Pinboard (robertogreco)
https://pinboard.in/u:robertogreco/public/
recent bookmarks from robertogrecoA Body That’s All Surface2024-02-29T23:50:15+00:00
https://www.smallpresstraffic.org/the-back-room-article/a-body-thats-all-surface
robertogreco2024 art artists leisurearts artleisure artcriticism criticsim humanism humans bodies senses beholding picasso howwewrite howwethink observation understanding criticism spiders creativity exploration degrowth refusal resistance artmaking making context artworld boundaries activity activities humanness framing demystification mutualaid idealism reinvention beauty poetry grants grantwriting institutions power control organizations confrontation obstacles dialogue body canon elisabethniculahttps://pinboard.in/https://pinboard.in/u:robertogreco/b:00db41088e05/Fred Moten on Palestine and the Nation-State of Israel - YouTube2023-11-12T04:49:48+00:00
https://www.youtube.com/watch?v=vWnzkjUAZnQ
robertogrecofredmoten 2023 palestine israel statements rhetoric language discourse humanity rights rightstoexist manolocallahan humanism history context states state humans brutality collectivepubishment colonialism settlercolonialism colonization antisemitism us uk zionism christianzionism via:javierarbona conviviality study human philosophy jaredware whiteness unfinished imperfection sylviawynter frantzfanon complexity morality ethics others othering anticolonialism decolonization conversation thinking howwethink foucault michelfoucault coloniality nyu guggenheim detachment work labor colonialintent malcolmx howweread reading grades grading classroom highered highereducation academia art artworld practice praxis solidarity westbank gaza indigeneity indigenous nationstates blackstudies robinkelley robindgkelley rinaldowalcott indeterminacy surveillance suppression resistance optimism jazz teaching howweteach education learning howwelearn organizing organization generalstrike petitmarronage webdubois walterbenjamin saidihttps://pinboard.in/https://pinboard.in/u:robertogreco/b:1255d5765dd8/Ruling Class Solidarity: Conflict & Growth at SFMOMA Reexamined2022-09-01T02:45:49+00:00
https://backbeat.substack.com/p/ruling-class-solidarity-conflict
robertogrecoart capitalism neoliberalism philanthropy finance charitableindustrialcomplex philanthropicindustrialcomplex charity 2021 samlefebvre financialization latecapitalism collections artworld museums class race classconflict sfmoma charlesschwab donaldfisher sanfrancisco california us reputationlaunering investment whitesupremacy exporatorium nonprofit nonprofits charitieshttps://pinboard.in/https://pinboard.in/u:robertogreco/b:0613a25a194e/Cecilia Vicuña’s Desire Lines - The New York Times2022-08-26T05:49:04+00:00
https://www.nytimes.com/2022/08/25/magazine/cecilia-vicuna-art.html
robertogrecoceciliavicuña art chile 2022 artists artmaking writing howwewrite history environment indigeneity indigenous inca slow small ephemerality unproduct nonproduct rest sleep displacement sustainability socialism salvadorallende golpemilitar pinochet edwintorres kamaubrathwaite lorraineo'grady heresiescollective lucylippard poetry censorship artworld latinamerica gender leonoracarrington violetaparra anamendieta carmenherrrera theresahakkyungcha teresitafernández gabrielamistral ledavalladares josélezamalima collectivism childhood learning unschooling deschooling howwwelearn education children belatedness maríasabina memory archives howweread youth fragility vulnerability canon power unfinished handwriting transgression resistance quipu ceque howwelearn copying slowness interconnectedness interconnected interdependence víctorjara couphttps://pinboard.in/https://pinboard.in/u:robertogreco/b:bc35c24e8b46/A Secret Betrayed: An Art and Value Reading List - Bellona Magazine2022-01-07T05:34:33+00:00
https://bellonamag.com/a-secret-betrayed-an-art-and-value-reading-list
robertogrecoart value capitalism museums artworld artmarket nfts labor work speculation commodities financialization assetization aestheticshttps://pinboard.in/https://pinboard.in/u:robertogreco/b:093a8e183f31/“Carl Broke Something”: On Carl Andre, Ana Mendieta, and the Cult of the Male Genius2021-11-10T22:09:27+00:00
https://lareviewofbooks.org/article/carl-broke-something-on-carl-andre-ana-mendieta-and-the-cult-of-the-male-genius/
robertogrecomayagurantz 2017 carlandre moca anamendieta art piaget philippevergne calvintomkins ojsimpson peterhyams matthewbarney artworldhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:1265b4b72723/Schwab in the Off-hours - by Christian Nagler - Christian’s Newsletter2021-08-27T09:47:19+00:00
https://christianrileynagler.substack.com/p/schwab-in-the-off-hours
robertogrecoThe American as conqueror is unwilling to appear in public as a pure aggressor; he dare not seize California as Russia has seized so much land in Asia, or as Napoleon, with full French approval, seized whatever he wanted. The American wants to persuade not only the world, but himself, that he is doing God service in a peaceable spirit, even when he violently takes what he has determined to get. His conscience is sensitive, and hostile aggression, practiced against any but Indians, shocks this conscience, unused as it is to such scenes.
