Why I’m (Secretly) Obessed with Jeff Koons

Okay, so I’m not exactly sure that “obsessed” is the correct word, maybe “fascinated with” is more appropriate. I am completely enthralled with the jerk, especially when I look up the auction results on the Christie’s and Southeby’s websites. At my internship at the Wadsworth, we would try to figure out what the value of some of our pieces could be by checking what related pieces by the same artist sold for. One time when I was assigned this task, I took the liberty of also looking at the Contemporary sale. Needless to say, my mind was BLOWN when I saw that a Koon’s Baroque Egg sold for several million dollars.

SEVERAL MILLION. My reaction was a mixture of shock, awe, and anger. This did not compute in my brain, and here are a few reasons why:

1) Jeff Koons doesn’t make his art.
2) Jeff Koons is a jerk.
3) Jeff Koons doesn’t make his art and is a jerk, but still makes millions of dollars of profit from “his” work.
4) Jeff Koons is a genius.

So, it’s been a known fact for at least the past decade that Jeff Koons doesn’t actually make his own work any more. Why not? Well, probably because he thinks that he’s too awesome to make his art any more, and that his awesomeness warrants that someone else make it for him. What is the problem with this? Well, there really isn’t one. I also understand that he is consciously trying to break free from this whole “hand of the artist” concept that has permeated the art historical discipline. But, really, did he ever hear of Duchamp? Been there, done that. So, in essence, the sucker that bought the Baroque Egg purchased an industrial made product that was, if anything, an idea drawn up by Koons, but even that is a stretch. He probably has other people do that for him, too.

Why do I think Jeff Koons is a jerk? Well, to put it simply, the methodology and ideology behind his art just scream “I am a condescending a-hole.” If you can’t even be bothered to make your own art, why should you be able to cash in on the rewards? It’d be one thing if his pieces were selling for $20 a pop, but his pieces are selling for millions of dollars at auction.

As much as this enrages me, I’m pretty sure that’s Koon’s plan. He wants what he does to incite frustration. He wants to make a commentary on the hypocrisy of the art world. He does this, effectively and profitably. This is what makes Koon’s a genius. There is not another artist that I have encountered (so far) that I love to hate as much as Jeff Koons. How about you?

Sol Lewitt: Not Just Swirly Primary Colors

Almost everyone has seen a Sol Lewitt, you just might not realize it. Sol Lewitt was one of the most prominent American artists, with wall art at many institutions around the world (over 1200 have been executed!). As a conceptual artist, Lewitt was only responsible for and involved in the meticulous planning of these large scale drawings and paintings. He would create detailed instructions for his assistants, or any one who got their hands on the directions, detailing how to create each piece. The first time that I saw a Sol Lewitt was at the Wadsworth Athneum Museum of Art. This particular piece looks like this:

This is the most recognizable kind of Lewitt, and, to me, that’s unfortunate. Though there is also a line drawing at the Wadsworth, it is tucked away in a corridor and is not a centerpiece like the wall drawing. It wasn’t until I visited the Sol Lewitt retrospective at MassMOCA that I saw the diversity of Lewitt’s work throughout his long career.

His pencil drawings, which are hallmarks of his earlier career, are completely breathtaking. They are super impressive, and the dedication and precision that went into creating each piece radiates from it. They are delicate and subtle, inviting the viewer to get closer to examine the texture, color, and pattern of the colored pencil lines. The black and white pieces provide just the right amount of drama, balancing the perfect contrast of light and dark lines. They look like this:

So if the pencil drawings are so sweet, why are the swirl wall drawings the canonical example of a Sol Lewitt work? Well, these pieces are bright, cheery, and relateable. They are large and impressive, and they were created at the height of Lewitt’s career. I find them less impressive, though, as the bright colors lack nuance and subtlety, and as the process is not as precise and painstaking as that of the line drawings.

The second Lewitt that I became quite familiar with is located at the Benton Museum at the University of Connecticut. This is another swirl wall drawing, and, although Lewitt did not actually paint his pieces, he did plan them. He also had very specific rules and requirements for these pieces and their display. Even though people were hired as assistants to the museum to trace out and fill in the pieces, Lewitt specifically stated that he wanted the works painted DIRECTLY on the wall. This was because he understood the fleeting nature of visual culture, and the fact that maybe, someday his work would need to be covered up. Even if this happened, the museum or institution that “purchased” the piece would have the plan/outline to recreate it somewhere else.

The Benton, however, did not listen to Lewitt’s request and painted this piece on a panel which they then mounted to the wall. This did not make Lewitt very happy. It made me pretty angry every time I walked by it on the way to the upstairs galleries, too.

