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“Interactivity is kind of a buzzword right now in contemporary art and I think the interactivity happens both at the level of technology, people touching screens so realizing that their body is activating some kind of sounds or light; but there is also a demand for interactivity in term of performance, having the performer being in the gallery to answer questions or to stage little place or dancing in the gallery, all of which those type of thing happen at the ICA. But there is a sense that people want a kind of physical emotionnal social connection with other people and that is what the Museum... the Museum is not a virtual place, it’s a very real place and I think people crave that kind of interactivity.”

Making Boston A Hub For Contemporary Art | we ART Helen Molesworth, the curator of Boston’s Institute of Contemporary Art, is passionate about art. And she’s willing and able to articulate her passion in a way that is understandable and accessible on the one hand, and deep and thoughtful on the other. The Boston Globe has described her as “one of t...

Forgetting the Art World - The MIT Press | we ART It may be time to forget the art world--or at least to recognize that a certain historical notion of the art world is in eclipse. Today, the art world spins on its axis so quickly that its maps can no longer be read; its borders blur. In Forgetting the Art World, Pamela Lee connects the current stat...

"Why should a painter work if he is not transformed by his own painting?”

R. E. H. GORDON lecture: "Extremely Precise Objects of Ambguous Use" | images in context Freedom, in this estimation, need not be the opposite of discipline. Freedom may be simply this: the creation of our own systems of belief, methods for transforming ourselves, modes of perception, disciplines for living, and collective rituals. Foucault, during this same period, also came to discuss...

I spend 20 years learning to break loose around all what I learned about art in relation to the Art Market. I feel much more free now but completely marginalised! and I work among a lot of artists which are in the same space. I don't regret the time when I had a publisher in N.Y. and making a decent living producing (lots of ) images for the market... That the price to pay, I guess to be more free, to express what you are.

Art’s Corrosive Success: An Interview with Martha Buskirk | we ART Art critic Martha Buskirk on the shifts in the past few decades in the arts, particularly those relating to the interface between art and the marketplace.   Clement Greenberg famously talks about the avant-garde being connected to the ruling elite by an “umbilical cord of gold.” There’s always been ...

TRIBUNE : DE L’ARTISTE, DE L’ART ET DU MILIEU | we ART TRIBUNE Pour avoir un jour la chance d’accéder à un emploi pérenne et sécurisé, protégé dans le sein maternel d’un MAMCO, d’un-e MAM ou d’un-e MOMA, le Plasticien commence par passer par l’aile désaffectée d’un hôpital psychiatrique, réhabilitée en résidence d’artiste, puis finit par être diffusé(1)...

I couldn't agree more. It's true that I trust myself but that the work I produce has always to be re-worked to ultimately relate to the values that define me. It never completely feels you are there and it forces me to always do better... Trust your taste, don't trust your work and keep working anyway...

Ira Glass : The Path To (Your) Creativity | we ART All credit due to the amazing Ira Glass. Source audio is from this very seminal video by current.tv: http://www.youtube.com/watch?v=BI23U7U2aUY