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	<title>Comments on: Lilly Ledbetter* Art</title>
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	<link>http://blog.art21.org/2009/02/04/lilly-ledbetter-art/</link>
	<description>The Official Blog of Art21, Inc. and the &#60;i&#62;Art in the Twenty-First Century&#60;/i&#62; PBS series</description>
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		<title>By: What Is To Be Done?* Conversations, Commerce, and Collaborations &#124; Art21 Blog</title>
		<link>http://blog.art21.org/2009/02/04/lilly-ledbetter-art/comment-page-1/#comment-37962</link>
		<dc:creator>What Is To Be Done?* Conversations, Commerce, and Collaborations &#124; Art21 Blog</dc:creator>
		<pubDate>Mon, 17 Oct 2011 16:31:41 +0000</pubDate>
		<guid isPermaLink="false">http://blog.art21.org/?p=2671#comment-37962</guid>
		<description><![CDATA[[...] question “what is to be done?,&#8221; I now look to curator Naomi Beckwith’s Art 21 Blog post Lily Ledbetter*Art, and the ability of the 3R’s of the green revolution– reduce, reuse, and recycle–to affect [...]]]></description>
		<content:encoded><![CDATA[<p>[...] question “what is to be done?,&#8221; I now look to curator Naomi Beckwith’s Art 21 Blog post Lily Ledbetter*Art, and the ability of the 3R’s of the green revolution– reduce, reuse, and recycle–to affect [...]</p>
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		<title>By: Flash Points: Art+Politics, Looking Back &#38; Moving Forward &#124; Art21 Blog</title>
		<link>http://blog.art21.org/2009/02/04/lilly-ledbetter-art/comment-page-1/#comment-10972</link>
		<dc:creator>Flash Points: Art+Politics, Looking Back &#38; Moving Forward &#124; Art21 Blog</dc:creator>
		<pubDate>Wed, 01 Apr 2009 17:08:53 +0000</pubDate>
		<guid isPermaLink="false">http://blog.art21.org/?p=2671#comment-10972</guid>
		<description><![CDATA[[...] arts group, W.A.G.E. (Working Artists and the Greater Economy), which has been advocating for collective action by arts [...]]]></description>
		<content:encoded><![CDATA[<p>[...] arts group, W.A.G.E. (Working Artists and the Greater Economy), which has been advocating for collective action by arts [...]</p>
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		<title>By: On representations of the artist at work (Part 2) &#124; Art21 Blog</title>
		<link>http://blog.art21.org/2009/02/04/lilly-ledbetter-art/comment-page-1/#comment-10654</link>
		<dc:creator>On representations of the artist at work (Part 2) &#124; Art21 Blog</dc:creator>
		<pubDate>Mon, 09 Mar 2009 12:05:13 +0000</pubDate>
		<guid isPermaLink="false">http://blog.art21.org/?p=2671#comment-10654</guid>
		<description><![CDATA[[...] The latter was brought to my attention by Naomi Beckwith&#8217;s recent Art21 blog post, &#8220;Lilly Ledbetter* Art.&#8221; We watched artist Eve Fowler&#8217;s W.A.G.E. RAGE address at the Convergence Center at the Park [...]]]></description>
		<content:encoded><![CDATA[<p>[...] The latter was brought to my attention by Naomi Beckwith&#8217;s recent Art21 blog post, &#8220;Lilly Ledbetter* Art.&#8221; We watched artist Eve Fowler&#8217;s W.A.G.E. RAGE address at the Convergence Center at the Park [...]</p>
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		<title>By: Marc Herbst</title>
		<link>http://blog.art21.org/2009/02/04/lilly-ledbetter-art/comment-page-1/#comment-10394</link>
		<dc:creator>Marc Herbst</dc:creator>
		<pubDate>Tue, 10 Feb 2009 23:32:44 +0000</pubDate>
		<guid isPermaLink="false">http://blog.art21.org/?p=2671#comment-10394</guid>
		<description><![CDATA[I am not a big fan of the political season...
Sure, its great that politics enter museums, but when they enter in programatic ways, it has many limits... just two being the limits of the audience patience and the other the ability for artwork to be understood as something larger then the programatics of the curation. 

