福居伸宏 Nobuhiro Fukui https://fknb291.info/

Robert Irwin (artist) - Wikipedia, the free encyclopedia

Robert Irwin (born September 12, 1928) is an American Installation artist. He lives and works in San Diego, California.

Robert Irwin was born in 1928 in Long Beach, California to Robert Irwin and Goldie Anderberg Irwin. After serving in the United States Army from 1946 to 1947, he attended several art institutes: Otis Art Institute in Los Angeles from 1948 to 1950, Jepson Art Institute in 1951, and Chouinard Art Institute in Los Angeles from 1952 to 1954. He spent the next two years living in Europe and North Africa. Between the years 1957-1958, he taught at the Chouinard Art Institute.


Watch: Exhibitions: Lawrence Weschler on Robert Irwin | Whitney Museum of American Art

Watch: Exhibitions: July 11, 2013 Lawrence Weschler on Robert Irwin | Whitney Museum of American Art

Watch: Exhibitions: July 25, 2013 Robert Irwin in Conversation with Donna De Salvo | Whitney Museum of American Art

ジェームズ・タレルロバート・アーウィンの未来への貢献: 美術裏話

◇ [現在通信 From NEW YORK] : 空間を見るために=富井玲子 | Art Annual online

Dia:Beacon - Wikipedia, the free encyclopedia

Dia collaborated with American artist Robert Irwin and architect OpenOffice to formulate the plan for the museum building and its exterior setting. The grounds include an entrance court and parking lot with a grove of flowering fruit trees and a formal garden, both of which were designed by Irwin. The adjacent Long Dock Park on the Hudson River has a site-specific work by environmental sculptor George Trakas.[2]


Light and Space - Wikipedia, the free encyclopedia

Light and Space denotes a loosely-affiliated art movement related to op art, minimalism and geometric abstraction originating in Southern California in the 1960s and influenced by John McLaughlin.[1] It was characterized by a focus on perceptual phenomena, such as light, volume and scale, and the use of materials such as glass, neon, fluorescent lights, resin and cast acrylic, often forming installations conditioned by the work's surroundings. Whether by directing the flow of natural light, embedding artificial light within objects or architecture, or by playing with light through the use of transparent, translucent or reflective materials, Light and Space artists made the spectator’s experience of light and other sensory phenomena under specific conditions the focus of their work.[2] They were incorporating into their work the latest technologies of the Southern California based engineering and aerospace industries to their develop sensuous, light-filled objects.[3]

The nature of the works was reflected in the title of the exhibition at UCLA which introduced the emerging movement in 1971: "Transparency, Reflection, Light, Space".[4] The show presented the work of Peter Alexander, Larry Bell, Robert Irwin, John McCracken and Craig Kauffman. Other artists associated with the movement are Ron Cooper, Mary Corse, Bruce Nauman, Maria Nordman, Eric Orr, Helen Pashgian, Marcia Roberts, James Turrell, DeWain Valentine, and Doug Wheeler.[5][6] A famous group of abstract color theory artists were influenced by the Light and Space Movement, notably: Frederick Spratt,[7] Phil Sims, Anne Appleby, and David Simpson. Notable contemporary and emerging female artists inspired by the Light and Space Movement include Jennifer Steinkamp and Sophia Collier.


Edward Ruscha - Wikipedia, the free encyclopedia

Edward Joseph Ruscha IV (roo-SHAY; born December 16, 1937) is an American artist associated with the pop art movement. He has worked in the media of painting, printmaking, drawing, photography, and film. Ruscha lives and works in Culver City, California.[1]

Ruscha was born into a Roman Catholic family in Omaha, Nebraska, with an older sister, Shelby, and a younger brother, Paul. Edward Ruscha, Sr. was an auditor for Hartford Insurance Company. Ruscha’s mother was supportive of her son’s early signs of artistic skill and interests. Young Ruscha was attracted to cartooning and would sustain this interest throughout his adolescent years. Though born in Nebraska, Ruscha lived some 15 years in Oklahoma City before moving to Los Angeles in 1956 where he studied at the Chouinard Art Institute (now known as the California Institute of the Arts) under Robert Irwin and Emerson Woelffer from 1956 through 1960. While at Chouinard, Ruscha edited and produced the journal "Orb" (1959–60) together with Joe Goode, Emerson Woelffer, Stephan von Huene, Jerry McMillan, and others.[2] Ruscha spent much of the summer of 1961 traveling through Europe. After graduation, Ruscha took a job as a layout artist for the Carson-Roberts Advertising Agency in Los Angeles.

