pas-assez-cher-blog

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"The Good, The Bad & The Ugly: Knowledge and Violence in Recent American Art,” Group Show with Cady Noland, Andres Serrano, Larry Clark, Two-Fold Card, Ezra and Cecile Zilkha Gallery (Wesleyan University), 1991

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Lewis Stein untitled, 1972 36”x72”x5” (91x183x13 cm) chrome plated rail

installation view, Milford Gallery, 1988

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Military-industrial complex as it is normalized by the local hardware store.

"Cady Noland, Museum fur Moderne Kunst", exhibition review by Bruce Hainley, published in Artforum, 2019

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Cady Noland Cart Full of Action, 1989 industrial cart, car parts, hubcaps collection Art Gallery of Ontario

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About the metal: the use of it is sometimes hierarchical — to use chrome one place and galvanized aluminum in another is to describe relative relationships to it. The coolness might infer dissociation, but the mirror effect in some places is to draw you back in after the dissociation.

Cady Noland, interviewed by Michèle Cone, journal of contemporary art, 1990

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Cady Noland Blank for Serial, 1989 steel frame, cushion, handcuffs, American flag 150 x 300 x 300 cm

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Norbert Kricke Fläche und Raum, 1950 Steel 26,5 x 51 x 43 cm

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Reproductions of the journal “Radical Software” (1970-1974) Radical Software. The Raindance Foundation, Media Ecology and Video Art, ZKM, Karlshrue, 2017

https://zkm.de/en/exhibition/2017/07/radical-software-the-raindance-foundation-media-ecology-and-video-art

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"If memes reiterate the inequities of cultural appropriation, where could their potential energy and possibility lie? The meme resists traditional configurations of authorship and intellectual property, embodying the “post-productive” mode that had Nicolas Bourriaud so jazzed nearly 20 years ago when he declared it an ultimate threat to the prevailing “ideology of ownership” implicit in appropriation critiques. Memes replace the “ideology of ownership” with another form of value, one that Hito Steyerl argues is defined by “velocity, intensity, and spread.”"

-Aria Dean, Rich Meme, Poor Meme (2016)

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Aria Dean(meta)models 3.3, 2019Security mirror and wood24 1/4 x 24 1/4 in (61.6 x 61.6 cm)

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Where did we fall off with the narrative of what we know happened in the art world post the dematerialization moment (ephemera, sales contracts), and how do we end up in this NFT conversation that plays a little bit dumb with what we do know about how value is beeing extracted out of things that don't necessarily exist in a physical way.

Aria Dean, Welcome to the Metaverse I, New Museum Youtube Channel, 2021

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A. Michael Noll Gaussian-Quadratic,1962-1965 (made), 1970s (printed) Black and white photographic print of a computer-generated image, showing 100 points connected via 99 straight lines The V&A Collection

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One could even argue that the very structure of the NFT nullifies the legacy of the generations of artists who have used computers and the internet to expand how we define the aesthetic “object”: Because it forever points to a single asset, the NFT implicitly privileges the ideal of a stable, unitary artwork over the messy reality of digital projects that are dispersed, interactive, contingent, iterative, or ephemeral.

Tina Rivers Ryan, Token Gesture, Artforum May 2021, Vol. 59, No. 9

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Computer-Generated Pictures exhibit at the Howard Wise Gallery, 1965. (left) A. Michael Noll Gaussian-Quadratic, 1962-1965 photographic print of a computer-generated image (right) works by Béla Julesz photograph courtesy of A. Michael Noll

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Marcel Duchamp Tzanck Check, 1919 ink on paper, 8 1⁄4 × 15"

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(...) NFTs are traded as if they were deeds, but NFTs rarely confer legal title, and most of the assets they point to are not securely archived, effectively divorcing the concept of ownership from the responsibilities of stewardship and reducing it to bragging rights

Tina Rivers Ryan, Token Gesture, Artforum May 2021, Vol. 59, No. 9

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Early Flyer from The Kitchen 1971 Courtesy of The Vasulka Chamber