At the Stellenbosch Triennale, an exhibition of art that happens every three years, the current exhibition of work by Pan-Africanist artists re-creates the colonial and apartheid-era city of Stellenbosch in an attempt to see how art can make change and bring healing.
“It’s beautifully audacious,” [the slam poet Adrian “Diff” van Wyk] said. “This place just needs disruption, constant disruption.”
This is a fascinating article and series of short videos about how American museums are now collecting work by 20th- and 21st-c. African-American artists.
A quote from the article: “There was a joke for a long time that if you went into a museum, you’d think America had only two black artists — Jacob Lawrence and Romare Bearden — and even then, you wouldn’t see very much,” said Lowery Stokes Sims, the first African-American curator at the Metropolitan Museum of Art and later the president of the Studio Museum in Harlem. “I think there is a sea change finally happening. It’s not happening everywhere, and there’s still a long way to go, but there’s momentum.”
How do we conserve new media art that is based on/created with a technology that is now obsolete? When the art no longer “works”? Do we allow it to disappear? Become corrupted? Update the software? Read what the Whitney Museum of American Art did with Douglas Davis’s “The World’s First Collaborative Sentence”.
This raises questions about art making, art curating, and skills museum curators need today.
What interesting questions!
Be sure to click on the above links to see more about this art.
Sometimes art works, sometimes it doesn’t. Sometimes plans for works seem more complete than the finished work. These are things to consider when we watch the video of “Explosion Event.” Also ask yourself: What do you expect to see when you hear about a holiday tree “exploding”? Are you judging the event based on what’s possible in computer games or Hollywood? Keep the materials in mind here, as well as the things one can’t plan for, such as the wind!
The artist, Cai Guo-Qing, is the last artist discussed in Janson (8th ed.). Read this (p. 1106) before reading the articles and watching the video, then enjoy the video.
Here’s a link to the article in the Washington Post (November 29, 2012); be sure to watch the video of the event.
“Obviously, until now, he was up there by himself, alone,” said Tatzu Nishi, the conceptual artist who designed the structure. “So we want to change it into something really homey, warm, [and] domestic feeling.” You’ve got to see these images!
Rigoberto Gonzalez is a contemporary Mexican artist who relies on some of the same techniques as Caravaggio, such as a striking realism and tenebrism.
The Kidnapping, 7' x 8'
His focus on violence (the violence of the Mexican drug trade) is also similar to Caravaggio’s focus on violence (the violence of martyrdom). We can become quite uncomfortable in front of Gonzalez’s work…they are big paintings, the figures are lifesize, and we don’t want to see what’s happening (or has happened). They allow us to understand the shock of Caravaggio’s work for his contemporary audience. They didn’t always want to see life and death as he presented it. When you visit Gonzalez’s site, view the short video “Baroque on the Border,” where the artist talks about his work.