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Performance’s raison d’être is historically anti-object, if not anti-art. Its importance rests on its experiential paradigm, a here today/gone tomorrow aesthetic that thumbs its nose at museum culture. Whether documented or not, a performance’s existence in space and time is a deliberate one-shot deal. If you missed it, well, too bad for you.
Thomas Micchelli, The End of Performance Art as We Know It, for Hyperallergic, May 2012.
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A Matter of Opinion by Eileen Kinsella
After years of examining artworks and rendering expert opinions for owners—often free of charge—several art-authentication boards and artist-endowed foundations have decided that the risks and potential costs associated with determining authenticity are simply too high.
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"Their secrets were secret even to them"
- Pamela Lee on the work of art between disclosure and redaction (via ilikesweating) -
"I’ve coined the term Con Art,” said Mr. Spalding, “short for contemporary conceptual art and for art that cons people."
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Tom Lovelace, In Preparation no. 4, 2011
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Untitled (Summer Magic) | Akiko Ikeuchi | 1989
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Self Portrait as a Tehuana (Diego on My Mind) | Frida Kahlo | 1943
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High ResolutionPaul Sochacki: Ästhetik und Ökologie, 2008
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High ResolutionThe Struggle | Mia Christopher | 2010
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David Hockney
Fine Art Dread
An archive of art history nerdery with an interest in curatorship and museum studies.