. . . It is to be hoped that this lesson, showing us as it does how much of conscience and even of personal sincerity coexist with a minimum of effective morality in international undertakings, will some day be once more remembered; so that when our nation is another time about to serve the devil, it will do so with more frankness, and will deceive itself less by half-unconscious cant.
Josiah Royce, “The Conquerors and Their Consciences,” 1886
And of course that “practiced against any but Indians” gives one pause. How casually a genocide can be relegated to side-note. Plus, the fact that there seems to be a lot of frank devil-serving going on nowadays. When the Frankfurt school theorists came to California in the 40s they said that the California culture industry was “psychoanalysis in reverse.” A gradual and progressive refusal of the work of mourning. They thought that the West Coast’s denial of introjection – its obsession with the haunting work of technical media – would lead to its own version of fascism. And this is maybe most of what I could say about the West if I stayed with the unadorned truth. I think of a few weeks ago, when the Charlottesville “Unite the Right” rally was happening and I knew nothing about it because I was backpacking in the Sierras with two old friends. On the way, driving back out from the mountains, through the Central Valley, our first sign of those events were ghostly-quick glimpses out the window of groups of militant white teenagers roaming the streets of a little place called Jamestown (colonies repeat themselves) with confederate flags, and chanting, in celebration. But the truth has been elaborately adorned – with myth and highway and wealth and health and social-media-celebrity hijinks.
Of course, the museum, museums generally, have provided space and solidity to the ornamentation of dispossession. And this, the other side of the prompt, “SFMOMA,” was stuck in my throat for weeks. Through the struggle to produce some writing for this – for you, and also for some money ($1 for each word, pretty generous in fact) – I have often repeated to myself in mind: “I absolutely cannot write about the museum.” In this way, I have verbally reinforced my resistance; it’s what a friend sometimes calls “knee-jerk anti-institutionalism.” I’m not sure I’m confident that people’s complex psychic and material relations to institutions can be equated to the nervile twitch of the leg under the doctor’s knock, but I do accept that my resistance is sometimes more bodily than linguistic. So much mute recalcitrance here in this one (me). And the interminable efforts to unravel it – for you, for money . . . it takes so much time. So, the smallness of the address, to you, a real person – kind and smart and changing – had to displace the museum, at least at first.
And maybe with this commission, this theme, maybe you were feeling the wedge of someone else’s institutional choreography. And you did it, carried it through, in your own way, kneaded the constraint of the other into the shape of your own interest. This is a stereotype I have of East Coasters – they always get the job done, without complaints; or maybe just a few complaints, but they are perfunctory and resigned, witty and realist. We West Coasters are more fuzzy. We plead exceptional circumstances and psychic crises and we back out of things. Maybe the entire westward course of settler colonialism was a broad tide of backings-out, of revised commitments, of slightly ashamed apologies, of personal retreats. “Yes, I know I said I’d help with this participatory democracy / abolition movement / industrial labor struggle, but I’m just, like, so close to burnout and I decided I really needed to join this wagon train as a form of self-care, to get off the grid for a bit.”
