bobulate:

Megan Geckler, “Every step you take, every move you make,” 2010. When Megan begins creating, she thinks about how the viewer will encounter the work. She says, “A ‘wow or WTF’ moment, followed by wandering around and experiencing the piece from all different angles. There is a sense of play, but also quiet.” On display at the Pasadena Museum of California Art through October 31, 2010. Can’t make it? Some history instead.
(thx, jessi)

This installation is blowing my mind!!! Gotta plan a field trip to check this out. Who’s down for this + mac & cheeza in downtown and sunset junction shopping spree???

pantherhooves:

zombieparade:

9GAG - Awesome Live Painting

I love performance art but I am constantly disillusioned by it. This kind of helps remind me of why I like it so much and what it does for art today as well as its potiential. It kind of got lost in the mix since modern design work took over the art world not to mention film but it still has a lot of room to grow. I want to see more of this.

Elmgreen & Dragset, who are famed for constructing the Prada storefront outside Marfa, Texas, have recently struck my fancy. Their wit and unabashed humor towards the institution of Art has really elevated their work into an ironic position that they seem to relish. Their most recent accomplishment, called “The Collectors” which was on view at the 2009 Venice Biennale featured in both the Danish and Nordic Pavillions, was a great playful poke at the current state of art collecting. Staged as a pair of homes owned by two art collectors, one was an open house, where visitors could tour the properties’. In the open house, visitors would be solicited to tour the home by “real estate agents” not to mention exposed to the daily (very naked) lives of the home owners. Exhibiting the works of over 20 different internationally renowned artists, the work seemed to be a kind of tableau of “keeping up with the Jones’”. In fact, in the backyard of one of the “collector’s” homes a drowned man(nequin) floated face down in the pristine pool. No detail was forgotten. A pair of shoes at the ledge, a pack of Marlboro Lights and gold watch sunk to the floor of the pool, and scattered fall leaves.

Many critics called the exhibition contrived and felt the curation by Elmgreen & Dragset was obscenely obvious. However, considering the lighthearted and heavy-handedness of their past work, it seemed appropriate and embraceable. Granted a majority of the primary visitors to the Venice Biennale must have felt quite foolish after taking it too seriously. (I mean, think about it. All those collectors, dealers and critics must have felt a bit stupid after they realized the homes were not ACTUALLY for sale and the art was on loan and they would not be able to have their dealers look for a way to acquire the precious works. And of course the dealers would have been salivating… I kid, I kid!)

But despite the split reception of the work, considering the nature of the exhibition, I feel that the refreshing qualities and wit vastly outweighed the snotty art circle connotations of the piece as a whole. And I have to admit I am a bit glad that the suicidal collector caused a feeling of unrest in the upper crust. Everyone should have their realities shook up every once in a while. Just to remind you you’re living if nothing else.