By the early 1960s he was well known for his paintings, collages, and photographs, and for his association with the Ferus Gallery group, which also included artists Robert Irwin, John Altoon, John McCracken, Larry Bell, Ken Price, and Edward Kienholz. He worked as layout designer for Artforum magazine under the pseudonym “Eddie Russia” from 1965 to 1969 and taught at UCLA as a visiting professor for printing and drawing in 1969. He is also a lifelong friend of guitarist Mason Williams.

Early influences
While in school in 1957, Ruscha chanced upon then unknown Jasper Johns’ Target with Four Faces in the magazine Print and was greatly moved. Ruscha has credited these artists’ work as sources of inspiration for his change of interest from graphic arts to painting. He was also impacted by Arthur Dove’s 1925 painting Goin’ Fishin’, Alvin Lustig's cover illustrations for New Directions Press, and much of Marcel Duchamp’s work. In a 1961 tour of Europe, Ruscha came upon more works by Johns and Robert Rauschenberg, R. A. Bertelli’s Head of Mussolini, and Ophelia by Sir John Everett Millais. Some critics are quick to see the influence of Edward Hopper's Gas (1940) in Ruscha's 1963 oil painting, Standard Station, Amarillo, Texas.[4] In any case, "Art has to be something that makes you scratch your head," Ruscha said.

Word paintings
As with Andy Warhol and Roy Lichtenstein, his East Coast counterparts, Ed Ruscha’s artistic training was rooted in commercial art. His interest in words and typography ultimately provided the primary subject of his paintings, prints and photographs.[12] The very first of Ruscha's word paintings were created as oil paintings on paper in Paris in 1961.[13] Since 1964, Ruscha has been experimenting regularly with painting and drawing words and phrases, often oddly comic and satirical sayings alluding to popular culture and life in LA. When asked where he got his inspiration for his paintings, Ruscha responded, “Well, they just occur to me; sometimes people say them and I write down and then I paint them. Sometimes I use a dictionary.” From 1966 to 1969, Ruscha painted his “liquid word” paintings: Words such as Adios (1967), Steel (1967–9) and Desire (1969) were written as if with liquid spilled, dribbled or sprayed over a flat monochromatic surface. His gunpowder and graphite drawings (made during a period of self-imposed exile from painting from 1967 to 1970)[14] feature single words depicted in a trompe l’oeil technique, as if the words are formed from ribbons of curling paper. Experimenting with humorous sounds and rhyming word plays, Ruscha made a portfolio of seven mixed-media lithographs with the rhyming words, News, Mews, Pews, Brews, Stews, Dues, News (1970).[15]

In the 1970s, Ruscha, with Barbara Kruger and Jenny Holzer, among others, began using entire phrases in his works, thereby making it a distinctive characteristic of the post-Pop Art generation.[16] During the mid-1970s, he made a series of drawings in pastel using pithy phrases against a field of colour.[17] In the early 1980s he produced a series of paintings of words over sunsets, night skies and wheat fields. In the photo-realist painting Brave Men Run In My Family (1988), part of the artist's "Dysfuntional Family" series, Ruscha runs the text over the silhouetted image of a great, listing tall ship; the piece was a collaboration with fellow Los Angeles artist Nancy Reese (she did the painting, he the lettering).[18] In a series of insidious small abstract paintings from 1994–95, words forming threats are rendered as blank widths of contrasting color like Morse code.[19] Later, words appeared on a photorealist mountain-range series which Ruscha started producing in 1998.[20] For these acrylic-on-canvas works, Ruscha pulled his mountain images either from photographs, commercial logos, or from his imagination.[21]

From 1980, Ruscha started using an all-caps typeface of his own invention named ”Boy Scout Utility Modern” in which curved letter forms are squared-off (as in the Hollywood Sign)[22] This simple font which is radically different from the style he used in works such as Honk (1962).[23] Beginning in the mid-1980s, in many of his paintings black or white ‘blanks’ or ‘censor strips’ are included, to suggest where the ‘missing’ words would have been placed. The ‘blanks’ would also feature in his series of Silhouette, Cityscapes or ‘censored’ word works, often made in bleach on canvas, rayon or linen.[24]


