Keepin’ Up With the E-Flux

I once asked an older grad of my program how, as a busy full-time assistant curator, and one not living in New York (still largely the center of contemporary art at least in the U.S.) she kept up with contemporary art. She suggested subscribing to e-flux, and actually making an effort to read it. Well, I got the first part of that covered. The second part, well… I’ve started accumulating old ones in a folder, telling myself I will eventually go back and read them all. Of course, I get about 8 new ones a day. I maybe read a couple every few days. So you do the math. But I remain ever the optimist. Or, naïf.

So, I was going through a few of them, and I came across this, which I thought was a great way summing up some of what I was saying in a previous book review, about the conundrums surrounding the documentation of Land and conceptual and other ephemeral art that was meant to avoid the market, and yet…

Much discussion of performance or Land Art from the 1960s and 70s considers whether the art consists of the work itself or its documentation. Could it really be experienced secondhand? Was the art the idea … or the stuff of it? Such recondite questions had to be put in the closet when it came to making saleable works in order to live, and few artists of note have ever proven themselves capable of true disinterest in the career element of being an artist.


4 thoughts on “Keepin’ Up With the E-Flux

  1. Pingback: Keepin’ Up with the E-Flux, part 2 | SmARTy ART Chick

  2. Pingback: Keepin’ Up with the E-Flux, 3; or, Validation! | SmARTy ART Chick

  3. Pingback: The Art Newspaper, 1 | SmARTy ART Chick

  4. Pingback: Some Artsy Explorations | SmARTy ART Chick

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