September 4, 2010
Gary A. Bibb - Black Mountain College Museum
"Nota Bene - 548"
Mixed Media Collage
©2010 Gary A. Bibb
Black Mountain College is highly revered as a fertile retreat for creative minds between 1933 - 1957. Notable artists who either taught at the college or attended classes and seminars there include: Willem de Kooning, Robert Rauschenberg, Josef Albers, Robert Motherwell, Franz Kline, Cy Twombly and Kenneth Noland; to name but a few.
The BMC Museum will host the international conference: Re-Viewing Black Mountain College 2, which aims to investigate the BMC legacy and the multiple paths of its influence on contemporary art and culture.
The art exhibit will remain on view after the conference and upon closure, the artworks will become part of the Black Mountain College Museum's permanent collection.
Black Mountain College Museum
Asheville, NC
Conference Calendar: Oct. 8 - 10, 2010.
August 28, 2010
Gary A. Bibb - Long Island University Exhibit
"Memento Mori #501"
Mixed Media
Ray Johnson and A Book About Death Exhibition
Sal Art Gallery
Long Island University
Brookville, NY
Exhibit Calendar: November 2010
A copy of Ray Johnson's 1955 "book" along with a complete collection of the 2009 NY exhibit: A Book About Death will also be featured. Following the exhibition, Gary A. Bibb's "Memento Mori #501" will become part of the Ray Johnson Archive.
August 24, 2010
Art Essay by Gary A. Bibb
I was asked by Jane Wang, curator of the PoArt exhibit and performance event, to write an introductory essay about the conceptual theme: The Prostitution of Art. The event will be held at Mobius, Inc. Boston, MA - September 2010.
Prologue -
The Prostitution of Art (which could also be stated as the commoditization of aesthetic intimacy between artist and audience) is a complex issue; due in part to a subjective and divergent definition of art, along with a lack of consensus about art’s societal function. There is nothing inherently wrong with making a living from selling one’s art; however, the degrading aspect is when an artist compromises craftsmanship and/or artistic integrity in exchange for personal gain; i.e. wealth, fame, etc. I have been told numerous times during my 40 plus years as an artist that it is easy to remain virtuous and idealistic when you’re not facing starvation. To which I reply, “The lack of commercial success has tested my commitment and challenged my fundamental concepts about art; and yet, I continue to believe some endeavors have an inherent, transcendent value which makes them worthy of personal abnegation (sacrifice, self-denial).”
If an artist does not strive for excellence, nor attempt to communicate a message which awakens or edifies, then the result is usually fad or fashion and little more. I sometimes use the analogy of comparing greeting card sentiments with literature when helping people understand art. Greeting cards usually have a maudlin expression which may be adequately crafted, but they are rarely challenging or transformative. Similarly, a majority of the population in our culture desires a quick, shallow artistic experience that entertains rather than edifies (not that entertainment and edification are necessarily incongruent). This general trend of superficiality presents a challenge (and an opportunity) to the artist; one that requires our interaction with the public in a manner which clearly espouses the benefits and virtues of art. If our culture is to experience an aesthetic (re)awakening, artists must realize their responsibility and embrace the role of exemplar/advocate.
Our rich artistic heritage has been fostered by those who took risks and sacrificed much to refine their skills, explore new territories and express profound concepts. It isn’t their cleverness, inventiveness or notoriety alone which merits our adoration; they also exhibited discipline and life-long dedication to their artistic values. The question remains: Are we up to the challenge of building upon their legacy or will we allow art to become impotent – with minimal impact and marginal relevancy? As artists, we should be compelled to honor our ascendants by continuing to infuse art with vitality, pursue conceptual clarity and strive for excellence; all while expanding our artistic boundaries.
Perhaps the Prostitution of Art is as much about compromising the virtues of art as it is the selling-out for monetary gain.
Gary A. Bibb - USA
August 2010
Prologue -
The Prostitution of Art (which could also be stated as the commoditization of aesthetic intimacy between artist and audience) is a complex issue; due in part to a subjective and divergent definition of art, along with a lack of consensus about art’s societal function. There is nothing inherently wrong with making a living from selling one’s art; however, the degrading aspect is when an artist compromises craftsmanship and/or artistic integrity in exchange for personal gain; i.e. wealth, fame, etc. I have been told numerous times during my 40 plus years as an artist that it is easy to remain virtuous and idealistic when you’re not facing starvation. To which I reply, “The lack of commercial success has tested my commitment and challenged my fundamental concepts about art; and yet, I continue to believe some endeavors have an inherent, transcendent value which makes them worthy of personal abnegation (sacrifice, self-denial).”