◇ Oral history interview with Edward Ruscha, 1980 October 29-1981 October 2 - Oral Histories | Archives of American Art, Smithsonian Institution

Arthur Dove - Wikipedia, the free encyclopedia

Arthur Garfield Dove (August 2, 1880 – November 23, 1946) was an American artist. An early American modernist, he is often considered the first American abstract painter.[1] Arthur Dove used a wide range of media, sometimes in unconventional combinations to produce his abstractions and his abstract landscapes. Me and the Moon[2] from 1937 is a good example of an Arthur Dove abstract landscape and has been referred to as one of the culminating works of his career.[3] Dove did a series of experimental collage works in the 1920s.[4] He also experimented with techniques, combining paints like hand mixed oil or tempera over a wax emulsion as exemplified in Dove's 1938 painting Tanks, in the collection of the Boston Museum of Fine Arts.[5]


◇ Arthur G. Dove - Goin' Fishin' - The Phillips Collection

Artforum - Wikipedia, the free encyclopedia

Artforum was founded in 1962 in San Francisco by John P. Irwin, Jr. The next publisher/owner Charles Cowles moved the magazine to Los Angeles in 1965 before finally settling it in New York City in 1967, where it maintains offices today. The move to New York also encompassed a shift in the style of work championed by the magazine, moving away from California style art to Late modernism, then the leading style of art in New York City. The departure of Philip Leider as editor-in chief in 1971; and the tenure of John Coplans as the new editor-in chief roughly coincided with a shift towards more fashionable trends and away from Late modernism. A focus on Minimal Art, Conceptual Art, Body art, Land art and Performance art provided a platform for artists such as Robert Smithson, Donald Judd, Sol LeWitt and others. In 1980 after opening his own gallery in New York City Charles Cowles divested himself of the magazine. Sister magazine Bookforum was started in 1994.


October (journal) - Wikipedia, the free encyclopedia

October was established in 1976 in New York by Rosalind E. Krauss and Annette Michelson, who left Artforum to do so. Its name is a reference to the Eisenstein film[1] that set the tone of intellectual, politically engaged writing that has been the hallmark of the journal. The journal was a participant in introducing French post-structural theory on the English-speaking academic scene. Jeremy Gilbert-Rolfe, one of the co-founders of the journal, withdrew after only a few issues, and by the spring of 1977, Douglas Crimp joined the editorial team. In 1990, after Crimp left the journal, Krauss and Michelson were joined by Yve-Alain Bois, Hal Foster, Benjamin H. D. Buchloh, Denis Hollier, and John Rajchman.[2]


Ferus Gallery - Wikipedia, the free encyclopedia

The gallery was founded in 1957 by the curator Walter Hopps, the artist Edward Kienholz, and the poet Bob Alexander behind an antiques store on La Cienega Boulevard. In 1958, Kienholz left to concentrate on producing art, and his stake in the gallery was replaced by Irving Blum. Also at this time, Sayde Moss, a wealthy widow, became a silent partner and with her support the gallery moved across the street to 723 N. La Cienega Boulevard.[1][2]

Up until the autumn of 1958, the gallery held twenty shows, but had made hardly any sales. Blum persuaded Hopps to reduce the number of represented artists to fourteen (seven from San Francisco and seven from Los Angeles) and transformed the financial health of the gallery.

Under the directorship of Irving Blum from 1958, the gallery exhibited both the West Coast and New York art of the period. It was the first gallery on the West Coast to devote a solo show to Andy Warhol, whom Blum had first met in New York in 1961. Blum also ventured to show other East Coast artists, including Jasper Johns, Roy Lichtenstein, and Frank Stella.[3] Finish Fetish—a style that emphasized gleaming surfaces—and Light and Space—art about perception—were other Ferus-bred styles that allowed L.A. to distinguish itself from the rest of the art world.[4] Artist Ed Ruscha has likened the gallery to a jazz catalog "where there are a lot of different voices under the same record label. Each had a very distinctive take on the world and on his work, and so that made it a very vital place to aspire to and to be."[5]

