Later I became attracted mostly to Russian icon paintings. I like very much the teacher of the famous Andrei Rublev, Theophanes, who would claim the first thing to learn is that you are not an image producer, but a writer.
These structures are conceived to engage diverse audience typologies, influence long-term cultural policy, rethink parameters of art production, and mirror some of the phases a work of art may pass through: from the genesis of the idea and the production process to the final outcome, including perhaps acquisition by an institution and/or reception by an audience.
New York–based artist Gordon Hall’s new exhibition Through and Through and Through, on view at PICA (Portland Institute for Contemporary Art), offers an encounter with objects that invites us to reexperience the (gendered) body.
In his short story “The Largest Theme Park in the World” (1989), J. G. Ballard describes an alternative vision of the 1990s in which a rich, prosperous continent reaps the benefits of a borderless, free-trade Europe to create a continent of leisure.He writes: “In 1995, the headiest year since 1968, the necessary legislation was swiftly passed by a dozen parliaments, which dissolved themselves and assigned their powers to the European Assembly at Strasbourg. So there came into being the new Europe, a visionary realm that would miraculously fuse the spirits of Charlemagne and the smart card, Michelangelo and the Club Med, St. Augustine and Saint Laurent.”
In the story of Enclosure, the year is 1699. An itinerant band of orphans and travelers, led by an elderly alchemist named Jaccko, rove the English countryside, using their magical abilities to take advantage of a political situation in flux.