These are the ones I tagged:
! Roman Cieslewicz Martin Woodtli, Videoex, 2013. Sebastian Onufszak Holly Herndon and Mat Dryhurst – Mask Magazine Benedict Singleton SOTW “PRISMATIC” Bumper (by Max Hattler) Studio Dumbar: Amsterdam Sinfonietta Visual Identity & Posters Ben Jones Video Paintings: An introduction - Artist Studio - MOCAtv 二〇一三年賀狀展 Exhibition of Greeting Cards 2013 by Chae Byung-rok 채병록 Party Face by Drew Flaherty The spring-summer 2015 issue from Garage Magazine Japanese Poster: Space of Confusion. Exhibition. Pattern Graphics - Akiko (Studio Kanna) Herbert Bayer - Self portrait Posters by Fermin Guerrero Cocinas Corona - For Newspaper by Felipe Salazar Geoffrey Lillemon, MOCA L.A Bernhard Willhelm 3000 Geoffrey Lillemon Girls Night- Video Art, 2015 Alex Tew launched The Million Dollar Homepage 10 years ago Jake Vogds Harper’s Bazaar, April 1965. Photographer: Richard Avedon. Model: Jean Shrimpton *Body Politics Take Front and Center at Volta NY Art Fair* Berlin-based artist Pierre Schmidt, also known as Drømsjel Can Pekdemir Quadruped Resisting 2013 Shifting Folds, 2012, Orlan On Thu, Apr 28, 2016 at 11:00 PM, Rob Myers <r...@robmyers.org> wrote: > On 24/04/16 01:49 PM, Pall Thayer wrote: > > It just occurred to me that this artwork has already been suggested by > > Kurt Vonnegut in Rabo Karabekian's "Windsor Blue Number Seventeen". > > > > On Sun, Apr 24, 2016 at 2:18 PM Pall Thayer <pallt...@gmail.com > > <mailto:pallt...@gmail.com>> wrote: > > > > Based on my understanding of Accelerationism, I would think that the > > ideal "Accelerationist" artwork would be work that you get typical > > art-investors to pay a shit-load of money for but that is inherently > > ephemeral so that no portion of the original "investment" can ever > > grow or even be recouped. > > The art market recuperates the ephemeral (and even the actively hostile) > and turns doing so into a mechanism of exclusivity. > > Whether it's carefully recovered documentation and certificates, or > restricted access to remote locations and fleeting events, exclusivity > is a source of value in the art market. > > So trying to not create, or to actively destroy, value in the art market > is a good way of creating value in the art market. This is a challenge > for epistemic accelerationists seeking to exit the contemporary artworld... > > An ideal Accelerationist artwork would have been the Guerilla Girls' > proposal for a gallery to make its finances public as "the work" (the > gallery declined). It would have been a critical exposure of knowledge > about the art world, enabling us to understand more about it, and was > entirely indigestible by it, making it something other than Contemporary > Art. > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > -- ________________________________________________________________ ================================================================ =--------------------------------------------------------=-===-=-=-====-- +_+~_=_~--+__+=-^=-+_+_=^-+__+-=+_+~__=__~-_-____-=++=_--^-===-=-==-=-=-- =--------------------------------------------------------=-===-=-=-====-- http://bishopZ.com _______________________________________________________________________
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