Tavis Smiley interviews Teller about his documentary film Tim's Vermeer
. Interesting how Teller is surprised at how artists and scientists were once the same vocation. Lately with artists like Inigo Manglano-Ovalle
, Olafur Elliason, Anish Kapoor, Cartsen Holler and Robert Irwin/James Turrell's early work, we see somewhat of a return to this kind blurring of lines... locally artists like Kyle Thompson, Laura Fritz, Laura Hughes and Zachary Davis have all taken a similar investigative approach to applying Bacon's Novum Organum
(which is rooted in Davinci's observational and trial studies). Jerry Saltz is also excited about this
. The point is, given enough time and thoughtful concentration anything one human being has done can be reverse engineered and replicated.
Adrian Searle discusses Martin Creed's exhibition at the Hayward Gallery
Carnegie Mellon University has scuttled its curator
... why is this bad? Many institutions have been doing this of late and it essentially destroys the programmatic integrity of a space. A curator's voice creates continuity and a programmatic arc, which when dispensed with leaves a rudderless exhibition schedule driven by opportunistic or void-filling exhibitions with nobody to answer for their quality and execution. That "Arc" is crucial as often it isn't a single exhibition that matters but the probing variety that a curator brings. It is the difference between having a chef or putting on a pot luck affair. When no one is responsible, a program loses its voice at budget meetings... guaranteeing it will be ever more shunted to the periphery of institutional priority. Lastly, galleries are the place where the institution meets the rest of the world. Ditching the castellan responsible for that interaction means the institution will become more navel gazing and insulated.
Brian Libby and Kieth Daly debate the infinitely debatable Portland Building
. I'll have an in depth piece for you soon that takes the discussion in a new direction (it is nearly complete and as usual, it draws blood).
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