Notes on Unmonumental: The object of the 21st Century
This paper seems to reduce sculpture and its history entirely to the realm of the monument without considering the function of the monument outside of material terms, and without considering the function of sculpture historically in non-material terms. In these conditions, all sculptures become monuments, and all monuments become sculptures. I fail to recognize how this is true and especially in a contemporary context. I understand that this is my personal opinion and that it ultimately comes down to definitions of art.
I would argue that the statues, especially the ones that have been recently torn down all around the world, are not inherently art. I can understand that technically, their materiality utilizes sculptural processes, and I understand they may have been considered a work of art when they were first erected, however, I believe they have outlasted their artistic lifespan and have now transitioned into the realm of artifact. It is my opinion that all art eventually goes through this process at varying degrees and that most monuments are created as a kind of artifact, to begin with.
Reducing all large-scale sculpture as monumental is equivalent to saying that all foam-carved theater props are considered art. I am resistant to the idea that all things that utilize sculptural techniques are considered within the artistic field of sculpture because implying this seriously undermines the value and function of art generally, and sculpture as an artistic field is and has always been more than the technical application of materials.
In a world where we are constantly being bombarded by garbage of every kind, from all directions, it makes sense that art would also reflect this, however, I would like to argue that the amount of trash in the world right now is a kind of monument of our time, and the impermanent nature of the work in the text reflects a troubling material relationship we have with the world. I am always happy to witness a contemporary sculptural work with great care and consideration taken both technically and conceptually. I not only believe there is still space for this kind of sculptural work in our contemporary context, but I also consider building something to last in our current cultural climate itself as an act of resistance.
Notes on Awkwardness By Amy Sillman
The term awkwardness implies a sort of friction, and when experienced, it emphasizes the nature of our assumptions and what is considered appropriate and comfortable. Awkwardness is a tension that acts against dominant modes of perception which can surface in various forms, and has the ability to outline and expose these dominant tendencies. In this article, Awkwardness is used as a term to describe ideas about art that goes beyond the usual clumsiness experienced in daily life. It points towards a larger investigation of the process of creating work and a questioning of what it is we are actually looking for, both formally and conceptually. I relate more to the conceptual process.
There are several metaphors used in this article that reference the digestive processes of the body, the distribution of nutrients, and the transfer of energy, which all correspond metaphorically to the practice of art-making. I believe that the most sincere artists who produce work, do so because they are possessed by an inherent curiosity about the world, and art-making becomes an essential tool of exploration. This practice of curiosity is in itself, from my experience, at most times, an extremely awkward situation.
To exist in a reality necessarily founded on basic and collective assumptions, there is comfort in the ability to anticipate the future. There is a required trust that your leg will support your body with every step you take if you are to walk freely and without hesitation. My artistic practice, when it is at its best wanders into these uncomfortable spaces where it becomes impossible to anticipate outcomes, and on a day to day, when immersed in a project, it is unlikely that I will have a clear sense of what kind of work is required. This state of being is incredibly stressful, unpredictable, and awkward in the classical sense, but it is also incredibly exhilarating, generative, highly intuitive, and requires a great degree of attentiveness.
The article describes a zone that is conventionally uncomfortable, yet “feels right” creating a place for art. This is an interesting place because it suggests a realm of infinite possibility, yet it is still intrinsically bound to our psychological and material world. A state of awkwardness can only be awkward if it stands in contrast to the dominant perspective. It is this combination of the potential limitlessness situated within limitations that for me characterizes the work of art.
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