Museums should maintain open positions- that said they are limmited not only by their curatorial and institutional limitations, but also by the way in which they create, gather and interact with audiences. As such I am suggesting the very easy position of doing artwork outside of such institutions, in collaboration with scenes, diy spaces, events, community groups etc. Working in dialogue or in residency (even self-appointed residency) with community groups or scenes.

I might not understand you though.

Or I&#039;m I not]]></description>
		<content:encoded><![CDATA[<p>I am not a big fan of the political season&#8230;<br />
Sure, its great that politics enter museums, but when they enter in programatic ways, it has many limits&#8230; just two being the limits of the audience patience and the other the ability for artwork to be understood as something larger then the programatics of the curation. </p>
<p>Museums should maintain open positions- that said they are limmited not only by their curatorial and institutional limitations, but also by the way in which they create, gather and interact with audiences. As such I am suggesting the very easy position of doing artwork outside of such institutions, in collaboration with scenes, diy spaces, events, community groups etc. Working in dialogue or in residency (even self-appointed residency) with community groups or scenes.</p>
<p>I might not understand you though.</p>
<p>Or I&#8217;m I not</p>
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		<title>By: Daniel Quiles</title>
		<link>http://blog.art21.org/2009/02/04/lilly-ledbetter-art/comment-page-1/#comment-10392</link>
		<dc:creator>Daniel Quiles</dc:creator>
		<pubDate>Tue, 10 Feb 2009 20:13:06 +0000</pubDate>
		<guid isPermaLink="false">http://blog.art21.org/?p=2671#comment-10392</guid>
		<description><![CDATA[Marc, could you clarify a bit what you mean? What would it look like were the museum to -not- maintain an open position?

There is a problematic in here with regard to contemporary art institutions, of which the recently passed &quot;political season&quot; is a part-- a homogenization of content and shows around topical events. But perhaps you are getting at something else.]]></description>
		<content:encoded><![CDATA[<p>Marc, could you clarify a bit what you mean? What would it look like were the museum to -not- maintain an open position?</p>
<p>There is a problematic in here with regard to contemporary art institutions, of which the recently passed &#8220;political season&#8221; is a part&#8211; a homogenization of content and shows around topical events. But perhaps you are getting at something else.</p>
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		<title>By: Marc Herbst</title>
		<link>http://blog.art21.org/2009/02/04/lilly-ledbetter-art/comment-page-1/#comment-10387</link>
		<dc:creator>Marc Herbst</dc:creator>
		<pubDate>Mon, 09 Feb 2009 13:42:20 +0000</pubDate>
		<guid isPermaLink="false">http://blog.art21.org/?p=2671#comment-10387</guid>
		<description><![CDATA[To Daniel.
I too am loathe to give up art&#039;s unique open position. I&#039;m arguing for opening up the practice further. Thus, I question (especially in conversations regarding political arts and art in the time of political flux) why art needs the museum to maintain that open position. A does not equal B.]]></description>
		<content:encoded><![CDATA[<p>To Daniel.<br />
I too am loathe to give up art&#8217;s unique open position. I&#8217;m arguing for opening up the practice further. Thus, I question (especially in conversations regarding political arts and art in the time of political flux) why art needs the museum to maintain that open position. A does not equal B.</p>
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		<title>By: Daniel Quiles</title>
		<link>http://blog.art21.org/2009/02/04/lilly-ledbetter-art/comment-page-1/#comment-10375</link>
		<dc:creator>Daniel Quiles</dc:creator>
		<pubDate>Sat, 07 Feb 2009 18:08:08 +0000</pubDate>
		<guid isPermaLink="false">http://blog.art21.org/?p=2671#comment-10375</guid>
		<description><![CDATA[Great blog Naomi. Interestingly I see familiar approaches in the works you show here in relation to the way that some contemporary artists in Argentina (and, I would imagine, throughout the developing world) have been operating for some time. Outside of the limited and conservative market there, artists have indeed been limited to their wits, reusable materials, and what we might call the &quot;neo-arte povera&quot; aesthetic you call attention to. Some artists who come to mind are Patricio Larrambebere, Mariela Scafati, Esteban Alvarez and Tamara Stuby, among many others. 

