franco porcile limits

1. Self-Directed Practice #1: Research 

2. Self-Directed Practice #1: Final 

3. Self-Directed Practice #2: Research 

4. Self-Directed Practice #2: Final

Television 1

1. To Remove the Work is to Destroy it: Site-Based Sculpture: QCQ

2. To Remove the Work is to Destroy it: Site-Based Sculpture: Research

The conflict between the product of heavy industry, unavailable for luxury consumption, and the sites of its exhibition, the commercial gallery and museum, intensified as Serra developed the implications of strike towards the total negation of the normal functions of gallery spaces. Rather than subserviently taking their cues from the formal conditions of room spaces, as sites specific works increasingly tied to purely aesthetic ideas began to do, Serras sculptures would not.

Comment

Serra went against pretty much every last convention art had at play. His large scale works made it almost impossible for it to be acquired unless major commitments were made by collectors and spaces. He challenged the idea of what works “worked” because of size and subject matter and continued in his search and negation of preconceived notions. While looking at a Serra piece one is just almost consumed and confused at the same time yet it delivers a calming sensation at least personally.

Question

Is this work closer related to minimalism or architecture?

2. QCQ #4: Base Materialism

3. Self-Directed Presentation Research

4. Touch: ASMR (Final) 1 2 3

5. QCQ #5: X Marks the Spot 

6. Lost Objects I Research 1 2 3

7. Lost Objects I (Final)

Sit Here 2020

Quote

If, however, McCollum’s impulse is to treat these “trace fossil” footprints as though they were readymades, as to parade them both as burgeoning sets of multiples and as the fussily colored items from the most kitsch of souvenir shops-thus industrializing not just the generic but also the generic- this is not simply from an irreverence for the idea of primal life.

Comment

McCollum was extremely a head of his time with this idea. People nowadays like Daniel Arsham are casting current or almost current items in pop culture history to industrialize them yet what McCollum had in mind was to do that with something that isn’t man made. The fact he chose fossils and he treated them as readymades almost makes one take a trip into the future and question what from now could be interpreted completely different in the future. Almost making it seem like anything we learn about could be interpreted as a readymade even if it’s a natural occurrence.

Question

Does this work belong in the future?