So, if you haven’t seen a Lewitt yet, which I’m sure you have, but just didn’t know; you’ve probably see one of the less impressive but still incredibly cool swirl wall drawings. To get the entire Lewitt experience take the trip to MassMOCA and check out the retrospective; you will not be disappointed, and you will have an even greater appreciation for the work of Sol Lewitt.

Public Art or Criminal Behavior?

I try to keep up with what is happening in the International Art World by looking for art stories in the news at least a few times a week. I usually most the more interesting stories on my twitter feed to share with other art enthusiasts (follow me – @erinalyssa). Lately, I’ve come across many stories about artists Shepard Fairey and Banksy. These artists are known for their unannounced, (usually) politically charged public art which they paint on the sides of buildings in various United States cities. These artists and their works are incredibly controversial because they blur the line between public art and graffiti.

banksy

Though the word “graffiti” by definition means “a drawing or scribbling on a flat surface, originally referring to the marks found on ancient Roman architecture,” the word has developed a negative connotation in the past few decades. When most people hear or read the word “graffiti,” they automatically think if vandalism and defacing property; both of which are criminal behaviors.

shepard fairey

Artists like Banks and Fairey complicate this notion, however, as they are world reknown artists. Although they do not always have permission to paint where they paint or post where they post (as fairey often adheres graphic posters to building facades), they are prominent artists that are expressing themselves, politically and artistically. The pieces that they create, however “illegal” they may be, are also often aesthetically pleasing and can call attention to the places where they are painted, which of course can either be beneficial or detrimental to the area.

When these artists do create public works, reactions are mixed. Some people are excited and flattered that the artist has chosen to paint in their city or neighborhood, while others feel violated by the artist’s “criminal behavior.” As a result, most paintings are power washed away within hours of being painted.

This fleeting art form that incites controversy and forces people to react – whether positive or negative – is exactly what, in my opinion, these artists hope to achieve. No matter what the reaction, therefore, their “graffiti” is always a success.

Are Museums and Libraries Buildings of the Past?

In this digital age, many things are becoming outdated at a scarily rapid pace. I have noticed that nearly ever pay phone has been removed and all that is left are the empty shells of this previous necessities existence. . I just took this photo with my Blackberry before a shopping trip at the local grocery store in my small hometown. Now that almost everyone owns a cell phone or smart phone (for you to borrow incase you are behind the technology curve), these archaic devices are no longer necessary, nor are the myriad of collect call commercials (everyone remember 1-800-callATT) that bombarded us in the 1990s.

I’ve been asked on numerous occasions if I think that museums and libraries (the cornerstones of the fields that I have decided to pursue) will suffer the same fate as the pay phone. My answer is a definitive, “no! Absolutely not!”

Though I do see the value in online, virtual museums, especially if you are unable to travel (take for example, this link to a 360 view of the Sistine Chapel: http://bit.ly/b3OIdo), but I firmly believe that the experience/interaction with an artwork can never be replicated in the virtual world. The first, real memorable encounter that I had with an artwork was in November of 2007 during my first trip to MoMa. I was overwhelmed by so many influential and important pieces under one roof, but I will never forget my encounter with the teal Donald Judd wall stack sculpture (Untitled, of course). In slides and photographs this piece looks like an underwhelming series of boxes affixed to the wall. In person, however, the Judd is ominous and intimidating; it feels like it is in your space, and you are reluctant to walk to close to it. This memorable and valuable encounter will/can never be replicated virtually. For this reason, the museum is not in danger.

To contend with the currently influx of technology, the library as we know it is changing. Anything and everything is being digitizes, so this is actually a very interesting and exciting time to engage with the library field (in my case, visual resources). Yes, Google is, in some ways, the “new” library, but how do you think all of the information, books, articles, images, and other documents make their way online? If it wasn’t for the diligence of metadata specialists and librarians, the world wouldn’t be at our fingertips. The digitizing process is long, tedious, and never-ending – as new content is constantly created. There will always be a need for librarians, just a different type of librarian than the one you picture in your head. Libraries will also stay open, partially due to the desire of many to interact with the original material object (similar to the museum) and because there should always be a “hard copy” of whatever is digitized.

Even In this high tech, digital age, museums and libraries are here to stay. Their futures are not in jeopardy, in fact, the current state of “updating” both fields provides unique, interesting, and exciting opportunities for museum personnel and librarians alike to engage in the newest technologies associated with the fields they are passionate about.

Social Media and the Arts: The (possibly surprising) Benefits of Social Media for Museums and Cultural Institutions

Q: Why should museums cultural institutions concern themselves with social media sites like Facebook and Twitter?
A: It’s a relatively affordable, fairly easy marketing tool that can reach a large, diverse audience.