I’m glad I found a way of not backing out of this. A way I adopted from so many I’ve known who have that East Coast realism – the sense of knowing which battles might be worth it, and which not. The way I found to finally get it done consists of addressing the institution – this massive museum, white segmented wave, which has bulged a bigger, brokered version of itself every few decades – in the figure of an individual person. In this case, the tactic renders the institution addressable, since, when it wears your face, walks around in your struggles, it reveals its ambivalence. I generally wish institutions were more ambivalent. Ambivalence is a medium to relate through, I think. The museum, in its full architectural-financial-temporal resilience, its hundred year plans and strategic growths and durable hierarchies, is too un-ambivalent (in speech, if not in deed) and too single-minded to hold a conversation I can relax in. As a West Coaster, mostly what I want is to relax. The museum replies in long silences, in databases, in lawsuits and eras of directorship. Its exhibitions are like the banter at openings: polite and distracted, with nice accessories jangling and ticking at the edge of perception, fantastically pricey minimal eyeglasses, determining what can be seen more than one might imagine. No matter how big SFMOMA gets, it will always be an adolescent institution, and will carry that insecurity into its self-branding. This is what Freud thought of California in general – it was the outpost and refuge of adolescent psychology. Is it necessary to become an adolescent to have a conversation with an adolescent? Likewise, is it necessary to transform oneself into an institution to address an institution? I suppose I admire the egoic scale of critics who are comfortable addressing the institution as itself, who are practiced at interpreting the face it wants to show us. The social and material edifice.
Clearly there are also many individual people who are difficult to talk to. I wonder, for instance, what it would be like to talk to some of the museum board-of trustee-members. The question begs the more general one of whether one can relate at all to eminent and powerful and productive personages. Is there any circuit of communication between the plebes and the elite, even within the platforms that bind all into institutional bundles? In such an imagined communication, who is the adolescent and who is the mature one? At times, we might say, the wealthy are spoiled and withdrawn brats, holed up in their airy rooms, requiring the disciplining interference of the everyday people; sometimes the wealthy are the patient (or not) parents, remaining watchful, putting up with (or not) the people’s tantrums in the living room of the res publica,: not while you’re still under my roof!
You said to me once, “I’m not sure the board-members know Open Space exists.” Lack of oversight as the mixed-blessing of growing up in an institution. Fragile neglect. Local community as foster child; you should be lucky you’ve got a (massive) roof over your head!
Let’s take Charles Schwab, for instance. He is the chairman of the board of trustees. He must be very busy. No time to look at a weird and non-revenue-generating art online magazine. His name precedes him, his reputation is a large thing in mind, even if one does not know quite what he does. His name is also the name of a company – his, the shareholders’. I could write a thousand pages about him and he might never know it – his human force-field guards his awareness from my untrained (read: “anti-capitalist”) impulses. My expectations constrain most possible relations I might have with such a person. No wonder so many Hollywood narratives trade in the fantasy of an extraordinary (honest, forthright) lumpen unsuspectingly encountering some powerful, guarded character. The odd-couple bonds in the off-hours, outside the determinations of class and respectability, in the interstitial spaces between power-frames, so that authentic human merit can bloom, recognized at last as a love-that-dare-not-speak-its-name, a peaceful, personal revolution of private, mutual identification. Of course, it ends with the plebe absorbed, happily, into the halls and circles of wealth – accepted at last as a token, which might bode further tokens – even ones in the audience. Such narratives carry the fantasy that one could “sell out” unconsciously, unintentionally, uncorrupted by ambition, through the virtue of one’s raw appeal. Schwab, as we know, has built a financial empire (can I call it that, here?) on an idea of this fantasy, but inverted.
Did you ever see the “Talk to Chuck” series of ads that ran from 2005 to 2013? It was a campaign that bookended the financial crisis of 08-09 and it’s a famous case in advertising history as well as in financial sector PR-thinking. It won awards, I think. The ads featured people talking about intimate details of their financial lives – their problems, opinions, wishes – as if to a trusted friend. These confiding folks – chopping vegetables, uncorking wine-bottles, feeding babies across the table – are rendered in Rotoscopic animation – remember that? All the little realistic details of their bearings are preserved in a heightened, defamiliarized nether-realm, processed for optimum image-integrity. The rotoscope technique, we might say, creates kinetic monuments to the little a-tempos and hiccups of everyday speech and gesture. In these ads, the absent interlocutor, we are left to infer, is Chuck. Schwab in the off-hours. But we never see him. In fact, we are in his place. Are we Chuck? To “talk to Chuck” is in fact to talk to the wise and money-savvy version of oneself.
