Research for an independent study between Kristian Bjornard and Devin Halladay, exploring the synthesis of form and aesthetics, and the ideological context of those syntheses.
what happens when something for all is made to look like something for few?
“To understand why a particular art movement becomes successful under a given set of historical
circumstances require an examination of the specifics of patronage and the ideological needs of the powerful.”
This is the first sentence of the essay by Eva Cockroft “Abstract Expressionism: Weapon of the Cold War.” This
essay was written to disrupt a common myth about art as an innocent, isolated, personal and non-political activity
of self-expression. Cockroft describes how artists took a position that essentially “abdicated responsibility to their
own economic interests and the uses to which their art is put to after entering the market.” Cockroft reminds us that
the project of modernism and modernist art was much more than rejecting Western aesthetic traditions of painting,
drawing, sculpture, printmaking, photography, and promoting the pursuit of art-for-art’s sake.
If we are all constructed, then with the right tools (technology), we can be reconstructed. And beyond this reconstruction, it's about networks and how we connect to others:
"Technology is not neutral. We're inside of what we make, and it's inside of us. We're living in a world of connections - and it matters which ones get made and unmade."
Article by Hari Kunzru, "You are Cyborg," Wired, 1997