Make-up 2008 – Saskia Edens
Silver Skeleton 2007 – Pete Ippel
Those that support conceptual art (performance art, video art, social sculpture, happenings etc.) art are mocked by those that do not understand it…and the myth of disbelief, shock, and awe is perpetuated by popular media.
Mimicry is common BECAUSE there is a long history of conceptual art, even when it’s lost.
Even the name Praxis is a lifted reference.
The history of conceptual art that James Franco tries to explain (the fellow on the Jimmy Kimmel Show) has strong roots in the Bay Area, as does video art. That’s why I chose to study for my MFA in New Genres at the San Francisco Art Institute. The Bay Area boasts artists: Tony Labat, Linda Montano, Doug Hall (AntFarm), Sharon Grace, Paul Kos, David Ireland, Karen Finley, and many, many more.
The Museum of Conceptual Art was created by one of my mentors, Tom Marioni. Tom is a big fan of Marcel Duchamp and the Readymade. Hypermodern.net represents 12 years of conceptual art education and I’m constantly asked, what for?
Simply, as Cathy Malchiodi writes, the massively important restoring power of imagination.
The phrases “art heals” and “art saves” have become ubiquitous and will continue to circulate; like many catch-phrases, they are just too cool to go away. Like any popular slogans, they blur real meaning; in this case the actual purpose of art is often forgotten.
Cathy summarizes further synthesizes and interprets Ellen Dissanayake’s book What is Art For?
1) Makes life special.
2) Engages the senses.
3) Involves rituals.
4) Enhances community.
When was the last time you went to an art show and got an experience, a prize, a few bucks, and a great story and thought differently about the present moment you just experienced. Free Memory. Free Money. Free Ideas…and a 2 minute smile free from economic stress. Or was it referencing the financial collapse, throwing money in a hole, and making peons work for it doing crazy tasks that don’t mean anything by diverting their own lust for financial gain? Why did they follow the rules of the over arching system? The title of the piece of mine is “Free Money, Sticky Fingers” made at SomArts. Check out their open call for more art in the hole.
Sound like art?
Sound like MTV’s Jackass?
Sound like conceptual art?
Is everything art?
Is everyone an artist?
Thank you R. Mutt
When critiquing or defending artwork remember three core concepts: intent (what did the artist want to express), context (where, when, and who are they showing it to), and liability (will it put the artist or anyone else in danger, will it cost money from the artist or public, does it exclude anyone, does the artist take responsibility for the piece).
Brian Wilson gets it.
“You can’t be a pro unless you dive in,” Wilson said. “You can’t just put one foot in and say, ‘Oh, well let’s just test this out.’ You’ve got to dive in and you’ve got to swim around in your dreams. You have to go for it.”
“If you can’t fly then run, if you can’t run then walk, if you can’t walk then crawl, but whatever you do you have to keep moving forward.”
— Martin Luther King Jr.
This workshop will explore commonalities among The Bay Area’s innovative, musicians, poets, entrepreneurs, artists, and politicians. Starting with hip-hop as a visible, accessible entry point to the grand metaphor of a creative career path we will canvass our community for inspirational stories, myths, fictions, half-truths, lies, facts, and constructions.
By creating persona and personal legends on-line and in the street, we will be exploring how social media (blogs, facebook, twitter, foursquare) can both become a distraction from your art and an attraction to your art. We will even approach social media AS your art.
Please bring an open mind and your own PORTABLE creation tools of choice to each session (mobile phone, laptop, sketchbook, notebook, watercolor, pencils, video camera, still camera, etc.). The take away is learning how you can use the power of presentation to influence viewers, community, and media outlets.
When you learn how to best answer these questions, you are ready to buy some art. Get educated, enjoy life, support artists.
Contact Pete Ippel to get more information on purchasing contemporary art. Find out what else is going in in the Pete Ippel Studio, check out the event calendar.
Today is a very happy day. Will be teaching one day a week at the San Francisco Art Institute for the fall semester.
Pete Ippel – Artist / Athlete – hypermodern.net
– Taken at 3:28 PM on July 29, 2010 – uploaded by ShoZu
Earlier this month I participated in SOMArts Community Center’s show “MOMENTS (Bringing Back the Now)”. At the opening, Justin Hoover, the newly hired director of the gallery space, re-created the 100 Performances for the Hole that he formerly curated out of his Garage San Francisco’s Pacific Heights Neighborhood.
For 100 Performances for the Hole Take-Two, the dimensions of the hole were expanded, and moved from an automotive trench to a sand casting pit.
I issued four instructions to the group:
In addition, there is a cameo appearance of “Free Money, Sticky Fingers” toward the end of the short video “A Day in San Francisco” by Rossita Dove.
Check out the Photos and the press release (below) for more information about the exhibition.
100 Performances for the Hole – Take Two is the opening event (#1 of 3) of a month long exhibition called: MOMENTS (Bringing Back the Now). This show features a series of live art events that transform the gallery into a contemporary art laboratory exploring the intersection between visual mediums, performance art, and time-based sculpture.
Conceived of by SOMArts Curator and Gallery Director Justin Hoover, this exhibition examines the state of contemporary live art in the Bay Are by inviting the collaboration and participation of over 100 performance artists working in a variety of styles and methods. MOMENTS (Bringing Back The Now) is structured around three events examining performance art today: a series of 100 two-minute, site-specific performances performed one after another, a ballet with heavy machinery that was inspired by a previous performance choreographed by youth in a housing complex, and a series of time-based and mobile/ephemeral sculptures.
According to curator Justin Hoover “the lived moment is often greatly under-appreciated, in life and in the arts. Largely, in the mind of the public, fine art is relegated to objects and environments, and rarely is the emotionality and the nuance of a lived moment evidenced as an artwork. In the contemporary moment, art has long surpassed the realm of objecthood and some of the most innovative new forms reside i experience. By highlighting local performance artists and performative installations, SOMArts gives Bay Area artists and audiences a chance to exchange ideas and build attention around a developing form that rarely finds its way into a gallery. MOMENTS (Bring Back the Now) brings immediacy back to the experience of contemporary art viewership.”
Additionally, this exhibition will work in conjunction with the Bay Area Video Coalition (BAVC) to upload this live program directly to cable television.
100 Performances for the Hole – Take Two breathes fresh life into a formerly disused part of the SOMArts Main Gallery, namely what remains of the mechanics pit from the building’s former life as the Union Machine Company. Through a simple hole and an open call for ephemeral performance artwork, 100 Performances highlighting the contemporary timescape of today and invigorates a wide swath of the performance art community, one that is vibrant, innovative, playful, and elusive. This tour-de-force of the ephemeral is juried by Kevin B. Chen, Peter Foucault, Justin Hoover, Jackie Im, Lex Leifheit, and Lucy Kalyani Lin.