During work time, in real-life, Chuck is the king, inventor even, of discount brokerage. In the off-hours, in personal great-time, out for coffee on a Sunday afternoon, or sitting with us at the basement wet-bar in the evening after commute, he is our grand-casual confrere. Like a one-man institution, he knows nearly everything about the market – where it’s been, where it’s going, what it is and isn’t – and he knows about how to secure one’s financial survival, how to balance a portfolio, how to analyze fundamentals, how to avoid a miserable fate. He also knows about me, specifically, my shames and loyalties and tender spots, those parts of me that remain adolescent and thus ill-adapted to the cosmopolitan rigors of the market, both the financial one and the art one. He’s a person and a machine, a golf-buddy and an algorithm. He may not love you (like Jesus) but he likes you, kinda, and you never see him, but you can talk to him whenever you want.
Post 2008 crisis we learned a lot about the finance titans of the East Coast – the interlocking structures of securitization, dependent for their solvency on peoples’ abilities to keep paying off their debts – but we still knew very little about the specifics of West Coast finance. Discount brokerage, for instance; what is it? The short answer is that in the old days, if you wanted to buy and sell stocks/bonds/options/mutual funds/etc., and if you were part of the small but growing subset of subjects in the privileged position to contemplate this, you needed a broker, who was supposed to be an expert and who made large commissions off your purchases. This broker gave you recommendations, asked about your life, and generally interfered in your affairs. This broker had privileged access to the pits of the NYSE and the Chicago Mercantile Exchange. What Schwab did was develop a platform where you could pretty much do this yourself – over the phone, at first, and later over the internet. Your broker was now a large aggregation of data, structured for nice user-experience. In developing this platform, it is often said that Schwab helped usher in the advent of electronic trading.
The thing is, for people to trust themselves to invest their earnings wisely, without intensive consultation and frequent tips – they had to be convinced. They had to be addressed, or interpellated, into the role of savvy investor. The success of this persuasion – otherwise known as “consumer facing” or “retail” finance – relied on two beliefs: first, the belief that one could not trust traditional brokers, who were probably opportunistic middlemen who pushed their own investment agendas in the guise of expertise, manipulating the value of their own holdings, and receiving kickbacks from others; second, people had to be given credible figures of maverick investing to identify with – that it was not in fact the company-man, but instead the cowboy (the West Coast entrepreneur) and the woman (gasp!) that could succeed most jubilantly in the wilds of the market, who could endure volatilities with grit and candor.
So, West Coast finance – discount brokerage – like Protestant Christianity, was the fantasy of a direct line between the everyday person and the market – a frank conversation between your heart and the flaming heart of value – a conversation that could extend into the wee hours of the night if need be – a tired wrangler or pioneer mother talking to God under the night sky, asking safe passage for the herd. And, as Protestantism was reliant on the mass-technology of the vulgate bible for its functioning, discount brokerage was reliant upon quick and easy digital platform communication. This is how it grew in league with the internet, and this is why we might say Schwabism is the form of financial system proper to Silicon Valley.
But I fear I’m getting off track here. Who wants to receive a letter from a friend that turns into a screed about discount brokerage? What happened to the museum, what happened to art? Honestly, I don’t know. All museums have trustees and chairmen and wealthy donors, etc. So, this is no critique really. If abuse of power comes as no surprise, then power itself, taken straight, is even more anticipated. Endured on the daily – drearily, hopefully. I don’t really think discount brokerage is a controversial issue, or, it’s controversial insofar as global markets for investment are controversial – if you think that more people should participate in these markets, then discount brokerage may even be a good thing.
This, actually, is Chuck’s charm. He wants you to participate. He listens to you, or pretends to, which is good enough. He keeps all that deep, data-based awareness on friendly reserve and gives it to you only when you ask. Like a good reverse psychoanalyst, he lets you tell your own story – not in words, but in money – and the interpretation emerges organically from your patterns and impulses. This is California’s charm as well. West Coast finance is a DIY drive to self-institutionalization – it summons the little brokerage firm that’s buried in your solar plexus, in the same way that Facebook organizes the personal brand hidden in your social life and Google documents the neuropathies (possible subversions) encoded in your idle and systematic curiosities. Some call it platform capitalism, others call it crowd-sourced cognition, or capture of the general intellect, or social automation, but we could also think of it as a form of privatized populism. It addresses the mass in the mode of the intimate moment, to then reconstruct that mass as a structured data-set.