From 1960 to 1964, art collector Marcia Simon Weisman hosted monthly proselytizing classes for novice collectors, taught by Blum and Hopps.[6] Committed local art collectors such as Robert Rowan, Edwin Janss, Betty Asher, and author Michael Blankfort were loyal clients.[5]

Hopps left in 1962 to become curator and, later, director of the Pasadena Art Museum. Ferus closed in 1967 when Blum sought "a financial leg up" by opening Ferus/Pace with Arne Glimcher, owner of New York's Pace Gallery.[5] That venture lasted less than two years. Blum operated the Irving Blum Gallery until his departure for New York City in 1972 where in partnership with Joseph Helman he opened the BlumHelman Gallery; he returned full-time to Los Angeles in 1998 as a private dealer.[5] From 1965, the offices of the art magazine Artforum were situated above the gallery, before moving to New York City in 1967.

The inaugural exhibition at the Ferus Gallery was Objects on the New Landscape Demanding of the Eye (March 15 - April 11, 1957), a group show including the work of Frank Lobdell, Jay DeFeo, Craig Kauffman, Richard Diebenkorn, John Altoon and Clyfford Still. Sonia Gechtoff was also in that show in addition to being the first artist to have a solo show at Ferus, in 1957.[7]

In 1957, the gallery was temporarily closed after LAPD officers arrested and charged Wallace Berman with obscenity over work in his exhibition. It was his first and last solo show.

In 1962, Andy Warhol: Campbell's Soup Cans was Andy Warhol's first solo pop art exhibition and the first exhibition of the Soup Cans. Five of the canvases sold for $100 each, but Blum bought them back to keep the set intact.[8]

Los Angeles artists who had their first solo shows at the gallery included: Wallace Berman (1957), Billy Al Bengston (1958), Ed Moses (1958), Robert Irwin (1959), John Mason (1959), Kenneth Price (1960), Llyn Foulkes (1962), Larry Bell (1962) and Ed Ruscha (1963).


Big Think Interview with Arne Glimcher - YouTube


◇ ARTINFO Video: Pace Founder Arne Glimcher on the Past — and Future — of His Gallery - YouTube

◇ Pace's Arne Glimcher on Rothko, Robert Ryman, and Agnes Martin - YouTube

◇ Agnes Martin: Arne Glimcher in conversation with Frances Morris - YouTube

◇ Pace Gallery Founder Arne Glimcher on Agnes Martin: Video - Bloomberg

Turner Prize 2014 | Tate

Duncan Campbell
Ciara Phillips
James Richards
Tris Vonna-Michell

Stefan Kalmár, Executive Director and Curator, Artists Space,New York
Helen Legg, Director, SpikeIsland, Bristol
Sarah McCrory, Director, Glasgow International
Dirk Snauwaert, Artistic Director, Wiels, Brussels
The jury is chaired by Penelope Curtis, Director of Tate Britain


◇ 30周年の節目を迎えたターナー賞 その功績と今年の傾向は? | ブリティッシュ・カウンシル 日本




Maria Eichhorn “Curtain (Jeans)” - Ecrit d'Art: <見た!訊いた!書いた!> 毎週水曜日に最新更新! すべてのアート関係者にとって、活きた価値あるメッセージをお伝えします



◇ Maria Eichhorn “Prohibited Imports” - Ecrit d'Art: <見た!訊いた!書いた!> 毎週水曜日に最新更新! すべてのアート関係者にとって、活きた価値あるメッセージをお伝えします

