I don't think I like the barrier put up to protect the piece. The Turbine Hall has always seemed to me to be an open, public space with artworks to be experienced and touched. Adding that small barricade sort of undermines all of that and implies a level of distrust. If he didn't want it to be touched he should have had it suspended higher.
Right, he doesn't sign his work, but his name is on his book and his shows and this video. His work looks alright for what it is. Of course it doesn't address any of the primary concerns that we face as a species. And I wonder if art that is dependent on the instituion of galleries and museums to exist can be said to not be institutional art. Does one have to be complicit with a gallery/museum system to survive as a contemporary artist? And, his art makes me think of the general trend for art to be about being a different way of making art, as opposed to what one says with it, and how well. Everything has to be made a different way, and some new invented medium. Just some thoughts off the top of my head. artofericwayne.com/
I love the artsibabble all these guys get into.
Love his point about the importance of ambiguity in his work. Really stuck with me.
How?
yes he is a Genius
i am a big fan of just about anything he does
anything
his words resonate deeply within
his words have a power in themselves
yes
Great...
Bigger isn't always better.
great
I don't think I like the barrier put up to protect the piece. The Turbine Hall has always seemed to me to be an open, public space with artworks to be experienced and touched. Adding that small barricade sort of undermines all of that and implies a level of distrust. If he didn't want it to be touched he should have had it suspended higher.
The Tate doesn't understand what art is, that's why you have all the barriers and the pulled Guston show.
Right, he doesn't sign his work, but his name is on his book and his shows and this video. His work looks alright for what it is. Of course it doesn't address any of the primary concerns that we face as a species. And I wonder if art that is dependent on the instituion of galleries and museums to exist can be said to not be institutional art. Does one have to be complicit with a gallery/museum system to survive as a contemporary artist? And, his art makes me think of the general trend for art to be about being a different way of making art, as opposed to what one says with it, and how well. Everything has to be made a different way, and some new invented medium. Just some thoughts off the top of my head. artofericwayne.com/
He's made dozens of works that don't depend on galleries, and are actually quite ownable, such as his multitude of artist's books.
Richard can do no wrong
this was such a failed artwork, it appeared to absolutely contradict Tuttle's methodology, but that was why it was so interesting.