Warning, below are bits and pieces of change I found on the ground. I can not say I have never seen these coins before, but I don’t know how to count them. So I am going begin to lay them here on the table.
[ Edward Winkleman ]
Edward Winkleman asks “What does that (Post-pluralistic) mean?” in his post:
Pluralism : Post to Present Again (or the Revolution is Probably Already Here)
From Modernism (the era of the avant-guard, the scout that went beyond) >
> Post-Modern (beyond Modernism) >
> Post-Pluralism (?) >
> Post-Post >
< Brownfield Redevelopment
It is too easy, too boring, and frankly too weak to put a “Post” at the beginning of anything. What does it mean and who does it serve to “go beyond the era” that looks to “go beyond the era” of “going beyond?”
Who’s adopting the coinage “Post-Pluralism?”
So as Edward Winkleman prepares for this next era he has a vessel in search of an entity. But he also has some clues.
And so it may be, I suspect, with art history. The reason we’re not seeing the “Dawn of Post-Pluralism” (or at least not seeing it clearly) may be because this next stage in art history is likely going to be truly revolutionary. And as such, it will not be “apparent at the moment it appears.” Folks focused on big changes will be foiled as small changes spread and incrementally break the old systems forever.
Though not intending, I think I began to touch upon bits of this discussion in previous Posts.
[ What I am Looking at: Paul Lloyd Sargent ]
This is a time when Artists and designers are exercising strengths in dialogues they were traditionally excluded from – such as in making decisions and designing the built environment
To a certain degree I want to say Artists are beginning to operate in highly specialized dialogues where they were previously not found.
So much of Post-Modernism has been a preoccupied with Popular-Culture / Propaganda / etc. (so called Low culture). With the success of the Obama campaign Shepard Fairey has been cast as the “Monkeys” of street artists. We’ve seen this before. There is a large market effort to support this heroic emblem of artist as propagandist. But then we had the Post-Campaign – and the battle of appropriation. Enters Lawrence lessig. Lawrence throws his voice in support rewriting the “Artist Statement”, and suddenly we realize here is a performance artist of such particular cause and strength (copyright & good government), that we can not help but draw contrasts.
We have seen Artists collaborating with other artists. We have also seen Artists as Project Managers bringing together in collaboration disparate disciplines of non-artists possessing highly specialized skills. Today we are seeing artists commit to very particular and highly technical skills-sets, going so far to engage statical relevancy. The Artistic hubris has some gaining advance degrees in other disciplines and operating in realms of research, production, and theory. And collaborating with other Artists with highly specialized skill-sets.
I like to refer to what we are in need of and what we are going through culturally as a Brownfield Redevelopment Initiative. This revitalization project isn’t necessarily supplanting the aesthetic practices of production but include an eye to remediation. Much of our territory landscape has been damaged and is or is perceived to be toxic, leaving less little land in productive use. This is requiring us to revisit these damaged landscapes and remediate to various productive levels.