nyartstudies

I highly recommend this SVA course by Chris Bors. One of the experiences that inspired me to start this blog.  More informations about the course - http://www.sva.edu/continuing-education/visual-and-critical-studies/artist-as-critic-12-cu-vcc-2631-ce And about his work - http://www.chrisbors.com/chrisbors.html

I highly recommend this SVA course by Chris Bors. One of the experiences that inspired me to start this blog. 

More informations about the course - http://www.sva.edu/continuing-education/visual-and-critical-studies/artist-as-critic-12-cu-vcc-2631-ce

And about his work - http://www.chrisbors.com/chrisbors.html

cavetocanvas: Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965 One of the artist’s most famous performances, Beuys covered his head first with honey, and then with fifty dollars worth of gold leaf. He cradles a dead hare in his arms, and strapped an iron plate to the bottom of his right shoe. Viewed from behind glass in the gallery, the audience could see Beuys walking from drawing to drawing, quietly whispering in the dead rabbit’s ear. As he walked around the room, the silence was pierced by intermittent sound of his footsteps; the loud crack of the iron on the floor, and the soundless whisper of the sole of shoe. (via)

cavetocanvas:

Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965

One of the artist’s most famous performances, Beuys covered his head first with honey, and then with fifty dollars worth of gold leaf. He cradles a dead hare in his arms, and strapped an iron plate to the bottom of his right shoe. Viewed from behind glass in the gallery, the audience could see Beuys walking from drawing to drawing, quietly whispering in the dead rabbit’s ear. As he walked around the room, the silence was pierced by intermittent sound of his footsteps; the loud crack of the iron on the floor, and the soundless whisper of the sole of shoe. (via)

Source wikipaintings.org

Reblogged from Cave to Canvas

cavetocanvas: Joseph Beuys, I Like America and America Likes Me, May 1974 A master of compelling performance pieces, Beuys flew to New York, picked up by an ambulance, and swathed in felt, was transported to a room in the Rene Block Gallery. The room was also occupied by a wild coyote, and for a period of 8 hours a day for the next three days, Beuys spent his time with the coyote in the small room, with little more than a felt blanket and a pile of straw. While in the room, the artist engaged in symbolist gestures, such as striking a triangle and tossing his gloves to the coyote. At the end of the three days, the coyote, who had become quite tolerant of Beuys, allowed a hug from the artist, who was transported back to the airport via ambulance. He never set foot on outside American soil nor saw anything of America other than the coyote and the inside of the gallery.

cavetocanvas:

Joseph Beuys, I Like America and America Likes Me, May 1974

A master of compelling performance pieces, Beuys flew to New York, picked up by an ambulance, and swathed in felt, was transported to a room in the Rene Block Gallery. The room was also occupied by a wild coyote, and for a period of 8 hours a day for the next three days, Beuys spent his time with the coyote in the small room, with little more than a felt blanket and a pile of straw. While in the room, the artist engaged in symbolist gestures, such as striking a triangle and tossing his gloves to the coyote. At the end of the three days, the coyote, who had become quite tolerant of Beuys, allowed a hug from the artist, who was transported back to the airport via ambulance. He never set foot on outside American soil nor saw anything of America other than the coyote and the inside of the gallery.

Source wikipaintings.org

Reblogged from Cave to Canvas

Charles Atlas at the Whitney Biannual 

Charles Atlas is a pioneering figure in film and video. Since the mid-1970s his experimental films, documentaries, broadcast works, multichannel installations, and live electronic performances have innovatively defined their mediums. A central aspect of his artistic practice has been deep collaborative relationships, particularly with performing artists such as Leigh Bowery, Michael Clark, Douglas Dunn, Yvonne Rainer, Mika Tajima and the New Humans, and many others. In his own words, “Although I have a deep interest in form and craft, the essence of my work resides ultimately in the relationships that develop with my subjects and my collaborators.”

Over the past decade, Atlas has become increasingly interested in live video improvisation: composing, editing, and projecting in real time. He presented an unfolding, weeklong live video environment punctuated by live performances with experimental musician William Basinski—whose haunting compositions often involve found and electronic sounds, repetitive loops, and documenting the aural disintegration of his earlier recordings on audio tape—and performance artist Johanna Constantine.