Clever, kind Turrell guidance at the Mattress Factory in Pittsburgh.
James Turrell is the rare contemporary artist whose work you actually HAVE to see in person. It does not really exist outside the physical experience of it.
Seeing Turrell installations (or whatever you call them) is for me at least actually transformative. You become aware that light is literally a thing, that your body changes the world merely by looking at it, and that paying attention to the barely visible can be utterly engrossing.
You can’t really describe this stuff without sounding like a total cheeseball, but it is still real.
Anyway, go see Turrell’s stuff whenever you get the chance.
"A fisherman passes a shipwreck near the port of Greenville, Liberia. In the mid 1990s, a vessel arrived carrying an aid cargo of rice and fuel. The captain and crew left the ship when it developed a problem and was in danger of sinking. They returned the next day to find that the whole cargo had disappeared and the ship had been ravaged".
Photo by Tim Hetherington
In a world where the act of touch is reserved to those that people are comfortable with, Renaldi breaks through the stereotype and creates images that suggest that these complete strangers are close – like friends or family. In his words:
I am a New York city based photographer who began a life long relationship with photography back in high school in 1984. I few years ago I became interested in the dynamics of group portraiture and this led me to the project you see here. The premise of this work is simple: I meet two or more people on the street who are strangers to each other, and to me. I ask them if they will pose for a photograph together with the stipulation that they must touch each other in some manner. Frequently, I instruct or coach the subjects how to touch. Just as often, I let their tentative physical exploration play out before my camera with no interference. Though these situations involve orchestrated collaborations between subject and photographer, the emotions captured are both genuine and honest. Touching Strangers encourages viewers to think about how we relate physically to one another, and to entertain the possibility that there is unlimited potential for new relationships with almost everybody passing by.
Stop thinking about art works as objects, and start thinking about them as triggers for experiences. (Roy Ascott’s phrase.) That solves a lot of problems: we don’t have to argue whether photographs are art, or whether performances are art, or whether Carl Andre’s bricks or Andrew Serranos’s piss or Little Richard’s ‘Long Tall Sally’ are art, because we say, ‘Art is something that happens, a process, not a quality, and all sorts of things can make it happen.’ … [W]hat makes a work of art ‘good’ for you is not something that is already ‘inside’ it, but something that happens inside you — so the value of the work lies in the degree to which it can help you have the kind of experience that you call art.
Poetry Makes Nothing Happen: Thoughts on Ai Weiwei from the Indianapolis Museum of Art
Sarah does not appear in vlogbrothers videos, but you can follow her on tumblr: http://absolumentmoderne.tumblr.com
In which John visits the Indianapolis Museum of Art, where his wife is a curator, and thinks about the work of the artist and dissident Ai Weiwei while walking through “According to What,” his first major retrospective in the United States. If you live in or near Indianapolis, you should really see the show. It’s very special, and will be here until July 21st.
David Foster Wallace was like, Art must be sincere! We must use every tool in the linguistic toolbox to cut through sentiment and dishonest cliche and build fresh ways to reveal the power and reality of unironized emotion.
And Mister Rogers was like, Basically the same thing, but without any shame or pretense or fear of sincerity.