Francesca Woodman, House #3, Providence, Rhode Island, 1976
“I would argue that the compulsion of the narrative derives its interpretive animation from the real threat of loss,” Michael Ann Holly writes in her book The Melancholy Art; whether as an art historian you are acting the detective solving the mystery of a painting, or the philosopher attempting to articulate an affective response to a work of art, the motivation for the work remains the same: the experience of a loss.
treat your audience as citizens first and only secondly as consumers. and never treat them as a commodity.
the dyad of clarity and ambiguity: allow your work to be ambiguous and your audience becomes complicity in the artistic process
advertising can transcend reality by seeking to practice the above in its creation. it can reach the status of art and in itself become worthy of meditation
The deepest role of art is creating an alternative reality. – Milton Glaser
Sara Cwynar. A shot glass with the leaning tower of pisa. A t-shirt boasting of a trip to the great wall of China. Souvenir kitsch and its unfortunate consequence; emptying history of meaning. Cwynar takes as her subject the image and the fallacy of the thinking that a souvenir photograph can capture the living world in its print. The layers of material with which she covers her staged and appropriated photographs is intended to disrupt the false sense of authenticity we receive from a photo. Her fascination with kitsch is born of the fact that history is over and our attempts at its preservation are flawed and meaningless.