But there is still the question of the museum, a question I evade again and again. Maybe I need to resign myself to the fact that my only response to the museum is an extended adolescent outburst – unformed, inarticulate frustration shaped into personal style. I think of something that was recorded in the New York Times shortly after the new SFMOMA addition was constructed – a statement by another one of SFMOMA’s board of trustees (who happens to be the daughter of Chuck) about the Bay Area:
“Maybe we can’t compete with L.A. or New York in terms of the depth of museums or galleries or community of artists. . . But we certainly compete very strongly on the collector’s end.”
As a part of this community of artists, I react to the statement with a bit of confusion. I have always thought of this community as densely layered and nearly unfathomable, with histories upon histories – queer histories, radical histories, genealogies of social practice and public practice that defy categorization. You can find some of this just by navigating through the digital passageways of Open Space. But maybe I agree with this trustee: that here lie depths that don’t always rise to the level of competition, don’t always try to. I, for one, bow out of competitive displays like a depressed teenager sneaking out of the pep rally. Maybe one day I will mature into wealth and beauty, and then I will be able to hold my own in the world-arena of competitive culture-making. I will then conduct myself like one of those grand collectors who appear in the upper echelons of the global city; like archangels, they battle with admirable restraint on platforms of their own making. They trifle not with communities and critiques that wallow beneath their calfskin loafers. Their acquisitiveness is a form of divine genius. A provincial hack such as myself can only gaze up in desperate hope that a little of that glory will fall my way, onto my body, or into my account.”]]>christiannagler 2017 2021 charlesschwab openspance sfmoma sanfrancisco art artworld california west westcoast canon inequality eastcoast us civility finance individualismhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:943650c41ba7/platonic solid snake on Twitter: "every time I think about NFT art I just get angry again at how stupid the whole thing is, not like stupid as in "new faddish stuff may not hold water", stupid as in literally the entire premise is fucking idiotic, you're2021-03-14T04:35:33+00:00
https://twitter.com/joshmillard/status/1370088760663179266
robertogrecoart blockchain 2021 joshmillard cryptoart speculation artworld capitalism economics scams scarcity gatekeeping money fiatcurrencies ethereum attention artmaking ubi universalbasicincome latecapitalism cryptocurrencies nfts cryptocurrency cryptohttps://pinboard.in/https://pinboard.in/u:robertogreco/b:5abb9ed280ba/Can the Art World Kick Its Addiction to Flying? | Frieze2019-12-29T19:58:13+00:00
https://frieze.com/article/can-art-world-kick-its-addiction-flying
robertogrecokylechayka 2019 climatechange climate flying flights art artworld crisis travel freelancing slow small place local dougaldhine hygge gretathunberg flygskam hansulrichobrist nicolasbourriaud anthropocene flyingshame carbonfootprint carbonemissions emissions environment sustainability flightshamehttps://pinboard.in/https://pinboard.in/u:robertogreco/b:5cab824cd8d0/CCA Wattis Institute for Contemporary Arts: March 10, 20172018-01-01T05:59:19+00:00
http://wattis.org/view?id=411
robertogrecofredmoten davidhammons invisibility ralphellison 2017 wattisinstitute race visibility racism webdubois frantzfanon whiteness blackness jazz milesdavis louisarmstrong icebergslim music aljarreau jacoblawrence wallacestevens adreinhardt art erasure aesthetics artworldhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:796d7564f1d6/CCA Wattis Institute for Contemporary Arts: David Hammons2017-02-25T05:46:49+00:00
http://wattis.org/view?id=4%2C368
robertogrecoBlack hair is the oldest hair in the world. You’ve got tons of people’s spirits in your hands when you work with that stuff.
[David Hammons. "Wine Leading the Wine," 1969. Courtesy of Hudgins Family Collection, New York. Photo: Tim Nighswander/IMAGING4ART.]
If Hammons is suspicious of all that is visible, it might be because the visible, in America, is all that is white. It’s all those Oscar winners, all those museum trustees, and all those faces on all those dollar bills. Some artists work to denounce, reveal, or illustrate racial injustice, and to make visible those who are not. Hammons, on the other hand, prefers invisibility—or placing the visible out of reach. He doesn’t have a lesson to teach or a point to prove, and his act of protest is simply to abstract, because that’s what will make the visible harder to recognize and the intelligible harder to understand.