5/13 – 6/14, 2003〈展示作品〉

  • 輸入禁制品 2003 本、本棚 47.2×76.7×38.2cm
  • 関税関係基本通達集 平成14年度版 日本関税協会 ISBN4-88895-253-1
  • 検証・日本国憲法 理念と現実 [3訂版] 憲法教育研究会編 法律文化社 ISBN4-589-02059-9
  • 憲法学III人権各論 (1) [増補版] 芦田信喜 有斐閣 ISBN4-641-12887-1
  • [新版] 憲法解釈の論点 内野正幸 日本評論社 ISBN4-535-51103-9
  • 憲法判例集 [第7版] 野中俊彦・江橋崇編著 有斐閣新書 ISBN4-641-09150-1
  • ジュリストNo. 1144 1998 11月1日号 有斐閣 ISSN0448-0791
  • ジュリスト増刊 憲法の争点(新版)法律学の争点シリーズ2 小嶋和司 有斐閣
  • 骰子DICE Between Rough and Ice No. 9 1995, 4 UPLINK
  • 骰子N-28 河出書房新社 ISBN4-309-90428-9
  • なぜ「表現の自由」か 奥平康弘 東京大学出版 ISBN4-13-031134-4
  • 新・判例コメンタール 日本国憲法�前文・天皇・戦争の放棄・国民の権利及び義務(1) ◎前文−21条 浦田賢治・大須賀明編 三省堂 ISBN4-385-31487-X
  • 日本国憲法資料集 第3版 樋口陽一大須賀明 三省堂 ISBN4-385-31350-4
  • 判例時報 平成11年6月1日号 No. 1670 判例時報社 ISSN0438-5888
  • 表現の自由の法理 市川正人 日本評論社 ISBN4-535-51362-7
  • 模範六法 <2001> 平成13年版 判例六法編修委員会 三省堂 ISBN4-385-15728-6
  • Constitutional Law of Japan, Prof. Hiroyuki Hata, Prof. Go Nakagawa, Kluwer Law International, 1997 ISBN: 9041104852
  • The Japanese Legal System Introdoctory Cases and Materials, Hideo Tanaka, Malcolm D. H. Smith, University of Tokyo Press ISBN: 4-13-036017-5
  • faemininmasculin Le sexe de l’art, Gallimard/Electa, Centre Georges Pompidou, 1995 ISBN: 2-85850-827-5
  • Women, AIDS & Activism, The Act up/NY Women & AIDS Book Group, 1990 ISBN: 0-89608-393-4
  • AIDS Cultural Analysis Cultural Activism, Douglas Crimp, The MIT Press, 1989 ISBN: 0-262-5379-1
  • AIDS DEMO GRAPHICS, Douglas Crimp, Adam Rolston, Bay Press, 1990 ISBN: 0-941920-16-X
  • Jodie Foster A Life of Screen, Philippa Kennedy, Birch Lane Press, 1996 ISBN: 1-55972-348-3
  • Mary Kelly Imaging Desire, The MIT Press, 1996 ISBN: 0-262-11214-0
  • The Lure of the Local Sense of place in a multicentered society, Lucy R. Lippard, The New Press, 1997 ISBN: 1-56584-247-2
  • David Lynch Images, Schirmer/Mosel, 1994 ISBN: 3-88814-746-8
  • Naomi Naomi Campbell, Schirmer/Mosel, 1996 ISBN: 3-88814-825-1
  • Mapplethorpe Die Grosse Werkmonographie, Arthur C. Danto, Schirmer/Mosel, 1992 ISBN: 3-88814-489-2
  • Mapplethorpe Die Grosse Werkmonographie, Arthur C. Danto, Schirmer/Mosel, 1992 ISBN: 3-88814-489-2


◇ Maria Eichhorn “Curtain (Red)” - Ecrit d'Art: <見た!訊いた!書いた!> 毎週水曜日に最新更新! すべてのアート関係者にとって、活きた価値あるメッセージをお伝えします

3/23 – 29, 2002



「カーテン(レッド)」は1989年に、ベルリンのヴィンツェンツ・サーラ・ギャラリーで、展に展示された。「カーテン(グレー)」は、作品「カーテン(グレー)」/マルガレーテ・アルブレヒト、マリウス・バビアス、クヌート・バイヤー、ゲルティ・フィーツェク、ハインリ・ヴェルナー・ラーヴォ、ライナー・マツカー作の六篇のテクスト(1989/1991)」の部分である。「カーテン(ローザ)」は1991年に、リガのアルセナール美術館で、美術館インテリアの構成部分として実現された。「カーテン(ホワイト)」は、白地に白の壁塗装の形で、1992年にヴィーン・ゼツェッシオーンで実施された。「カーテン(イエロー)」は、シドニー現代美術館のバルコニーで1992年に実現された。「カーテン(ベージュ)」は、作品「カーテン(ベージュ)/マリア・デ・コラル展ドキュメンテイション/美術館図書室用に合成」の部分で、マドリードのレイナ・ソフィア美術館で実現されている。「カーテン(ブラウン)」は1995年に「ゲオルゲブレヒト作Chair Events/ジョン・ケイジ作33 1/3/ジョージ・マチューナス作フルックス・ピンポン」展の部分として、コペンハーゲンのスザンネ・オッテセン・ギャラリーで展示された。「カーテン(ジーンズ)」は作品「カーテン(デニム)/」藤田祐幸、大林ミカによる講演」の部分であり、東京のハヤカワマサタカギャラリー(1997年)とCCA北九州で1998年に実現された。「カーテン(無煙炭)」と「カーテン(オレンジ)」は、2001年にエッセンのコーケライ・ツォルフェラインで展示された。


