thinkin' about what we make, how we make it, and why
mix of fields
textiles as craft/industry
Report on the Art and Technology Program of the Los Angeles County Museum of Art, 1967 - 1971. Those notes and some places suggest many of the positions Irwin was to consolidate during the '70s for example:
Allowing people to perceive their perceptions - making them aware of their perceptions. We've decided to investigate this and to make people conscious of their consciousness...
If we define art as part of the realm of experience, we can assume that after a viewer looks at a piece, he "leaves" with the art, because the "art" has been experienced. We are dealing with the limits of an experience - not, for instance, with the limits of painting. We have chosen that experience out of the realm of experience to be defined as "art" because having this label it is given special attention. Perhaps this is all "Art" means - this Frame of Mind.
The object of art may be to see the elimination of the necessity of it.
The works of previous artists have come from their own experiences or insights but haven't given the experience itself. They set themselves up as a sort of interpreter for the layman....Our interest is in a form where you realize that the media are just perception.
The experience is the "thing," experiencing is the "object."
All art is experience, all experience is not art. The artist chooses from experience that which you defines out as art, possibly because it has not yet been experienced enough, or because it needs to be experienced more.
All art-world distinctions are meaningless.
Most academic critics live all too acutely the degradation of their environments, even if the highest theorists have been the most insulated from labor exploitation and industrial restructuring. […] The profession of criticism is being disassembled, the ecosystem for thinking is imperiled by rapidly escalating levels of cognitive-compromising carbon, and meanwhile our thought leaders rhapsodize these declinations as “weak theory” and “amateur criticism.”
∆ Anna Kornbluh, Extinct Critique
Why do some people excel in their specific field of interest? Where does inspiration or creativity come from? Is it a function of the brain, the subconscious, the unconscious? Or does creativity flow from some mysterious source we don’t really understand? (p. 15)
Campbell, Don. Creativity: It's not what you think: An artist's journey from mind to heart to the source of all creativity (p. 15). DJ Campbell Enterprises, Inc. Kindle Edition.