If Duchamp was uninterested in what the eye can see, Hammons is oppressed by it—it’s not the same thing.
[David Hammons. "In the Hood," 1993. Courtesy of Tilton Gallery, New York.]
I’m trying to make abstract art out of my experience, just like Thelonius Monk.
For Hammons, musicians have always been both the model and the front line. When George Lewis says that “the truth of improvisation involves survival,” it’s because improv musicians look for a way forward, one note at a time, with no map to guide them and with no rules or languages to follow other than ones they invent and determine themselves. It forces them to analyze where they are and forces them to do something about it, on their own terms. Doesn’t get much more political than that.
Or, as Miles Davis once put it, “I do not play jazz.” He plays something that invents its own vocabulary—a vocabulary that is shared only by those who don’t need to know what to call it or how to contain it. And just as Miles Davis doesn’t play jazz, David Hammons doesn’t make art.
[David Hammons. "Blue Rooms," 2000 (installation view, The Centre for Contemporary Art, Ujazdowkski Castle, Warsaw).]
I’m trying to create a hieroglyphics that was definitely black.
Hammons goes looking for spirits in music, poetry, and dirt. He knows they like to hide inside of sounds, lodge themselves between words or within puns, and linger around the used-up and the seemingly worthless. He knows he’s caught some when he succeeds in rousing the rubble and gets it to make its presence felt. Like Noah Purifoy, he ignores the new and the expensive in favor of the available. Like Federico Fellini, he spends his time in the bowels of culture and makes them sing.
[David Hammons. "(Untitled) Basketball Drawing," 2006.]
There are the materials that make the art—those are the foot soldiers—but there is also the attitude that makes the artist. Hammons has his way of thinking and his way of behaving, which is once again not something one sees or necessarily understands, but is something that makes its presence known, the way spirits make their presence felt. There will be some who won’t recognize it and others who do—and his work is meant only for those who see themselves in it.
Did you ever see Elvis Presley’s resume? Or John Lennon’s resume? Fuck that resume shit.
Ornette was Ornette because of what he could blow, but also because he never gave into other people’s agendas or expectations.
What matters even more than having your own agenda is letting others know that it doesn’t fit theirs. “To keep my rhythm,” as Hammons puts it, “there’s always a fight, with any structure.” The stakes are real because should you let your guard down, “they got rhythms for you,” and you’ll soon be thinking just like they do. And in a white and racist America, in a white and racist art world, Hammons doesn’t want to be thinking just like most people do. His is a recalcitrant politics of presence: where he doesn’t seem to belong, he appears; where he does belong, he vanishes.
In short: don’t play a game whose management you don’t control.
[David Hammons. "Higher Goals," 1987. Photo: Matt Weber.]
That’s the only way you have to treat people with money—you have to let these people know that your agenda is light years beyond their thinking patterns.
The Whitney Biennial? I don’t like the job description. A major museum retrospective? Get back to me with something I can’t understand.
Exhibitions are too clean and make too much sense—plus the very authority of many mainstream museums is premised on values that Hammons doesn’t consider legitimate or at least does not share. He is far more interested in walking and talking with Jr., a man living on the streets of the East Village, who taught him about how the homeless divide up their use of space according to lines marked by the positioning of bricks on a wall. Those lines have teeth. In a museum, art is stripped of all its menace.
[David Hammons. "Bliz-aard Ball Sale," 1983. Photo: Dawoud Bey.]
The painter Jack Whitten once explained of how music became so central to black American life with this allegory:
When my white slave masters discovered that my drum was a subversive instrument they took it from me…. The only instrument available was my body, so I used my skin: I clapped my hands, slapped my thighs, and stomped my feet in dynamic rhythms.
David Hammons began with his skin. He pressed his skin onto paper to make prints. Over the subsequent five decades, he has found his drum.