◇ Masataka Hayakawa Gallery

◇ 早川昌孝(@EcritdArt)さん | Twitter

Andy Warhol - Velvet Underground (Documentary) - YouTube

A small part about The Velvet Underground from "Andy Warhol - A Documentary Film [PBS American Masters]".

バルーン作品(Silver Clouds [Silver Flotations] http://youtu.be/65obeVlgD9E)のうちの一つを空に放つ映像あり。

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◇ plastic bag into the sky, test shooting at boston - YouTube

2004, koki tanaka,
another version of this work for youtube


◇ 10+1/美術館研究――5[田中功起青木淳

青木──たしかに、ニューヨークでの作品には、その町の自然な感じが出ていますね。歩道にキャビアをおいて鳩が食べるまでの映像《鳩にキャビア》や、寝室を撮っていてしばらくするとトイレットぺーパーが落ちてくる映像《ワン・ベッド・ルーム》とか。滝の落下する水でサラダボールを回転させ野菜を混ぜる作品《滝を使ってサラダを作る》はともかく、特に、ビニールの買い物袋が風船みたいに飛んでいく作品《Plastic bags into the sky》は、ニューヨークを感じさせます。
田中──例えば《Plastic bags into the sky》では最後にヘリウムが抜けてその買い物袋が落ちてくるのですが、その公園にたまたま居合わせた街の人が、──ゴミと間違えたのかどうかわかりませんが──それをジャンプしてキャッチするシーンを使ってます。鳩がキャビアを食べるのかどうかもそうですが、本当になすがままですね。映像にはなにか偶然の成りゆきみたいなものが映り込む可能性がある。そして、そこで起きていることを起きているままに見せたいということもあります。映像はすごく即物的だから見ている人はそこで起きていることを起きていることとして受けとりやすいですよね。考える間もなく映像は先に行ってしまうから。ぼくは、いままでの作品ではひとつのシーンを操作して映像が延々とループするというものをつくっていたのですが、逆にいまは、なすがまま、あるがままといったものに可能性を感じています。


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ICC ONLINE | アーカイヴ | 2003年 | E.A.T.──芸術と技術の実験 | コラボレーション作品 | 《銀の雲》

 本作品が発表された1966年は,ウォーホルらのサイケデリックなパフォーマンスがニューヨーカーをダウンタウンに引き寄せていた時期であったが,彼は,今度は反対側のアップタウン(レオ・キャステリ画廊)の個展で発表したのだった.入って正面の部屋には,数ダースのヘリウムを詰められた銀色のバルーンで占められ,もう一つの部屋は,ピンクの牝牛の頭部が反復する壁紙のみ.バルーンは,90センチから120センチ位の高さで舞いながら,その光る表面に周囲の空間を歪めながら映していた.一群は気流や室温変化や静電気に影響されて終わりなく動き回る.限定されない動きや重力への抵抗は,60年代のキネティック・アートやカルダ−のモビールと関係し,ぷっくりとした形や柔軟さはオルデンバーグの「ソフト・スカルプチャー」とも近い.観客は浮遊している様を見るために軽く触れるよう誘われるが,この雲の誘惑は「観客参加」のアフォーダンスとなる.ふわふわ浮き,ランダムに動く雲に魅力を感じたマース・カニングハムは,《レインフォレスト》(1968年)で,浮き上がる舞台装飾として使用した.予想以上の気ままな雲の動き.舞台の外へ去って行ってしまわないように,結局,雲はひもでつながれてしまった[*]. [上神田敬]



