creating endeavors

Peter Gabriel, Zoe Keating & Lera Auerbach, Spontaneous Improvisation at Piano Bar #davos14

Ever since her early works, such as Eat 22 (for which she photographed everything she ate for a year), there has been a blurring between Ellie Harrison’s life and work, and an ongoing struggle to balance the two. Over the last six years, as her work has become more politicised, she has developed ever more extreme systems and rules to enable her to live her values (minimise her impact on the world) and be as efficient as possible (maximise her work time) – pushing out all unnecessary objects and relationships as a result. In this talk, as part of Artquest’s Practice 360° programme, she will discuss how this rational path of continual ‘progress’ became ultimately, ironically, ‘unsustainable’, and how at a certain point she had to try to learn to compromise in order to survive.

Practice 360 with Ellie Harrison - Ethics: Extremism and Compromise

From Avenue B to Bushwick: Kathy Kirkpatrick tells us about the final days of her Life Cafe in the East Village and essayist Tim Kreider tells us about his exile in Bushwick. Plus your host tries to make sense of the first time he got a glimpse of the new New York at a party in late September 2008.

New York After Rent (part 2 of 3)

Surrounded by and through Beavers and Walls, the new work she created for Eyebeam’s exhibition Outside/In, artist Torkwase Dyson and writer Joon Oluchi Lee engage in a collaborative dialogue about history, technology, race, and the feeling of the sublime. They touch deeply upon how an historical space gets animated beyond and outside its own time, and the role of the artist in engaging the built environment of this history.  

How does the trauma of environmental racism reside and transform within the materiality of spatial sites? How can diagrammatic abstraction compel our acknowledgment of geographic patterns and architecture related to these histories? What role does technology have in the narrativizing of that history, and how we enfold it into the cells of our own being?

Data Emotionalization and Racial Technologies

Tania Bruguera, artist; Tom Finkelpearl, executive director, Queens Museum of Art; and Mierle Laderman Ukeles, artist. Socially cooperative art is a field not well understood by many, indeed even in the art world. Why is it art? Where does art end and social action begin? Who is the author of a cooperative project? In this lecture recorded on February 3, 2013, at the National Gallery of Art, Tom Finkelpearl celebrates his latest publication, What We Made: Conversations on Art and Social Cooperation, by providing an overview of socially cooperative art—where it comes from, what its artistic roots are, and why it can be considered valuable. Tania Bruguera and Mierle Laderman Ukeles, two of the most important artists working in America today in this field, then describe their work, focusing on a single project. Bruguera, Finkelpearl, and Ukeles take a careful look at how art can intersect with life and how artists are reimagining this intersection in the new avant-garde of participatory, activist, community-inclusive art.

creating endeavors

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