[David Hammons. "Phat Free," 1995-99 (video still). Courtesy of Zwirner & Wirth, New York.]"]]>davidhammons anthonyhuberman art jazz ornettecoleman milesdavis theloniousmonk material rules trickster outsiders artworld resumes elvispresley johnlennon insiders race racism us power authority jackwhitten music museums galleries menace homeless nyc management structure presence belonging expectations artists noahpurifoy availability culture hieroglyphics blackness georgelewis improvisation oppression marcelduchamp visibility invisibility souls spirits fellinihttps://pinboard.in/https://pinboard.in/u:robertogreco/b:ffc82a1d4ce8/Bruce Conner’s Darkness That Defies Authority - The New York Times2016-12-24T01:34:39+00:00
http://www.nytimes.com/2016/07/01/arts/design/review-bruce-conner-its-all-true-moma.html
robertogrecobruceconner art moma sfmoma 2016 politics artworld inkblotshttps://pinboard.in/https://pinboard.in/u:robertogreco/b:cd34e9f1019a/Jen Delos Reyes | Rethinking Arts Education | CreativeMornings/PDX2015-01-10T04:41:42+00:00
http://creativemornings.com/talks/jen-delos-reyes
robertogrecovia:nicolefenton jendelosreyes 2014 art arteducation education booklists bibliographies anthonyfyson colinward bellhooks buckminsterfuller sistercorita coritakent jansteward herbertkohl ivanillich jameselkins johndewey johnholt manifesta6 martinduberman blackmountaincollege bmc unschooling deschooling informal learning howwelearn diy riotgirl neilpostman charlesweingartner paulofriere pablohelguera sallyraspberry robertgreenway saturepo stevenhenrymadoff lcproject openstudioproject standardization pedagogy thichnhathahn teaching howweteach mistakes canon critique criticism criticalthinking everyday quotidian markets economics artschool artschoolconfidential danclowes bfa mfa degrees originality avantgarde frivolity curriculum power dominance understanding relevance irrelevance kenlum criticalcare care communitybuilding ronscapp artworld sociallyendgagedart society design context carnegiemellon social respect nilsnorman socialpracticeart cityasclassroom student-centered listening love markdion competition collhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:d981ce500b8f/The Art World’s Patron Satan - NYTimes.com2015-01-05T23:03:18+00:00
http://www.nytimes.com/2015/01/04/magazine/the-art-worlds-patron-satan.html
robertogrecoart artworld capitalism 2014 christopherglazek stefansimchowitz money power exploitation business investment finance via:caseygollanhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:c817a9fffacc/The 20 Most Powerless People in the Art World: 2014 Edition2014-12-26T05:34:45+00:00
http://hyperallergic.com/170748/the-20-most-powerless-people-in-the-art-world-2014-edition/
robertogrecopower art artworld money business families women gender activism 2014 arthistory labor artlabor diversity race criticism gentrification interns via:ablerismhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:6b4c0eebb363/Kenneth Goldsmith - Talks | Frieze Projects NY2014-08-13T03:29:56+00:00
http://friezeprojectsny.org/talks/kenneth-goldsmith/
robertogrecokennethgoldsmith copying uncreativewriting mercecunningham writing internet web online remixing culture art poetry originality appropriation quantity quality curiosity harrypotter poetics digital reproduction translation displacement disjunction corydoctorow change howwewrite pointing data metadata choice authorship versioning misfiling language difference meaning ethics morality literature twitter artworld marshallmcluhan christianbök plagiarism charleseames rules notknowing archiving improvisation text bricolage assemblage cv painting technology photography readerships thinkerships thoughtobjects reassembly ubuweb freeculture moma outreach communityoutreach nyc copyright ip intellectualproperty ideas information sfpc vitoacconci audience accessibility situationist museums markets criticism artcriticism economics money browsers citation sampling jonathanfranzen internetasliterature getrudestein internetasfavoritebook namjunepaik johncage misbehaving andywarhol bobdylan barbarakruger jkrowling china creatihttps://pinboard.in/https://pinboard.in/u:robertogreco/b:4fdd71d80774/Who counts, or should count, as a “meaning maker?” – The problem with “cultural production.” – One side of of a facebook conversation on art and culture « Lebenskünstler2012-11-17T21:24:20+00:00