最近しばしば目にするようになった「体験型」「参加型」とうたわれる作品であるが、その定義はと言われると定かではない。そもそも作品というものは、ある時空において、そのものと対面するという体験において成立するものであると考えるならば、作品に対して「体験型」という形容を与えるのは同語反復であるし、見る者が積極的に参加することなく味わえる作品などというものも成立するはずがない。にもかかわらずこのような表現が成立する背後には、目で見るという行為が、主体的なものでありながらも、その能動性を意識しにくいため、ともすれば積極的な行動と認識されないことがあるだろう。基本的に視覚によって成立する造形芸術が、その視覚への依存ゆえに、見られがたきものとなる皮肉な状況が存在するのである。 コンピュータに代表される機械技術の発達にともない、相互応答型のコミュニケーションが実用性を帯び、キャッシュ・ディスペンサーからゲームにいたるまで、さまざまな領域に応用されて日常生活に浸透したことは、視覚のみによる情報の往還に立脚する作品の鑑賞を困難なものにする傾向に拍車をかけている。



中原浩大は、自分自身の存在と世界との関係を問うことから、必然的に体験を要請する作品を制作している。また、山崎亨の作品は、観者あるいはむしろ作者自身と関係を問い掛けるなかで、押すとか回すなどの行為を内在させる結果となっている。森村泰昌+山崎亨+近藤滋による《彫刻コスチューム》にもつながる姿勢であるが、これは一言では形容しがたい代物である。同じく、まずは作者自身が搭乗して使うという生活上の必要から生まれてきたとされる、ヤノベケンジの粗雑さを偽装した一連の作品は、作った人間が芸術大学を出ていたからとか、画廊や美術館で発表されたからという皮相な局面を蹴倒して、「作品」と呼んでやらなければほかにどうも把握のしようのない、のっぴきならなぬ存在物である。DUMB TYPEについて、筆者は残念ながらほとんど実見していないので、名前を挙げる必要があるだろうと思うだけにしておく。松井智惠と石原友明によるミッション・インヴィジブル(5月13日まで新装なったGallery KURANUKIで展示されている)は、トラックボールの操作を介在させることによって、作品とそれを見るという行為を意識に上らせる装置を発表している。


John Baldessari - Parse - jrp-ringier.com

The poetic of the fragment

John Baldessari (*1931) is a key proponent of Conceptual art and one of the most important figures in contemporary art of the last forty years. Since his sensational "Cremation Project" in 1970, which involved burning all the paintings he had made between 1953 and 1966, his work has revolved around the relationships between language and image as forms of expression. In his painting, photography, film/video, collage, and reliefs, Baldessari explores the mechanisms of media representation, as well as the subject of artistic work itself. Early on, Baldessari began integrating images and text from advertising and movies into his works and building up a large archive of film stills, publicity, and press photographs. This image material is then contrasted, cropped, and processed in numerous variations and visual realizations. From 1980, the artist worked mostly without text in series of photographs and pictures, while continuing to deal with conflicts and constructions of narrative content. Over the course of his oeuvre, overpainting, voids, gaps, and withheld information increasingly take on the function of the language evoked within the viewer.

For this book, John Baldessari has developed a sequence of incomplete, cut-out, and mysterious images, which leads to a construction of meanings and stories. We make our way through pages of fragments from B-movie stills—grouped by the artist into compelling layouts—to a second chapter with "complete" pictures. Juggling with themes of composition, omission, and the creation of rhythm, using fragmented visual information, John Baldessari references the way information and its construction is generally handled in this original artist's book.

Limited edition.


米グーグル会長、「Don’t be evil」は愚かなルールだと発言 | GGSOKU - ガジェット速報

グーグルの会長を務めるエリック・シュミット氏は、NPR(National Public Radio)の番組の中で、グーグルのスローガン ”Don’t be evil.(悪をなさない)” は愚かなルールであると発言しています。 ”悪” の定義が明確でなく、プロジェクトの邪魔になってしまうからであるとのこと。

