What would a renewed approach to art historical strategies and techniques that may be employed as strategies of delay, of wasting time, and of scrambling within an economy, like ours, based on data compression and processing speed look like? We are all familiar with the repercussions of competitive self-reliance—i.e, the effect of the notion that you only have a right to exist if you win, even as efficiency, speed, and control are sold to us as the way to manage the effects of competition. Within the culture of info-capitalism, can strategies of delay serve as a potential for the emergence of social space? With the rise of automation and its potential for a post-work economy, what is the significance of artistic strategies that interrupt or pause work?
This three-day seminar will consider some of the interruptive models and methods of working that artists propose through their examples, demonstrations, and strategies. We’ll explore the often subordinated term ‘work’ within an artwork.
The Work in ArtworkMon, Mar 25, 20196:30 pm to 8:30 pm
Tue, Mar 26, 20196:30 pm to 8:30 pm
Wed, Mar 27, 20196:30 pm to 8:30 pm
Blake Rayne was born in Lewes, Delaware in 1969. He lives and works in New York. He was educated at the California Institute of the Arts, received a fellowship from the American Academy in Berlin, and has taught at Columbia University’s School of Visual Arts. His one-person exhibitions include DOGSKULLDOGS (Miguel Abreu Gallery, New York), Carbon Days (Nuno Centeno, Porto), Peaceful Photographers (Campoli Presti, London and Paris), Warmilk (Mendes Wood, São Paolo), On Fridays We Have Half Days (Miguel Abreu Gallery, New York), Blake Rayne (Formalist Sidewalk Poetry Club, Miami Beach), Shade Subscription (Capitain Petzel Gallery, Berlin), Coastal Graphics (Sutton Lane, Paris), and Folder and Application (Miguel Abreu Gallery, New York). A forthcoming coming exhibition is scheduled (April 2019) at Central Fine, Miami Beach. In 2016, a major monographic exhibition was organized by the Blaffer Art Museum. Rayne’s paintings are held in the collections of the Museum of Modern Art, the Whitney Museum of American Art, FRAC Poitou-Charentes, and the Portland Museum of Art.