theaster gates reconfigures the old art-world colonialism
Gates, who worked as a community activist and investor in Chicago and an international art star around the world, called the device \"little art \", \"This refers at one level to his celebration of products such as craft, manual labor and engraving, tiles and wood products.
But \"little art\" also means that we have a greater revaluation of what humans have created.
The traditional definition of Western art is sculpture and painting, or the conceptual provocation of the contemporary art world in recent years --
Gates thought it was minor.
Or at least not as important as their institutional overlords think.
The exhibition, in a space called the \"Tower\" by a gallery, has become one of the most interesting venues for the agency, showcasing Barbara Kruger\'s politically sharp image --
The text works closed in January, as well as the impressive performances of contemporary artists including Kerry James Marshall and Mel boshnell in recent years.
This is a limited space, but it has high ceilings, and the challenge for an artist or curator is to say something concise, become big, bold, smart and interesting in a visually convincing way.
It may be a bit like writing a sonnet: your lines are limited, there are a lot of restrictions, and the audience is expecting something serious, or even something immortal.
Gates is a God of spirits, and visitors who know his work will recognize every basic visual element as a totem in his personal vocabulary.
Along a wallfoot-wide and 20-foot-
The high inclined plane of the slate roof tile faces the invitation and rejection of the audience.
The tile work is beautiful, and the tile itself is cut and worn in a way that attracts sensory scrutiny.
But the wall is huge, almost filled with space, and the material is hard, gray and unyielding.
The angle of tilt it installs imitates the church roof and fortress wall from which the tiles are sourced, or the dam that blocks the flood.
Other basic visual elements include a redesigned large plank from an old high school gymnasium in Chicago, and are arranged to come up with an intentional but abstract pattern, mix the lines of the mesh with the random pixelation of the color;
\"Painting\" made of roof tar spread out in nogahyde and tightened on the frame; an ax;
Reference to cast bronze sculptures in several African dialects;
There is also a mysterious \"library\" tower, filled with a Bookbound Ebony magazine, with another sculpture character covered with fur.
Many of the material elements come from the south of Chicago, where Gates bought properties and turned them into centers of art and culture, serving the population who has been systematically deprived of their economic and cultural rights.
During the conversation, the artist explained that the tile roof represents a small part of the St. Original roof.
Lawrence Church is a magnificent brick building with Roman decorations and towering towers, which was closed by the Catholic Diocese of Chicago in 2004.
\"Basically, the Catholic Church has left the community,\" Gates said . \".
So are many other things that communities need to survive.
Recalling a closed school on the floor, the volumes of the Ebony magazine recall the declining tradition of the American black culture claim, a parallel cultural archive that celebrates its own artists, celebrities, fashion and cultural icons.
There is no clear line between the physical \"art\" created by Gates for institutions such as the National Gallery and the \"art\" practiced by his community, where he jumps into the real estate market, buys and resigns buildings, reconfigure his community (
As an undergraduate, Gates studied urban planning and ceramics, and he also included performances and music in contemporary works).
The \"art\" of interpretation and interpretation is also crucial to his work.
Visitors who do not know his work, who are not familiar with the larger social commentary that he has developed (
It seems to be lurking behind a huge slate wall)
It is likely that this exhibition will confuse me completely, and it seems that it is intended to arrange to show a series of alienated things, not a series of interrelated works.
At the heart of Gates\'s work is Gates himself, whose charm, his words, his call to history and his passion for the place and the people he comes to combine it
He did not invent the work, which originated from the participatory, acting, and conceptual traditions of the last century, perhaps as did Bauhaus.
Artists like Rick Lao, who is in her 1990 s, have also aligned their art with their position --
Work self-stomach based on social activism and \"social practice-
Over the past decade, the excessive turn of the art market and
Criticism of capitalism, such as the Occupy movement that appears behind the wall --
The streets caused economic collapse in 20072009.
But in the case of mastering different words, Gates completed the work with multi-language splendor (
Real estate, planning, political review, art, theory)
Some people have different ways of mastering different languages.
The danger of this situation is that from the focus on the work, idealism, the real improvement of the community in which he lives, to the artist himself, it is possible to decline.
Visitors who only talk to Gates world of art
In an exhibition like this one.
Unless they start looking into Gates himself, who he is, and why he creates these strange sealing-resistant devices, they won\'t benefit from it.
The visual effects of this exhibition are notable in two senses: they are celebrated in various forms of undervalued material expression --
Roofs, carvings, wood products
But they also said stop.
What happens here is much more than the artist allows you to see visually and visually separately.
Perhaps more importantly, they invite you to stay and leave and go to the world and face injustice in the world.
However, once you look at Gates, once he hints at the greater connection between the different parts of his practice, you may feel that there is indeed something substantial going on.
It may be this: Gates\'s works mimic the dynamics of colonialism, extract raw materials from one place and send them to another, where they are transformed into something more valuable, then sell elsewhere and weave multiple peoples in a cycle of constant poverty and enrichment of others. It isn’t a one-for-
It imitated the basic dynamics of colonialism, but it imitated the basic dynamics of colonialism.
The cost of Gates\'s extraction (Not born)
Material from a depression community in Chicago;
Add his labor to them so that they are similar to the goods of the art world;
He then used the resources he had acquired in the art world to re-invest in an African-American community that was once a \"colony, this benefits from the return of the cunning reversal of the usual pattern of the old exploiting economic system.
This leaves a strong, lingering question for visitors: is this reconfiguration of colonialism enriching or exhausting the world of art?
Is this all about transferring the cultural cache from the cultural world to the neighborhood?
This is the dilemma lurking in the title \"little art\", because it is clear that Gates is not only celebrating the creativity that has depreciated, but he is deeply suspicious of his \"art\" environment.
Is it possible to be both insiders and outsiders working internally while criticizing a system?
Every successful artist today faces such a dilemma.
Gates seems to respond by facing visitors with hard and sealed things, such as roofs or floors, or color consumer magazines bounce back in the flat institutional binding of the archives.
Do you all say: I am indifferent to these problems?
Gates: small art viewed through Sept.
On the East floor of the National Gallery.
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