Our website does not support Internet Explorer 9! Please update your browser to continue.
Generation: All of the people born and living at about the same time, regarded collectively; but also—the production and propagation of something, someone, some idea.
Artist Tristan Duke photographs the Placerita Oil FIeld and the Tehachapi Wind Resource Area using lenses make from frozen drinking water. Fulcrum Arts’ Curator, Patrick J. Reed, goes along for the ride.
At his Los Angeles studio, the artist Channing Hansen graciously hosted Fulcrum Arts curator Patrick J. Reed for a conversation about wool, the cosmos, weird topography (and more!), and how these elements come together in his complex, labor-intensive knitted artworks. (Image: The Wilkinson Microwave Anisotropy Probe heat map of temperature fluctuations in the cosmic microwave background. NASA / WMAP Science Team.)
Fulcrum Arts’ Curator, Patrick J. Reed, went to Ars Electronica, where he met the Miami-based, Colombian composer and sound artist Alba Triana, and learned about the essence of everything. This installment marks the first in a series of profiles on artists working with vibration and the ways in which it shapes our world.
Always the question remains as to why a publication is important. The answer is basic to this thing named Sequencing.
An NFT offers a generic something: some thing, neither here nor there, which exists in order to escape being worthless (a born loser). It escapes to the address it is given, and its value is held precisely there.
Written as a kind of trip-report with a posthuman sensibility, Instance Terrain Spread describes experiences that would be incomprehensible in conventional spatial reality, but are easily understood when experienced in a virtual space.
I talk to my cousin Corey Stover on the phone and he teaches me hokšíkilowaŋpi (to sing a lullaby); we are both cruelly out of tune. He is in Oglala Nation, I am in LA, and we perform our distance. He sings to me and I to him, a short melody. I watch LAPD helicopters out the window of 242 East Avenue 41 and compose a short drone.
Despite the conclusion, the museum continues to exhibit the sculpture, claiming that it has acquired a modern cultural identity that transcends “issues of origin and genuineness” and stands as an “icon of the ever-changing perceptions and connoisseurship in the field of pre-Columbian studies.”