Comments for GLOVEBOX

Comment on Nottingham Contemporary: a preview by BMG

BMG — Mon, 06 Jul 2009 17:01:05 +0000

this new gallery should be brilliant for nottingham! nice article.

Comment on Nottingham Contemporary: a preview by dumblikeapainter

dumblikeapainter — Sun, 21 Jun 2009 20:48:57 +0000

After this you can then continue North to Wakey in West Yorkshire for its Chipperfield designed gallery The Hepworth Wakefield opening Spring 2011. No trams though, but we’ve got the Brontes rather than Byron.
Funny how Brighton never got it together for a major contemporary art gallery to be built. There was once talk of a Serpentine 2 at the end of one of the piers.

Comment on Free art by B"£

B"£ — Wed, 10 Jun 2009 05:18:02 +0000

The lovely Rachel collins is holding up a piece of my free art(Twiggy)
im glad it went to a good home and wasnt cleaned away by the councils street clean teams

regards

B23
http://www.flickr.com/photos/pjb2332/

Comment on A Day on the Downs by brenda

brenda — Sat, 06 Jun 2009 10:04:07 +0000

Stunning photos _ would make a great painting! Also like the way the blog is coming together.

Brenda

Comment on Brighton: Right on? by Rachel Collins

Rachel Collins — Fri, 01 May 2009 16:32:23 +0000

Nice comments, thanks!

What I love about Brighton is that it both breeds and attracts creative and open-minded people. But I think you are right, Christina. It’s almost too fun. Hell, I returned last summer intending to stay for a couple of months and guess what, I’m still here. It’s certainly a trap…but a good one at least!

And Max, stuff the jobs and gut-wrenchingly expensive rent in London. We’ll have a coffee and rolly and take photos of the dole queue (thanks Barbara!).

Anyway, stay tuned for more on our lovely little city by the sea. Over and out. x

Comment on Tate Triennial: Altermodern by morgan quaintance

morgan quaintance — Sun, 19 Apr 2009 16:58:47 +0000

I think one of the central problems with all attempts at classification or identification in art is the illusion of a unified set of themes and issues explored between however many artists. It’s quite possible (if you have even the smallest understanding of art history) to discern a pattern of similarity between disparate artists works, to beef this up with a bit of theory, and then posit it as a new epoch. What Bourriaud has done since Relational Aesthetics and Post Production, is follow a specific line of thought triggered by exposure to artists like Rikrit Tiravanila, Dominique Gonzalez Foerster, and pierre hughye. These artists works concerned with the ephermeral, or subversive (in the situationists sense), hark back to those periods in 20th century art history in which change was initiated by marcel Duchamp, Alan kaprow, or however. I feel like there is definitely a need for an Altermodern of sorts, but it is not the kind that these artists, and those of their ilk can offer. Instead i would say that Altermodernity is instead the drive, by certain artists, to create a whole new system of meaning, a new conceptual grammer, new syntax, and a new symbolic network that is particular to them and generates the work. Matthew Barney is one example, as is Charles Avery’s fictitious island in the Altermodern ehxibit, Likewise Franz Ackermans work, and also most importantly the film work of Catherine Sullivan. For me the period after postmodernism is characterized by the artists drive to create his/her own personal grand narrative, from which to draw inspiration from. So for catherine sullivan, in a work like triangle of need, neanderthal speech patterns, post-colonial theory, hostorical events, and nigerian scam letters all feed the production of a video work that is quite new. It is this work as opposed to the old illustration of philosophical idea with tiny artefact, that should be recognised as Altermodern. Besides i thought Michael-craig martins “An oak tree” was the final and most succint dematerialised statement an artist could make. Big works for a big century i say.

Comment on It’s Cracking in Krakow! by Ian Ro

Ian Ro — Wed, 08 Apr 2009 20:47:37 +0000

Glad to hear Krakow is cracking but don’t bother to view the National Museum at Poznan: a totally almost Stalinistic grey and brown depressing experience re canvas art (sic) though of course the exhibits span more than those years (maybe 300). Whassup with these Poles, they need to lighten up the miserable sods…..their film is much better than the stuff I saw in Poznan. If I went in there with dark glasses I’d have been bumping into the exhibits………

Comment on The problem with a 1p Banksy by Ian Ro

Ian Ro — Tue, 07 Apr 2009 21:01:59 +0000

How much does the framer get? Cos the framer defines the art. Maybe the Framer gets too much.

Comment on The problem with a 1p Banksy by Joanne Matthews

Joanne Matthews — Mon, 30 Mar 2009 15:33:42 +0000

I enjoyed reading that.

Here’s a comment on street art… I heard that the ‘kissing policemen’ by Bansky in Brighton has apparently been, or is going to be covered by a plastic box. I am yet to look at this for myself.

If this is true, this is a step forward (whether seen as negative or positive) for street art. Preserving it, as if in a gallery. We as humans, feel the need to preserve, to store and so that others can see these works of art.

Personally, I feel that there is no need to preserve with plastic boxes! If a street artist wanted their work to be preserved perhaps they would not have done it in a vulnerable location?

Comment on The problem with a 1p Banksy by eleanorrose

eleanorrose — Mon, 30 Mar 2009 12:59:08 +0000

I based my casual ‘valuation’ of the print on what I heard at the prize draw. Sorry it offends you. The real commercial value of the print is superfluous in this instance; in fact, part of my point is that the value of a piece of street art is difficult to pin down because street art began on the streets and, in my opinion, has the most value there – rather than in galleries or as part of PR stunts which undermine the artists’ original creative impulse and make it all about the cash.

I’ve made no attempt to ‘talk down the value of street art.’ A lot of my articles and blog posts talk up street art, in fact. In this post I make a point about the ludicrousness of a Banksy print being worth many thousands of pounds when many brilliant street artists are languishing in utter obscurity.

Maybe it’s not entirely clear in this blog post, so I’ll clarify: I’m trying to point out that street art doesn’t yet occupy a stable place in the art market proper, and that its commercial value is likely to plummet in a few years of recession.