From: Sam Wells (email suppressed)
Date: Wed Jun 28 2006 - 15:06:59 PDT
> But the issue of preservation isn't the same as the one of making art,
Well I think it can be and usually is. Even, say Andy Goldsworthy
whose work is I would say pointedly non-preservable. I mean the point
is argued around his work...
>> How does meaning in art arise from the materials ?
> I don't think meaning arises from anything except people who make
No ideas but in things sez Doc Williams
> Which returns the question of what makes this "good"
> you're talking about, or by implication, what makes a work "bad"?
It's my arbitrary bourgeois white male imperialist value judgement ;-)
That's the bad news, the good news is I'm always right.
I was speaking not of good work / bad work but of -- what of value
(HOPE that word isn't too loaded) - or let's say "of value" (beyond
what they'd gain by skipping the screening and staring at the wall in
Starbucks instead fr'insance) your "interpretation makers" would get
from it, derive from it, be engaged from it..
Now if they're reading Susan Sontag in Starbucks I'm not so sure, but
after a few macchiato lattes they're gonna have to get up sometime.
y'know what I mean ?
I mean form & materials give the interpretive field a geology, no ?
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.