new SCM research facility at the Hong Kong Science Park in 2010.