http://randallszott.org/2012/11/12/who-counts-or-should-count-as-a-meaning-maker-the-problem-with-cultural-production-one-side-of-of-a-facebook-conversation-on-art-and-culture/
robertogrecoeverydaylife rural suburban urban culturemaking culturalproduction collections making clairebishop professionalization jouissance pleasure leisurearts meaning meaningmakers meaningmaking artworld criticism artcriticism everydayaesthetics everyday theeveryday theory socialpractice randallszott art post-productiveeconomy amateurs artleisure culturecreation ordinary ordinarinesshttps://pinboard.in/u:robertogreco/b:6ff29ca83719/When Brian Eno met Ha-Joon Chang | Music | The Guardian2012-11-15T00:26:01+00:00
http://www.guardian.co.uk/music/2012/nov/11/brian-eno-ha-joon-chang
robertogrecocreativity tomwolfe capitalism socialism dichotomy values pussyriot games rules jacksonpollock ex-trots imf modular modularity imitation gangnamstyle k-pop artworld inertia culture us uk a-levels testing quantification time-wasting wastedtime inbetweeness ambiguity gray grayarea psy interviews conversations 2012 surprise paradox architecture economics ha-joonchang politics philosophy music uncertainty brianeno art terryrileyhttps://pinboard.in/u:robertogreco/b:af3b4c956783/Doyen of American critics turns his back on the 'nasty, stupid' world of modern art | Art and design | The Observer2012-11-14T14:07:43+00:00
http://www.guardian.co.uk/artanddesign/2012/oct/28/art-critic-dave-hickey-quits-art-world
robertogrecoglvo art debate deschooling unschooling outsiders questioning challenge establishment subversion statusquo money celebrity quitting artworld rant davehickey 2012 outsiderhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:acaa908db273/Steidl: Chauncey Hare2012-08-29T10:37:07+00:00
http://www.steidlville.com/artists/415-Chauncey-Hare.html
robertogrecoucberkeley sanfrancisco photography artworld leisurearts labor work protest therapy judithwyatt judywyatt art chaunceyhare artleisure ucb calhttps://pinboard.in/u:robertogreco/b:8795f48664a8/Afterall • Online • Two Slight Returns: Chauncey Hare and Marianne Wex2012-08-29T10:29:01+00:00
http://www.afterall.org/online/two-slight-returns-chauncey-hare-and-marianne-wex
robertogrecojudithwyatt photography renunciation anti-career janetmalcolm artlabor responsibility jackvaneuw bancroftlibrary judywyatt labor leisurearts self-sabotage artworld workplace work iainsinclair aidanandrewdun vocations mikesperlinger 2011 1970s art mariannewex chaunceyhare artleisurehttps://pinboard.in/u:robertogreco/b:5b786848dba6/Kruger, Opie call for more transparency in MOCA resignation email - latimes.com2012-07-15T21:29:24+00:00
http://www.latimes.com/entertainment/arts/culture/la-et-cm-kruger-opie-call-for-greater-transparency-in-moca-resignation-letter-20120714,0,925669.story
robertogrecohierarchy control power cv symbolism tokenism resignations 2012 philanthropy speculation artworld art fundraising moca barbarakruger catherineopie charitableindustrialcomplex philanthropicindustrialcomplex capitalism nonprofit nonprofits charitieshttps://pinboard.in/u:robertogreco/b:79036ea1c1ca/Dark Matter: Activist Art and the Counter-Public Sphere2011-05-01T06:05:20+00:00
http://www.journalofaestheticsandprotest.org/3/sholette.htm
robertogrecoart culture politics media activism activistart vernacular counter-publicsphere josephbeuys proletarian oskarnegt alexanderkluge resistance subversion outsiders artcriticism tinkering amateur glvo bourgeois darkmatter gregorysholette collectives culturalresistance hierarchy gatekeepers cultureindustry artworld invisibility economics temporaryservices lasagencias publicspace tacticalmedia deschooling unschooling zines diy outsider shrequest1https://pinboard.in/u:robertogreco/b:2e084e0f6ee1/Off-Topic | Randall Szott : Bad at Sports2011-05-01T04:15:47+00:00
http://badatsports.com/2010/off-topic-randall-szott/
robertogrecoart culture teaching food pedagogy undergraduate randallszott artworld why thewhy reflection self-reflection artschool 2010 artschoolshttps://pinboard.in/u:robertogreco/b:902fba2f7342/David Byrne's Journal: 05.29.10: Arts ’n’ Crafts2010-06-22T08:16:51+00:00
http://journal.davidbyrne.com/2010/05/052910-arts-n-crafts.html
robertogrecocrafts davidbyrne photography art glvo ceramics textiles cv snobbery artworld glass furniture renaissance history guilds galleries apprenticeshipshttps://pinboard.in/u:robertogreco/b:3d4ef806d2a1/