[NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

[BishopZ]

These are the ones I tagged:


! Roman Cieslewicz



Martin Woodtli, Videoex, 2013.

Sebastian Onufszak

Holly Herndon and Mat Dryhurst – Mask Magazine

Benedict Singleton

SOTW “PRISMATIC” Bumper (by Max Hattler)

Studio Dumbar: Amsterdam Sinfonietta Visual Identity & Posters

Ben Jones Video Paintings: An introduction - Artist Studio - MOCAtv

二〇一三年賀狀展 Exhibition of Greeting Cards 2013 by Chae Byung-rok 채병록

Party Face by Drew Flaherty

The spring-summer 2015 issue from Garage Magazine

Japanese Poster: Space of Confusion. Exhibition.

Pattern Graphics - Akiko (Studio Kanna)

Herbert Bayer - Self portrait

Posters by Fermin Guerrero

Cocinas Corona - For Newspaper by Felipe Salazar

Geoffrey Lillemon, MOCA L.A Bernhard Willhelm 3000

Geoffrey Lillemon Girls Night- Video Art, 2015

Alex Tew launched The Million Dollar Homepage 10 years ago

Jake Vogds

Harper’s Bazaar, April 1965. Photographer: Richard Avedon. Model: Jean
Shrimpton

*Body Politics Take Front and Center at Volta NY Art Fair*

Berlin-based artist Pierre Schmidt, also known as Drømsjel

Can Pekdemir Quadruped Resisting 2013

Shifting Folds, 2012, Orlan



On Thu, Apr 28, 2016 at 11:00 PM, Rob Myers <rob at robmyers.org> wrote:

> On 24/04/16 01:49 PM, Pall Thayer wrote:
> > It just occurred to me that this artwork has already been suggested by
> > Kurt Vonnegut in Rabo Karabekian's "Windsor Blue Number Seventeen".
> >
> > On Sun, Apr 24, 2016 at 2:18 PM Pall Thayer <pallthay at gmail.com
> > <mailto:pallthay at gmail.com>> wrote:
> >
> >     Based on my understanding of Accelerationism, I would think that the
> >     ideal "Accelerationist" artwork would be work that you get typical
> >     art-investors to pay a shit-load of money for but that is inherently
> >     ephemeral so that no portion of the original "investment" can ever
> >     grow or even be recouped.
>
> The art market recuperates the ephemeral (and even the actively hostile)
> and turns doing so into a mechanism of exclusivity.
>
> Whether it's carefully recovered documentation and certificates, or
> restricted access to remote locations and fleeting events, exclusivity
> is a source of value in the art market.
>
> So trying to not create, or to actively destroy, value in the art market
> is a good way of creating value in the art market. This is a challenge
> for epistemic accelerationists seeking to exit the contemporary artworld...
>
> An ideal Accelerationist artwork would have been the Guerilla Girls'
> proposal for a gallery to make its finances public as "the work" (the
> gallery declined). It would have been a critical exposure of knowledge
> about the art world, enabling us to understand more about it, and was
> entirely indigestible by it, making it something other than Contemporary
> Art.
>
> _______________________________________________
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>



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