‘Er zijn altijd drie opties: oplossen, loslaten, of omdenken’ (Dutch only)
By Leigh Buchanan
As I walk into the Metropolitan Café in Philadelphia, I realize my glasses are smudged. Normally I wouldn't care. But I am meeting Amy E. Herman, an expert on "visual intelligence," who teaches business leaders, medical personnel, police forces, and others how to be acutely observant of the world around them. Surely she will notice my glasses. If I take them off, on the other hand, I'll have to squint to read my notes, and she'll notice that, too. Either way, I will not make a good impression.
The author photo from Herman's new book, Visual Intelligence: Sharpen Your Perception, Change Your Life, shows a woman with long hair. I don't see anyone like that. So I sit down at a table and take out a copy of the book, at which point a short-haired woman at the next table asks if I'm Leigh. I glance at the picture of Herman on the inside cover flap. Yes, that is Herman's face. In the photo, she is even wearing the same earrings. But I did not recognize her because her hair was different. In visual intelligence terms, I am sucking.
“The Artist’s Way” in an Age of Self-Promotion By Carrie Battan, May 4, 2016
In 1989, a director named Julia Cameron débuted her first feature film, “God’s Will,” in Washington, D.C. The movie, a romantic comedy about an orphan, did not receive the kind of rave reviews that Cameron had hoped for. One critic from the Washington Post panned it, accusing Cameron of having ripped off most of her dialogue from “Casablanca.” But for Cameron the scathing review became a tool to reinforce a particular world view: artistic people must learn how to emotionally guard themselves against the tides of negativity—both external and internal.
Art Dealers Move Out of the Gallery and Into a Taco Bell
By ALAN FEUER
October 24, 2016Stefania Bortolami still recalls, with cathartic exultation, the moment she decided to display her art in a slower, smaller way. It was May 2015, and Ms. Bortolami, the owner of the Bortolami Gallery in Manhattan, was at the art fair Frieze New York — her sixth such gathering of the year.
“By then, we were fair-exhausted, and the hanging and rehanging of our booths had drained our souls,” she said. “The trigger thought was: ‘I am craving meaning. This is all going too fast to make any sense.’”
When the fair was over, Ms. Bortolami began a series of internal conversations that resulted in a project called “Artist/City,” a continuing effort to move the artists she represents out of her gallery and into the world at large. It was a decision meant to make their work feel less like a packaged product, she said, and “to bring the discourse back to art.”
The received wisdom in the art world these days is that the markets through which artists interact with their audience are becoming more corporate and are increasingly ruled by cold, commercial forces that focus more on the bottom line and branding than on creative innovation.
For at least a decade, mega-galleries like Pace and Gagosian have dominated the fine-art landscape, showing work in Safeway-size spaces and at international branches, as well as at a string of art fairs across the globe. Last year, The Art Newspaper bemoaned this drift toward consolidation: After analyzing 600 art exhibitions in the United States, the publication issued a report that found that nearly a third of all solo museum shows in the country centered on artists represented by five of the world’s biggest galleries.
STEDELIJK MUSEUM AMSTERDAM // Part 1: MANIC / LOVE
Nov. 27, 2016 – Jan. 29, 2017
The exhibition begins with Colored sculpture (2016), Wolfson’s latest animatronic artwork, which is based on the legacy of American pop culture. Wolfson’s work strips back the glossy veneer of the American dream to expose the darker side lurking beneath. The robot’s red hair and freckles recall pop cult characters like Huckleberry Finn, Howdy Doody, and Alfred E. Neuman, the Mad magazine mascot. The boy’s movements are controlled by a computer program as he dangles from heavy chains attached to a steel gantry. The figure floats effortlessly through the space before being thrown bodily to the floor. From time to time, the boy attempts to establish contact with the viewer, but he can never break free from the software which subjects him to torments that viewers experience on an almost visceral level.
Robert Filliou – The Secret of Permanent Creation
ABOUT THE EXHIBITION // In the coming years, M HKA will dedicate a series of exhibitions to key figures of experimental art in the second half of the twentieth century, all of them also important presences in Antwerp in the 1960s and ’70s. We begin with the French poet, playwright, artist and thinker Robert Filliou (1926–1987). This autumn, we mount the first comprehensive survey of his visual oeuvre in Belgium, with more than 100 original works and multiples from public and private collections across Europe.
Laura Vanderkam 04.05.16 5:02 AM
In Charles Duhigg’s new book on productivity, Smarter Faster Better, he devotes a chapter to how innovation happens. The answer? Generally not as lightning out of the blue. One analysis of scientific papers found that the most creative ideas contained deeply conventional ideas, but also combined things in ways that they hadn’t been combined before. One of the researchers on that project, Northwestern University professor Brian Uzzi, told Duhigg, "A lot of the people we think of as exceptionally creative are essentially intellectual middlemen." That is, "They’ve learned how to transfer knowledge between different industries or groups. They’ve seen a lot of different people attack the same problems in different settings, and so they know which kinds of ideas are more likely to work."
So how do you become an intellectual middleman?