One quibble (I am an ISPer, after all!)-- I&#039;m a little confused how the Zittel piece is representative of &quot;reduction.&quot; Do you mean the fact that her apartment has very little in it? Because surely in terms of underlying capital a Manhattan beauty such as that is not exactly &quot;more-with-less...&quot; Since Minimalism became part of corporate architecture, this sort of &quot;clean&quot; look has become synonymous with money and taste, no?  

To Marc: artists indeed can and should place their practices in the service of various social agendas and movements. But I would be loathe to give up on art&#039;s uniqueness as an &quot;open&quot; practice, one not fully hemmed in by capital or ideology. No matter how dire things get, asking questions, and doing so in challenging ways, retains value.]]></description>
		<content:encoded><![CDATA[<p>Great blog Naomi. Interestingly I see familiar approaches in the works you show here in relation to the way that some contemporary artists in Argentina (and, I would imagine, throughout the developing world) have been operating for some time. Outside of the limited and conservative market there, artists have indeed been limited to their wits, reusable materials, and what we might call the &#8220;neo-arte povera&#8221; aesthetic you call attention to. Some artists who come to mind are Patricio Larrambebere, Mariela Scafati, Esteban Alvarez and Tamara Stuby, among many others. </p>
<p>One quibble (I am an ISPer, after all!)&#8211; I&#8217;m a little confused how the Zittel piece is representative of &#8220;reduction.&#8221; Do you mean the fact that her apartment has very little in it? Because surely in terms of underlying capital a Manhattan beauty such as that is not exactly &#8220;more-with-less&#8230;&#8221; Since Minimalism became part of corporate architecture, this sort of &#8220;clean&#8221; look has become synonymous with money and taste, no?  </p>
<p>To Marc: artists indeed can and should place their practices in the service of various social agendas and movements. But I would be loathe to give up on art&#8217;s uniqueness as an &#8220;open&#8221; practice, one not fully hemmed in by capital or ideology. No matter how dire things get, asking questions, and doing so in challenging ways, retains value.</p>
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		<title>By: Marc Herbst</title>
		<link>http://blog.art21.org/2009/02/04/lilly-ledbetter-art/comment-page-1/#comment-10368</link>
		<dc:creator>Marc Herbst</dc:creator>
		<pubDate>Fri, 06 Feb 2009 10:27:41 +0000</pubDate>
		<guid isPermaLink="false">http://blog.art21.org/?p=2671#comment-10368</guid>
		<description><![CDATA[ps....

Check out Lee Lozano&#039;s statement as a part of her participation in the Art Worker&#039;s Coalition.

http://www.joaap.org/5/pdfs/awcdocuments%20Folder.1/leelozano.pdf

That sure is some art dreaming.]]></description>
		<content:encoded><![CDATA[<p>ps&#8230;.</p>
<p>Check out Lee Lozano&#8217;s statement as a part of her participation in the Art Worker&#8217;s Coalition.</p>
<p><a href="http://www.joaap.org/5/pdfs/awcdocuments%20Folder.1/leelozano.pdf" rel="nofollow">http://www.joaap.org/5/pdfs/awcdocuments%20Folder.1/leelozano.pdf</a></p>
<p>That sure is some art dreaming.</p>
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		<title>By: Marc Herbst</title>
		<link>http://blog.art21.org/2009/02/04/lilly-ledbetter-art/comment-page-1/#comment-10364</link>
		<dc:creator>Marc Herbst</dc:creator>
		<pubDate>Fri, 06 Feb 2009 09:27:07 +0000</pubDate>
		<guid isPermaLink="false">http://blog.art21.org/?p=2671#comment-10364</guid>
		<description><![CDATA[Hmm. 

Class interests. Do artists share the same interests as the institutions you write about? Are artists allied with all who work for culture, even &quot;progresive culture.&quot; Have we accepted an implicit judgement, internalizing a negative self-image when we wonder why some artists get paid for their work and others have to teach, as the WAGE video expands upon? Is the acceptence of the  &quot;political artists&quot; to any term of participation within a major musuem a capitulation to a system that asks for the semiotic of dissent when that political artist might have better used their skills elsewhere?

What is exciting in WAGE is their demand. Payment for work. I for one feel that in a time of political flux, artists should be going beyond the three R&#039;s and their consumerist mentality and push agendas. So the WAGE call is cool. 

