By Caroline Keegan
Taryn Simon’s exhibition “Paperwork and the Will of Capital” presented itself as a group of archival style photo and sculpture works that documented agreement meetings in international juridical history; it embodied the intersection of art and law. For the series, Simon’s recreated bouquets presented the instances world leaders were brokering deals. She selected countries that were part of the Bretton Woods Conference. She then photographed the bouquets, and paired them with text summarizing the historical context and archiving the species of plant. The text was written as an elegy, which in frame with the bouquet read as a lament. Clearly, the work did not simply record the pivotal moments but within the archival methodology effectively reacted to it and highlighted the artifice of both the impossible to nature bouquets and the meetings respectively.
Taryn Simon. Bratislava Declaration. Bratislava, Slovakia, August 3, 1968. From the series
Paperwork and the Will of Capital, 2015. Archival inkjet print in mahogany frames with text in windowed compartment on archival herbarium paper. 85 × 73 1/4 × 2 3/4 inches framed (215.9 × 186.1 × 7 cm). © Taryn Simon
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June 12th, 2016 by Sergio Muñoz Sarmiento in Copyright
June 7th, 2016 by Sergio Muñoz Sarmiento in Copyright
The notorious BIG…that’s Axl Rose, not the other one, is now demanding that Google remove the now infamous photos of his sweaty, pudgy face from a 2010 concert now associated with the “fat Axl Rose” meme from their search engines.
According to The Guardian, “Rose might feel the meme is detracting attention from Guns’n’Roses’ forthcoming tour, what with the memes about “sweet pie’o’mine”, or “take me down to bakery city’. But then again, most people probably wouldn’t have heard of it if he hadn’t started issuing DMCA takedown requests.”
This time for using a Sid Vicious image. One could propose that law students are thankful to Mr. Prince for keeping some of them employed and well-compensated, especially in these days of $180K first-year salaries. The complaint is available here. I’m quoted in this Artnet News article, and in this Hyperallergic article.
Starting this year, the Art & Law Program will now offer a fall session. The 2016 fall session will meet at the School of Visual Arts (SVA) on W. 21st St., in NYC, on Monday nights from 6-9pm.
The fall term will run from September 12th to December 12th. The fall term will conclude with 7-minute Pechakucha presentations by the fall-session fellows, with respondents commenting on the presentations.
Applications to the fall 2016 term are due July 4, 2016. Application info may be found here.
For more information on the Art & Law Program, please click here.
Centro Cultural Universitario (UNAM), 2015. Via Wikipedia CC BY-SA 4.0.
“Espacio Escultórico” was inaugurated in 1979 on the campus of the National Autonomous University of Mexico, otherwise knows as the UNAM. According to the paper of record, it “is considered one of the most important pieces of land art in Mexico… .” Yet the recent construction of a white eight-story building nearby has prompted a furious protest that pits the university’s needs against Mexico’s cultural heritage, artists and intellectuals.
Prominent cultural figures, including the writer Elena Poniatowska, have published letters in the press or posted video statements on Facebook defending the sculpture; about 300 students and faculty members of the university’s architecture school signed a letter to the head of the department in April calling for the building to be modified or demolished.
For the artists, the building, which belongs to the social science faculty, ruins the line of the sky against the flat tops of the pyramids.
The battle is also being spearheaded by artists such as Anish Kapoor and Pedro Reyes,
“You can’t move the lava. You can’t move the landscape,” said Pedro Reyes, a sculptor who is leading the campaign to dismantle Building H, as it is known. “So you have to move the building.”
More via the NY Times.