Due to the generation gap between our Gen X predecessors and the influx of us Gen Yers entering the working world, there are many misunderstandings about the value and importance of social media sites. My dad, who is in his late 40s, often rolled his eyes at me for using Facebook; calling it “dumb and pointless.” He’s not singing the same tune now that he has reconnected with the majority of his high school graduating class to help plan their belated 30th reunion/collective 50th birthday party. Now he wants to know the ins and outs of Facebook, and he always has a list of questions for me so he can learn how to use all of the site’s features effectively.

I do not think my personal scenario is entirely uncommon, and I think that the older generation needs to find a practical application (other than reading status updates and looking at friend’s photos, which the majority of use recent college grads began using Facebook for) in order to understand the value of social media sites. Though it may take a bit of coercing, convincing an institution or museum to use Facebook and Twitter as PR/Marketing tools will have great, measurable results.

Why do I sound so confident? Well, because I’ve experienced it myself. As an intern at the Wadsworth Atheneum Museum of Art in Hartford, CT, I worked in many capacities. I pretty much learned how to use a computer around the same time I learned how to talk, so I am very versatile when it comes to technology. Though I was primarily working as a curatorial intern for the American Painting department, I was asked to help create the Wadsworth’s Facebook “fan page.”

I did a bit of googling and quickly found instructions on how to sign up the museum for a fan page. I had the page created in about five minutes tops. Once created, my next job was to teach the PR/Marketing assistant how to navigate Facebook. In no time she was able to update the page, add photos, create events, post links, etc. She marketed the monthly event, Phoenix Art After Hours, via the new fan page, and attendance increased drastically at the event.

Just by creating a Facebook fan page, WAMA was able to quickly and easily reach a diverse audience. The ability to share content to a large group of people led to increased awareness (but due to the economy in Hartford not necessarily increased attendance) of subsequent functions. They actually had to turn people away from a free showing of the Disney/Pixar movie UP!, Andrew WK came to perform a concert, and the museum has been getting more sponsorship. With almost 3,000 fans in less than a year, events at the museum and arts/cultural events in the Hartford area are getting great publicity. They’ve also created a Twitter account which has 446 followers.

Even though it may seem as if social media isn’t relevant to non-profit, arts organizations, creating a Facebook fan page or Twitter account can, if nothing else, increase awareness and interest in your institution. For this reason, it is important that future or current Generation Y museum employees familiarize themselves with and learn the importance of social media. If we’re lucky, our predecessors will be willing to listen, learn, and adapt and benefit from the new, “hip” world of social media.

The Society of the Spectacle: Alfredo Jaar and Accountability

In a public lecture discussing the conclusion of his work on the Rwanda Series currently displayed at the UConn Contemporary Art Gallery, Alfredo Jaar (Chilean born “architect that makes art”) stated that his two main objectives when making art are exploring: 1) public desensitization to images and 2) the limitation of art when trying to express/manifest genocide (trauma) and its effects. Discussing his involvement in three arenas” 1) the “privileged” museum/gallery space (art world) 2) public interventions including the community, and 3) teaching and learning from the new generations, I noticed a common theme – the spectacle used for accountability.

Jaar uses the spectacle to create a sense of shame and shock in order to make its viewers accountable for their (in)actions. His works – which will be discussed later – provide possible and temporary solutions/answers to societal problems. His pieces are active, creating experiences that require the viewer to engage in a tremendous amount of self reflection. In this way, Jaar uses the spectacle in an unconventional way that makes people aware of their humanity.

In regard to art/art history, “the spectacle” refers to the ideological concepts of Guy Debord and the Situationists International. In Debord’s 1967 publication of The Society of the Spectacle, he states:

#5: “The Spectacle cannot be understood as a mere visual deception produced by mass-media technologies. It is a world-view that has actually been materialized, a view of the world that has become objective.”

Here, Debord explains that the spectacle is not merely a creation of the media, but that it is actually the manifestation of the dominant world view of the society in which it is created.

#18: “When the real world is transformed into mere images, mere images become dynamic beings – dynamic figments that provide the direct motivation for a hypnotic behavior. Since the spectacle’s job is to use various specialized mediations in order to show us a world that can no longer be directly grasped, it naturally elevates the sense of sight to the special pre-eminence once occupied by touch: the most abstract and easily deceived sense is the most readily adaptable to the generalized abstraction of present day society. But the spectacle is not merely a matter of images plus sounds. It is whatever escapes people’s activity, whatever eludes their practical reconsideration and correction. Wherever representation becomes independent, the spectacle regenerates itself.”

In this statement, Debord emphasizes the way in which the bombardment of images (the spectacle) of mass media has created a separation between reality and how people experience reality. All human experience is now mediated by images – representations of “a world that can no longer be directly grasped” in other words, directly experienced.

Debord’s ideas in The Society of the Spectacle mixing Marxist and Situationist ideologies, is relevant to and manifested in Jaar’s work. Jaar’s interest in “the public desensitization to images” is an interest in a societal phenomenon many years in the making. Due to the fact that images are simply mediations of reality – not reality – they are easy to dismiss, regardless of subject matter.

