(created and updated by Daniel Mitchell)

Monday, April 26, 2010

art and its institutions

1) How can an artist supported by an institution criticize that institution? Can there be underlying agendas? Does this make the work less potent?

2) How can artwork displayed in an institution be an institutional critique?

3) Why do institutions support artwork that criticizes them?

4) Can artwork that opposes institutional standards (for example touching or taking or disrupting artwork) be an institutional critique? Or, is it an artistic choice? Is this always the case?

5) What are non-artistic ways to evoke an institutional critique? For example, are the lectures that the Gorilla Girls give art or is their work the visual elements that they produce?

art and globalism

1) What is the difference between global art and Creolized art?

2) Is global art the death of art styles specific to a locality? Does this impact how the Whitney Biennial is or can be viewed?

3) Is the concept of individuality possible in a global environment?

4) Is global art confined to the places that have access to easily traverse (both virtually and actually) the globe?

5) What is the impact of global art on political art? Does political art become global art with the advent of globalization or Creolization?

Sunday, April 25, 2010

art and nature and technology

1) Is there a line between science and art? What is art and what is science? Does there need to be a distinction?

2) Is it ethical to genetically alter nature for personal gains?

3) What are the implications of creating something out of nature that would not exist in nature?

4) Does imitating a natural function with technology constitute “playing god?”

5) Are some of the outlandish creations of this style derived from the relatively new genre of science fiction? Have advances in special effects (used primarily in movies) had an impact on this interest?

art and the body questions

1) What constitutes body art (oppose to identity, portraiture, narrative, representation, etc.)?

2) How have representations of the body changed over time? How does this relate to changing views or current perspectives of us?

3) Does a body need to be present for work to be classified as body art?

4) How has body art worked to change contemporary perspectives of groups and art in general?

5) Does the way that body art is presented have a greater or lesser impact on certain messages (for example performance vs. photography)?

art and identity questions

1) Is identity art relevant in a Creolized world?

2) How can art devoted to a specific identity transcend to those who do not belong to that identity? Is it relevant to the other?

3) Who is the other? Is it possible to have an “other” in contemporary society? Is the “other” relative to individual groups?

4) Does identity artwork work to further split groups or does it draw attention to disparity and promote change?

5) Does assuming an identity (like Nikki S. Lee does) work for or against the groups that she infiltrates?

Monday, April 5, 2010

It's impossible to see or hear the text, so here is a printed version:

In less than three months I have physically been to five states (almost six) and virtually around the world more times than I can count. Within these journeys I have easily interacted with people from various cultures. Never before has this been possible. This represents an increasingly global environment with a constant transfer of information. It is necessary to challenge conventions that limit creativity and innovation through production and the extension of results. Now is the time for information sharing, variation, choice, and communication. Product possibilities are endless with extended access and the ability to navigate the globe in an instant.