thoughtkit.net

“Framed” viewers at the spectatormuseum.org. further illustrate the ideas discussed in the previous post. To see more work about this theme visit www.spectatormuseum.org and click Viewers As the Object of Display in the connections menu.

This series investigates the viewing practices of individuals in the social milieu of display and exhibition space. These representations of viewing practices establish museum visitors themselves as viewed objects. Through their participation in the social space of display, and more particularly the ways in which they fashion a self identity and search for self confirmation in the act of contemplating art, viewers constitute themselves as objects alongside the works of art. This results in a pardoxical overvaluation of viewers that is simultaneously acknowledged by viewers and is marshalled by display managers to increase attendance. To see more work about this theme visit www.spectatormuseum.org and click Viewers As the Object of Display in the connections menu.

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Recently, there has been considerable discussion in art circles about the intersection of artistic practice and scientific ways of “knowing” and investigation. Just as important is how artists and scientists “use” social, political, and cultural values to shape the reception of their work. Emblematically, this reached its cynical height in the work of Dr. Hwang Woo Suk. His groundbreaking cloning research of last year was subsequently invalidated by an investigating panel at Seoul National University, which deemed it to be marred by falsified data. As mentioned in a New York Times article, Under a Microscope: High-Profile Cases Bring New Scrutiny to Science’s Superstars, “scientists are increasingly celebrities and millionaires, they (other scientists) said, the limelight can corrupt judgment.” Clearly, the social processes of culture have the potential to corrupt both artists and scientists. The article also mentions how scientists have become far less collegial in the past decade, pushing hard to be first in their field. “There are enormous pressures to be extremely productive and at the top of the heap,” Here the similarities of social process involved in scientific and artistic production seems clear.

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During February 2005, Ava was diagnosed with oral melanoma. The course of treatment includes surgery, radiation, and a series of injections of experimental oral melanoma vaccine developed by the University of Wisconsin. Because of tumor regrowth, there have been two additional surgeries. So far, diagnostic tests reveal no metastases. To round out treatment, acupuncture and homeopathic supplements are also part of the regimen. Approximately three weeks ago the mass became smaller and is currently a fraction of its original 2cm size. While we remain optimistic, it is not possible to say with certainty what is occuring inside the body or even the home. Click here for more visual representations connected to this theme.

Unique indeed are the possibilities for social interaction fostered by the studio spaces and classrooms at Art Center in Pasadena. There, one rarely finds the kind of collective studio spaces that encourage dialog and critique. If art and design are to relate to the social process of everyday life, the sterility of this building is a problem. For further examples of these anxious spaces devoted to the production of art and design, visit the The Violence of Modernity text and image pages or see more images here. The images tell the chilling story.

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As I mentioned in the opening post, one of the central tenets of the modern is thought. There is much to think about and contest in the things we confront in our everyday lives. One of these are the spaces of our work lives. For nearly three years I worked at Art Center College of Design in Pasadena, CA. This building, designed by Craig Ellwood (it was his last major commission) represents a partial realization of Le Corbuisier’s functional/modernist fantasy: the building exists, both metaphorically and physically, as a bridge. As a bridge, the exterior is monumental but the interior design of the building does not seem to foster psychological and physical space for artistic production. More images in The Violence of Modernity text and image pages or see more images here.

Thoughtkit begins today. The modern is about thinking and this blog will be the kit to archive and view how languages of representation form our systems of everyday life and thought. The languages of word, text and image (and their media categories) will be discussed, contested, and referenced through diverse links in this blog. Many posts will include images elucidated by text–a subtle counterpoint to our image and designed culture.