The invention of photography started this desensitization. When the first photos of exotic animals, people, and places were disseminated they shocked and entertained. The first ever motion picture caused people to scream and shout in the theatre due to the shocking “realism” of the crudely constructed scenes. With rapid industrialization, technology advanced at an alarming rate, and within a century these novel, impressive advancements became commonplace, banal, boring. Today we can sit in a 3-D IMAX motive theatre watching the latest blockbuster action movie without even blinking an eye. No shock, no awe. If anything, we are underwhelmed, under enthused.

This is the very reason why we (the Western viewer) can see photographs, watch videos of heinous scenes – genocide, war, famine – happening a world away and say “oh, that’s so sad,” think about it for a few minutes, push it out of our minds, and move on with our lives. Despite “seeing it with our own eyes” these images are not real too us – they’re merely another mediation of reality – of a world we cannot, will not, do not want to experience, which is, therefore, not real.

Jaar’s work is so effective because indifference is not an option. His works are connected to real people and real situations that are too important and too personal to ignore. If for only a moment, his works overcome the public’s general desensitization through their poignant yet shocking messages. His Rwanda project from 1994 to 2000, makes people acknowledge the devastating genocide that the Western world tried to ignore. In his final installment of this series, a 26 minute video now on view in UConn’s Contemporary Art Gallery, Jaar points the finger and finally calls the world out for its collective delinquency.

In early 1994, Dallaire (a Canadian UN Ambassador in Rwanda) discovered from an informant that they were planning to exterminate the Tutsi. Despite Dallaire’s best efforts, after the deaths of 10 Belgian soldiers, Western governments began pulling their troops from Rwanda, stating that it was merely a “tribal conflict” and that they did not want to lose and more of their soldiers. Once Western troops were evacuated, over 800,000 Tutsis were murdered in three short, terrifying months. This genocide could’ve been stopped, but instead of sending more troops, troops were evacuated. Africa didn’t matter – it was nothing more than what the Eurocentric media depicted it as: poor, unhealthy, insignificant.

Regardless of the amount of images and videos depicting the situation in Rwanda or direct pleas from Rwandan Tutsis, it was all too easy for the world to turn its back and ignore the devastating genocide taking place in this “far away,” out of sight out of mind, place. To this day, the guilty parties that removed troops and ignored the cries for help will not admit to their mistakes and injustices. Jaar’s work makes the viewer, simply as a human being, feel like a responsible party – which is essential to ensuring that this type of delinquency does not happen again.

Jaar’s work is not “art for art’s sake.” It is an art of purpose. It’s thoughtful, calculated, and it purposely puts the viewer in an uncomfortable position, where he/she has to come to terms with his/her accountability as a human. His works have important social purposes which focus on the societal phenomenon of public desensitization to images and he uses “the spectacle” as a way of making images powerful again by forcing the viewer to have a reaction that is difficult to forget.

welcome!

Welcome to my Art/Art History blog! I am a second year master’s student at the University of Connecticut, and I am looking to start a museum career upon graduation in May! I would describe myself as tech savvy, quirky, intelligent, fun, helpful, and insightful. I am interested in engaging with and utilizing social media tools to make a memorable and lasting impression on possible employers.

I am an incredibly driven and motivated person. I graduated an entire year early at the age of 20 from UMass Amherst with a bachelor’s degree in Art History with a minor in Classics. From there I dove straight into the Art History master’s program at UConn, Storrs.

I have had awesome work/internship experiences in the midst of all the schoolwork. I am currently a Graduate Teaching Assistant at UConn, teaching two sections of 20 students and assisting with the survey courses: Ancient to Medieval and Renaissance to Present. I also coach long, high, and triple jump at my high school alma mater for the Indoor and Outdoor Track seasons. I have also been interning in the American Painting and American Dec Arts Departments at the Wadsworth Atheneum for over a year. The project that I am most proud of was my work obtaining copyrights and rights/reproduction permission for the exhibition catalogue American Moderns on Paper: Masterworks from the Wadsworth Atheneum Museum of Art which is currently on display at the Amon Carter Museum.

At UMass I worked in the Image Collection Library, maintaining the slide collection as well as helping create a new, online image database using Luna Insight and Inscribe. I absolutely loved this job, and it left me with a passion for slide libraries and fascination with catalouging cultural objects. I also worked as an executive assistant at a local bank, as well as a gallery guard and docent.

My combination of teaching experience, museum experience, library/meta data experience, paired with my enthusiastic outlook and unwavering motivation make me an excellent addition to any museum staff.

In this blog I will write about my experiences while teaching, working with, and thinking about ART! I hope you enjoy!