Yet while a cultural czar may be pleasant (ignoring the monarchist notions of the title which are doubly creepy when joined with the notion of state sponsored culture) the radical role of the artists in times like these is to constitute with social groups radical agendas and push push push. Our agenda&#039;s are only as visionary as our agendas and our understanding of art&#039;s (understood as culture&#039;s) ability to challenge and constitute power. 

If we are at the edge of an economic freefall, if we are at the edge of environmental catastrophe- its interesting in the least that the Obama administration has managed (for a few days at least) to keep it together. This is not to question the severity of the crisis, this is not to question the Obama administration&#039;s ability to govern. It is more to question the future social unraveling then redefining that will occur as America faces the end of our capitalist pillowcase, as America sits at the brink of environmental collapse. Artists can sit and idolize their peer&#039;s window dressing on the museums, presenting radical semiotics meant to favorably shake the managerial class who govern with semiotics. At a certain level this work is very affective. But outside those windows is a world that is about to be changed dramatically, they say. 

Artists, cultural workers, stand at the opportunity to be a part of making the new demands and social patterns that will be consituted through of these crisitunities (thank you Bekka Economopolous). We can work in our cohorts among activists and plumbers, bakers and preschool teachers to demand more then fair pay, we can demand the right to sue our employers for wasting our time and wasting the entire planets resources.]]></description>
		<content:encoded><![CDATA[<p>Hmm. </p>
<p>Class interests. Do artists share the same interests as the institutions you write about? Are artists allied with all who work for culture, even &#8220;progresive culture.&#8221; Have we accepted an implicit judgement, internalizing a negative self-image when we wonder why some artists get paid for their work and others have to teach, as the WAGE video expands upon? Is the acceptence of the  &#8220;political artists&#8221; to any term of participation within a major musuem a capitulation to a system that asks for the semiotic of dissent when that political artist might have better used their skills elsewhere?</p>
<p>What is exciting in WAGE is their demand. Payment for work. I for one feel that in a time of political flux, artists should be going beyond the three R&#8217;s and their consumerist mentality and push agendas. So the WAGE call is cool. </p>
<p>Yet while a cultural czar may be pleasant (ignoring the monarchist notions of the title which are doubly creepy when joined with the notion of state sponsored culture) the radical role of the artists in times like these is to constitute with social groups radical agendas and push push push. Our agenda&#8217;s are only as visionary as our agendas and our understanding of art&#8217;s (understood as culture&#8217;s) ability to challenge and constitute power. </p>
<p>If we are at the edge of an economic freefall, if we are at the edge of environmental catastrophe- its interesting in the least that the Obama administration has managed (for a few days at least) to keep it together. This is not to question the severity of the crisis, this is not to question the Obama administration&#8217;s ability to govern. It is more to question the future social unraveling then redefining that will occur as America faces the end of our capitalist pillowcase, as America sits at the brink of environmental collapse. Artists can sit and idolize their peer&#8217;s window dressing on the museums, presenting radical semiotics meant to favorably shake the managerial class who govern with semiotics. At a certain level this work is very affective. But outside those windows is a world that is about to be changed dramatically, they say. </p>
<p>Artists, cultural workers, stand at the opportunity to be a part of making the new demands and social patterns that will be consituted through of these crisitunities (thank you Bekka Economopolous). We can work in our cohorts among activists and plumbers, bakers and preschool teachers to demand more then fair pay, we can demand the right to sue our employers for wasting our time and wasting the entire planets resources.</p>
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		<title>By: Counter Critic</title>
		<link>http://blog.art21.org/2009/02/04/lilly-ledbetter-art/comment-page-1/#comment-10362</link>
		<dc:creator>Counter Critic</dc:creator>
		<pubDate>Thu, 05 Feb 2009 20:06:11 +0000</pubDate>
		<guid isPermaLink="false">http://blog.art21.org/?p=2671#comment-10362</guid>
		<description><![CDATA[You are brilliant. Can you please write every day? And please, please, can we hang out some time?]]></description>
		<content:encoded><![CDATA[<p>You are brilliant. Can you please write every day? And please, please, can we hang out some time?</p>
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