If an artist does not strive for excellence, nor attempt to communicate a message which awakens or edifies, then the result is usually fad or fashion and little more. I sometimes use the analogy of comparing greeting card sentiments with literature when helping people understand art. Greeting cards usually have a maudlin expression which may be adequately crafted, but they are rarely challenging or transformative. Similarly, a majority of the population in our culture desires a quick, shallow artistic experience that entertains rather than edifies (not that entertainment and edification are necessarily incongruent). This general trend of superficiality presents a challenge (and an opportunity) to the artist; one that requires our interaction with the public in a manner which clearly espouses the benefits and virtues of art. If our culture is to experience an aesthetic (re)awakening, artists must realize their responsibility and embrace the role of exemplar/advocate.
Our rich artistic heritage has been fostered by those who took risks and sacrificed much to refine their skills, explore new territories and express profound concepts. It isn’t their cleverness, inventiveness or notoriety alone which merits our adoration; they also exhibited discipline and life-long dedication to their artistic values. The question remains: Are we up to the challenge of building upon their legacy or will we allow art to become impotent – with minimal impact and marginal relevancy? As artists, we should be compelled to honor our ascendants by continuing to infuse art with vitality, pursue conceptual clarity and strive for excellence; all while expanding our artistic boundaries.
Perhaps the Prostitution of Art is as much about compromising the virtues of art as it is the selling-out for monetary gain.
Gary A. Bibb - USA
August 2010
August 20, 2010
FluxCase Micro Museum Exhibits - Gary A. Bibb
"10 Temporary Constructions"
Micro Book with Found Objects
- Photos: Fluxmuseum 2010
Sponsored by The Ontological Museum and The Fluxmuseum
Ft. Worth, TX
fluxcase.com/fluxcase-micro-museum/fluxcase02
Gary A. Bibb - Fluxmuseum Fluxhibition #4
"The Emperor's Scepter is a Perdicious Amusement"
Enhanced Found Object
fluxmuseum.org/fluxhibition-4/index.html
Fluxhibition #4
Fort Worth Community Arts Center
Fort Worth, TX
Exhibit Calendar: October 8-30, 2010
June 28, 2010
Gary A. Bibb Art - Columbus, OH
June 23, 2010
Gary A. Bibb - Art Exhibit in Argentina
June 22, 2010
Gary A. Bibb Exhibits Art in Omaha, NE
"T. C. #73"
Temporary Found Object Construction
"Memento Mori" (A Book About Death)
500 Graphite Drawings
In conjunction with the exhibit: Til Death Do Us Part, a presentation of the original International exhibit: A Book About Death (EHF Gallery - NY, NY 2009) is to be featured. Additional new artworks exploring the theme will also be included.
RNG Gallery
1915 Leavenworth Street
Omaha, Nebraska 68102
Exhibition Calendar: July 31, 2010 - Aug. 28, 2010
June 21, 2010
Gary A. Bibb - Art Exhibit in Sweden
May 27, 2010
Gary A. Bibb Exhibits Art at the Armory Center
April 28, 2010
MoMA-UK Exhibits Gary A. Bibb Artwork
"Risorgimento"
Found Object Collage
Risorgimento - To live again through rebirth. (Gary A. Bibb)
From my continuing concept of "The Redemption of Rubbish."
(Click this link to read the essay - garyabibb.blogspot.com/2009).
A new presentation of the original New York exhibit: A Book About Death was installed at the Museum of Modern Art in Machylleth, Wales, UK. "Memento Mori #452" by Gary A. Bibb was included.
Additionally, artworks were created by various international artists and jury selected specifically for this exhibition to complement the original installation. Gary A. Bibb's "Risorgimento" was featured in the expanded exhibit. The new work will be retained by MoMA-UK for their permanent art collection.
Exhibition Calendar: April 27 - May 8, 2010
January 27, 2010
Gary A. Bibb Exhibits Art in Sao Paulo, Brazil
"Penumbra"
Found Object Collage w/ Mixed Media
Penumbra - A transitional condition between the darkness of despair and the illumination of hope. (Gary A. Bibb)
Gary A. Bibb has artwork featured in the international exhibition “Um Livro Sobre A Morte” at the National Art Museum of Brazil - Museu Brasileiro da Escultura (MuBE). The collage, "Penumbra" will be retained by the museum for their permanent collection.
Location: Museu Brasileiro da Escultura - Sao Paulo, Brazil
Exhibition Calendar: February 4 - March 28, 2010
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