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February 18, 2009

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Pretty Lady

I'm strongly in favor of the gardening and the dinner parties--and really, of everything else. I've been thinking for awhile now that maybe I ought to put painting on the back burner for a decade or so and learn more about gardens. Of course, my hands will already be full with parenting and earning a living, but I'm planning on taking baby to the Brooklyn Botanical Gardens for strolls and classes at the first opportunity.

Also, I've been thinking about how to engage in projects that are more about the communication than the medium. My partner founded a small theatre company, because there didn't seem to be any existing groups which were grappling with the ideas he wanted to work with, only to realize that his focus needed to be on communication and creating experience, more than theatre for theatre's sake. He's looking for a way to transcend the bounds of the authority paradigm, both as the content of his work and in the process of working itself. I find that people who are immersed in their own medium to the exclusion of all else interest me less than the people who think first, and write/paint/sculpt/make movies as an extension of their thought processes.

I still maintain, however, that the strongest communications retain the flavor of an author, regardless of whether they're collaboratively generated or not. This is not to say that moving away from 'putting your stamp of authorship on everything you do' is not a positive move. I suspect, though, that the very act of attempting to move beyond ego-motivated creativity may ultimately make your authorship even more distinctive and powerful. That's my current working theory, anyway.

M

I think what you are hinting at here is relational aesthetics and art concerned with reconstructing social connectedness.

deborahfisher

M, I'm most certainly not.

Relational aesthetics is lame art because it's overly concerned with doing good, and ineffective social work because it can't refrain from calling itself art. It's neither fish nor fowl.

I don't make art anymore. I do creative things with lots of different kinds of people.

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The Art manifesto has been a recurrent feature associated with the avant-garde in Modernism. Art manifestos are mostly extreme in their rhetoric and intended for shock value to achieve a revolutionary effect. They often address wider issues, such as the political system. Typical themes are the need for revolution, freedom (of expression) and the implied or overtly stated superiority of the writers over the status quo. The manifesto gives a means of expressing, publicising and recording ideas for the artist or art group—even if only one or two people write the words, it is mostly still attributed to the group name.

Kmeelah

I love this post. You have pretty much described the problem I've been having with contemporary art and how useless and context-less it has generally become. I've been searching for better solutions as a painter. I find myself drawn to aspects of nature, gardening, and farming, and I have a strong urge to make useful objects like clothing and housewares (but not industrial design). This is what art should really be about. And no, it doesn't really have to be called "art". It's just being aware while you're alive and interacting with what and who you live with in a non-destructive way. I'm curious, did you end up deciding not to change your blog name? I didn't see what it was before.

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I think what you are hinting at here is relational aesthetics and art concerned with reconstructing social connectedness.

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