![]() When I paint my object is to show what I have found and not what I am looking for. “Among the several sins that I have been accused of committing, none is more false than the one that I have, as the principal objective in my work, the spirit of research. The Poet-Engineer, like Picasso once proposed, strives to discover and find solutions. The Poet-Engineer is not interested in exploring for the sake of exploring. They tend to be a master of the oblique and of expression in the minor mode (Deleuze). The Poet-Engineer does not fetishize new tools. The Poet-Engineer is a skilled craftsperson, but does not specialize in a particular technique. It cannot simply embrace and fuse with the alluring capabilities of advanced engineering tools. In the search for the mark of the Poet-Engineer, an artwork’s display of spectacular fabrication and high production values can be misleading. An idea, for instance, might emerge from considering and questioning the status of a given material or technique. As we know, since Marcel Duchamp installed a urinal on a gallery wall over 100 years ago and called it art, a contemporary art object must be, at best, the material embodiment of an idea, whatever the idea might be. Today, the artist can make the fundamental decision to print a photographic image or file in either 2D or 3D.Ĭonsider: silicone, digital photography and printing, computer graphics, UV cured inks, aluminum alloys, new plastics, resins and rubbers, formal optimization software, CNC milling machines, laser technology, advanced construction materials, along with more traditional media and techniques such as drawing, painting, weaving, wood and stone carving, glass blowing, bronze casting – all are within reach of the artist working today.Įach work in the exhibition contains the ability to clearly reveal its articulation and constitute an adequate plastic solution to a more or less identifiable problem – the conceptual dimension – or comes across as generating and responding to its own inherent riddle. As this new technology appeared and threatened painting’s centuries-old dominance of the realm of representation and image production, it also unleashed a liberating force that allowed art’s regal medium to start concentrating on its constitutive elements, and to address them, for better or for worse, as subject matter. Some consider the advent of 3D printing, for instance, to be as momentous of an invention as what photography proved to be in the 19th century. Poet: a person possessing special powers of imagination or expression.Įngineer: a skillful contriver or originator of something: the prime engineer of the approach.Įtymology of Poësis: to make / produce / composition innovative fabrication techniques constitute a rare point in history in which, taken together, the availability of radical new tools offers the ‘Poet-Engineers’ working today a compelling invitation to explore unknown content and invent new forms. In a world increasingly described and experienced as regulated by immaterial forces – the digital revolution – there exists a discrete counter force, one fueled by what can be referred to as a renewed materiality.Ī tripartite condition of opportunity for artists has been in place for some time, but now might be the moment for an exhibition to focus on how 1. Or how to deploy an artwork’s truth procedure to contemplate its real effects HELEN MARTEN / CORRESPONDENCE TO MIGUEL ABREU NAIRY BAGHRAMIAN SCRUFF OF THE NECK (UL 11, F) SCOTT LYALL NANOFOIL (SLSTUDIO.CLONE_1/16/2) SCOTT LYALL / FROM “THE SURFACE OF DESIGN” TO THE POET-ENGINEER?ĬHEYNEY THOMPSON DISPLACEMENT ĬHEYNEY THOMPSON / TO THESE ARCS, THOSE COLORS MEASURE THIS TOUCH, THAT TIMEĪMERICAN ARTIST SERVER RACK (FOR PIGFORD) QUAYTMAN / I LOVE–THE EYELID CLICKS/I SEE/COLD POETRY, CHAPTER 18įLORA KATZ / MIND’S EYE, THE MIND AMONG THINGS QUAYTMAN I LOVE–THE EYELID CLICKS/I SEE/COLD POETRY, CHAPTER 18 ![]() GUY DAVENPORT / THE HOUSE THAT JACK BUILT MICHAEL CAVUTO / POETRY AND THE POET-ENGINEER ![]() SAM LEWITT / CORRESPONDENCE WITH MIGUEL ABREU ROBIN MACKAY / YUJI AGEMATSU’S CLUMP SPIRIT REZA NEGARESTANI / WHAT DOES IT TAKE TO MAKE ANYTHING AT ALL? ALAIN BADIOU / FIFTEEN THESES ON CONTEMPORARY ART ![]()
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