A Labor of Love
A Labor of Love
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爱的劳动
DOI：
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发表时间：
1996
期刊：
影响因子：
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通讯作者：
Tim Yohn
中科院分区：
文献类型：
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作者：
Tim Yohn
“手工艺、装饰艺术和民间艺术被视为高雅艺术传统之外的一个原因是，非艺术家对我们自己可以制作的东西（或者认为我们可以，只要有足够的时间、耐心和金钱！）没有同样的尊重。”仍然挂在壁橱里的是一件18世纪晚期和19世纪浪漫主义的旧作品，这种观念认为艺术家必须比凡人更好、更聪明、站在更高的层面上、更接近真理。使问题更加复杂的是，虽然民俗过程是关于一位音乐学家所说的“人类创造力的普通和基本模式”，但民俗学家自己对这些模式的意义和重要性的看法却相互矛盾。一方面，他们坚持认为所有被诋毁的形式都应该受到关注，从而至少在理论上实践一种平等主义。另一方面，民俗学家作为一个群体倾向于将自己视为文化仲裁者和拯救者，从这些被诋毁的形式中挑选出他们认为最重要的形式。例如，在民间音乐界，民俗学家坚持认为，只有由他们发现的特殊天才才能表达真正的创造力，这削弱了对“普通人”成就的固有民主认可。这是一种奇怪的状态，因为很明显，如果人们承认“伟大”的艺术作品也可以由普通人完成，那么天才又该如何解释呢？《爱的劳动》的灵感来自于我最近看到的一些最有趣的作品，它们以迷人的方式解决了这些问题。虽然我选择集中在最重要的部分工作,可能不熟悉的新博物馆的观众,以及民间工艺品爱好者,电枢的展览是由许多艺术家的前辈,虽然不包括,已经来回穿越在这个伟大的分配一段时间…作为一个整体,展览的工作建立在这些基础和艺术在社会所扮演的角色提出了一个更大的问题,鉴于这样一个事实，一个迫切的关注，即曾经关于政府支持艺术的辩论，现在已成为限制其生产和传播的惩罚性措施。《爱的劳动》是我最近一次对艺术和日常生活——从世俗到深奥——密不可分地交织在一起的方式的长期研究。艺术创作类别的分离和等级与当代美国生活各个方面的划分相对应，影响着我们对从艺术“质量”到辛普森案判决的一切事物的思考方式。本次展览展出的作品融合了过程与产品、感性诉求与批判性内容、传统与创新，并有一个特定的目的：打破艺术界限，以反映、评论和批判社会关系生活世界中的其他类型的界限。质量问题就是权力问题；在任何时候，都有一些表达形式得到支持而另一些被边缘化的原因。对我来说，最有趣和最有意义的活动通常是在艺术话语的边缘，而不是在中心。《爱的劳动》也是一次组织群展的尝试——这是当今艺术界备受诟病的一种形式——它超越了将不同的艺术作品放在一个主题标题下。组织展览的方式有很多，但没有一种“正确”的方式来回答问题，解决争论，取悦不同的派别，并包括所有相关的工作。展览本身是一种调查和询问，而不是对问题的回答……”——出版商网站。
“One reason that crafts, decorative arts and folk art are seen as outside the high art tradition is because non-artists don’t have the same kind of respect for things that we could make ourselves (or think we could, given enough time, patience and money!). Still hanging in the closet is a hand-me-down of late eighteenth- and nineteenth-century Romanticism, the notion that artists must be better, smarter, on a higher plane and closer to The Truth than mere mortals. To complicate the problem, while folk processes are about what one musicologist calls ‘the ordinary and basic modes of human creativity,’ folklorists themselves have contradictory views of the meaning and importance of these modes. On the one hand, they insist that all denigrated forms should be paid attention to, thus practicing, at least theoretically, a kind of egalitarianism. On the other hand, folklorists as a group tend to see themselves as cultural arbiters and salvationists, picking from among these denigrated forms those they feel are most important. In the folk music world, for instance, an inherently democratic recognition of the accomplishments of ‘ordinary’ people is undercut by the folklorists’ insistence that only special geniuses—discovered by them—can express true creativity. This is a curious state of affairs, since it’s clear that if one admits that ‘great’ works of art can also be done by regular guys, what does it say about the geniuses? A Labor of Love was inspired by the fact that some of the most interesting work that I’ve seen recently has tackled these issues in fascinating ways. Although I’ve chosen to focus for the most part on work which is likely to be unfamiliar to The New Museum’s usual audience, as well as to folk and craft aficionados, the armature for the exhibition was built by many artists who are its forbearers, and while not included, have been crossing back and forth over this Great Divide for some time… Taken as a whole, the work in the exhibition builds on these foundations and raises larger questions about the role of art in society, a pressing concern in the light of the fact that what were once debates over government support of the arts have now become punitive measures to limit its production and dissemination. A labor of Love is the most recent foray into what for me is a long-term investigation of the ways in which art and daily life—from the mundane to the profound—are inextricably interwoven. The separation and hierarchization of categories of artmaking corresponds to those divisions found in all aspects of contemporary American life, affecting the way we think about everything from artistic ‘quality’ to the verdict in the O.J. Simpson case. The exhibition features work which melds process and product, sensuous appeal and critical content, tradition and innovation with a specific end in mind: in destabilizes artistic boundaries in order to reflect, comment on, and critique other kinds of boundaries in the lived world of social relations. Issues of quality are issues of power; at any given time, there are reasons that some expressive forms are supported while others are marginalized. For me, the most interesting and significant activities are usually found at the edges rather than at the center of artistic discourse. A Labor of Love is also an attempt to organize a group show—that much maligned form in today’s art world—which goes beyond putting disparate works of art together under a subject heading. There are many ways to organize an exhibition, but there’s no one ‘right‘ way to answer the questions, resolve the debates, please the various factions and include all the relevant work. The exhibition itself is an investigation and an inquiry, rather than an answer to a question…” -- Publisher's website.