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Posted 4 months ago
by myuberlife-nyc

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The Socio-Economics of Cool

James Dean

                        The Socio-Economics of Cool

Today I was awaken by a thought.  My subconscious mind had brought me back from a place; a place where the judgments of people, my sense of self and the excitement of acceptance all collided within the confines of a five-floored building:  My High School. Once again, being brought back to adult life from dream state, I, for a moment, had the ability to traverse my ego and access my memories of my ‘not-so-far-but-far-former’ teenage self.  As I walked to the shower, recalling the details of said travel, and in an attempt to unravel the deeper meaning of my dream, I began to analyze what the underlying significance could be.  What I extracted was a reoccurring and revolving theme that haunted my psyche and self esteem; since my [teenaged] years, this thematic state has been my prime subconscious concern:  The Holding On To My Ephemeral State of ‘Coolness.’  The state of ‘cool’ has dominated my intuitive rational since my mid-90’s adolescence and since then I have sat in divine reverence to the Godly ‘cool.’  Today, I have decided to investigate my obsession: What is ‘cool,’ how is ‘cool’ relatively defined and exemplified in America and Europe, currently and historically? Why is ‘cool’ so revered?  And what makes ‘cool’ such a valued socioeconomic cultural asset?  I have decided to approach ‘cool’ from its metaphorical roots to its hyper-cool frost-bit branches.

In my attempt to explore the ‘cool,’ I began exploring its definition.

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Posted 7 months ago
by myuberlife-nyc

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The Art Market | What’s Wrong with Blowing Bubble(s)?

Today I came across an article on IOL news that focused on a ‘touchy’ subject within the art world - the art ‘bubble.’  People often believed ‘bubbles’ were a type of phenomenon that primarily existed within economic / financial markets.  But the article, entitled Beautiful Bubbles Burst, purported that ‘bubbles’ not only exist in the art world, but are a reoccurring phenomenon that inevitably burst and cause economic loss.

The article, in an attempt to clarify the aforementioned assertions, provided

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Posted 7 months ago
by myuberlife-nyc

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These pictures and quotes from Barbara Kruger embody timeless creative, social and business issues; one of the reason why art is enjoyable and necessary.  Art is both timeless and momentary.  Art enables us to find ourselves and lose ourselves at the same time.

Quotes:

“I think that I’m trying to engage issues of power and sexuality and money and life and death and power. Power is the most free-flowing element in society, maybe next to money, but in fact they both motor each other.”-Barbara Kruger.

“I think there are lots of ways to make good work. You can throw big bucks at a project and make what some would call crap, or you can work very modestly with eloquently moving results.”-Barbara Kruger.

“I think what I’m trying to do is create moments of recognition. To try to detonate some kind of feeling or understanding of lived experience.” - Barbara Kruger.

“I try to deal with the complexities of power and social life, but as far as the visual presentation goes I purposely avoid a high degree of difficulty.” - Barbara Kruger.

About Barbara Kruger: 

Barbara Kruger (born January 26, 1945) is an American conceptual artist. Much of her work consists of black-and-white photographs overlaid with declarative captions—in white-on-red Futura Bold Oblique or Helvetica Ultra Condensed. The phrases in her works often include use of pronouns such as “you”, “your”, “I”, “we”, and “they”.

Much of Kruger’s work engages the merging of found photographs from existing sources with pithy and aggressive text that involves the viewer in the struggle for power and control that her captions speak to. In their trademark white letters against a slash of red background, some of her instantly recognizable slogans read “I shop therefore I am,” and “Your body is a battleground.” Much of her text questions the viewer about feminism, consumerism, and individual autonomy and desire, although her black-and-white images are culled from the mainstream magazines that sell the very ideas she is disputing.

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Posted 1 year ago
by myuberlife-nyc
via capitalnewyork

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From the Subways to Soho | Interview Magazine | January 1983 Famed Metropolitan curator HENRY GELDZAHLER: Did you have any idea about breaking into the art world?JEAN-MICHEL BASQUIAT: No.HG: But when I saw you, you were about 17 years old. You were showing me drawings, that was 4 or 5 years ago… I was in the restaurant, WPA, in Soho.JMB: Yeah, I remember.HG: So you already had work to show.JMB: No, I was selling these postcards and somebody told me you had just gone into this restaurant. It took me about 15 minutes to get up the nerve to go in there. I went in and you said, “Too young.” And I left.HG: Cruel, but true.JMB: It was true at the time.HG: Were you furious?JMB: Sort of. I mean, too young for what, you know? But I could see, it was lunch time. “Who is this kid?”

From the Subways to Soho | Interview Magazine | January 1983

Famed Metropolitan curator HENRY GELDZAHLER: Did you have any idea about breaking into the art world?

JEAN-MICHEL BASQUIAT: No.

HG: But when I saw you, you were about 17 years old. You were showing me drawings, that was 4 or 5 years ago… I was in the restaurant, WPA, in Soho.

JMB: Yeah, I remember.

HG: So you already had work to show.

JMB: No, I was selling these postcards and somebody told me you had just gone into this restaurant. It took me about 15 minutes to get up the nerve to go in there. I went in and you said, “Too young.” And I left.

HG: Cruel, but true.

JMB: It was true at the time.

HG: Were you furious?

JMB: Sort of. I mean, too young for what, you know? But I could see, it was lunch time. “Who is this kid?”

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