“Don’t be evil” はグーグルが創業初期の頃に表明していた「悪をなさない」という意味のスローガンです。近年グーグルは、同社サービスによる個人情報の収集や、プライバシーポリシーの改定など、そのモットーに反する行動をしているのではないかとの見方を一部でされており、話題になっていました。
シュミット氏がこのスローガンに否定的なのは、 ”悪” の定義があいまいすぎるという理由があるとのこと。一般に、大多数が ”悪” ととらえることがこれに該当するのだろうと見方を示していますが、その線引きは明らかでないとしています。また、新サービスや新製品のプロジェクトを進める上で、エンジニアのうちひとりでも「それは悪だ」と発言してしまうと、プロジェクトそのものではなく「悪かそうでないか」ということに注力をおいてしまい、計画自体はストップしてしまうとしています。


◇ Don't be evil - Wikipedia, the free encyclopedia

"Don't be evil" is the formal corporate motto (or slogan) of Google.[1][2] It was first suggested either by Google employee Paul Buchheit at a meeting about corporate values that took place in early 2000[3] or in 2001[4] or, according to another account, by Google engineer Amit Patel in 1999.[5] Buchheit, the creator of Gmail, said he "wanted something that, once you put it in there, would be hard to take out", adding that the slogan was "also a bit of a jab at a lot of the other companies, especially our competitors, who at the time, in our opinion, were kind of exploiting the users to some extent."[3] While the official corporate philosophy of Google[6] does not contain the words "Don't be evil", they were included in the prospectus (on Form S-1) of Google's 2004 IPO (a letter from Google's founders, later called the "'Don't Be Evil' manifesto"): "Don’t be evil. We believe strongly that in the long term, we will be better served — as shareholders and in all other ways — by a company that does good things for the world even if we forgo some short term gains."[7] The motto is sometimes incorrectly stated as Do no evil.[4][8]


秘密指定、検証役に検事 「管理監」独立性疑問も - 47NEWS(よんななニュース)




2014/11/16 02:00 【共同通信


[資料 2014-11-16]

◇ Nobuhiro Fukui 2014年9月1日 - Twitter

再度:【Oldサヨクの衰退 宮台、東、片山、萱野】http://youtu.be/dapWxHcw6nQ  ※結構重要なことが語られていたトーク。萱野さんの最重要フレーズがどこだったか思い出せず。http://j.mp/1q29bhu  http://j.mp/1q29cCd


◇ Nobuhiro Fukui 2014年8月16日 - Twitter

“実存の問題を社会の問題と混同する輩”http://youtu.be/CSChgiTudfA#t=31m25s … 【小林よしのりさん、萱野稔人さんと、鼎談しました。宮台発言の一部抜粋です。 - http://MIYADAI.com Blog】http://j.mp/1nWIcyp


◇ Nobuhiro Fukui 2014年3月10日 - Twitter

日本国の宿痾である前近代性。【原発事故で露呈した、敗戦から何も学んでいなかった日本 - マル激】http://j.mp/1im02ty ※Mar 8, 2014 【「愚民社会」大塚英志×宮台真司http://youtu.be/U8EUVKo38EY ※Jan 30, 2012


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◇ Nobuhiro Fukui 2013年10月21日 - Twitter

このドキュメンタリーは必見。【The Century of the Self 自我の世紀】http://j.mp/17iI9WI  http://j.mp/17iIhWp  ※http://j.mp/1i7jlFz  http://j.mp/1i7jskB


◇ Nobuhiro Fukui 2013年5月1日 - Twitter

【日本のTV報道がいかに腐っているか(1〜7)】http://j.mp/Ydc94F  ※残念ながら「芸能報道がいかに腐っているか」は消去されてしまったようです。必見の内容だったのですが。。。


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◇ Nobuhiro Fukui(@n291)/2013年10月19日 - Twilog

【「しあわせ」がテーマの新聞広告クリエーティブコンテスト最優秀賞が衝撃的】http://j.mp/19SyTdu 制作は博報堂の山粼博司さんと小畑茜さん。少し引っかかる部分もなくはないものの、改めて汐留・赤坂・霞ヶ関が変わるだけで現在の日本を方向転換可能だということを再考。


しかしやはり広告的技巧で作られていることは否めません。価値の相対化と転覆とか情動のフックとか受容者優位の錯覚とかいろいろ。http://j.mp/19SyTdu 霞ヶ関汐留赤坂が変わったところで、参加型民主主義の社会にならないと意味はないでしょうし、知識社会化は絶対必要です