1. http://press.moma.org/2014/04/sites-of-reason-a-selection-of-recent-acquisitions/

    “the sight of a reason,” from Gertrude Stein’s groundbreaking prose work Tender Buttons(1914)

     
  2. Fri 12-3 

    #value- working together to produce something to bring to a communal exchange.  

    Liam Gillick My work is like the light in the fridge,” he says, “it only works when there are people there to open the fridge door. Without people, it’s not art—it’s something else—stuff in a room.”26 This interest in the contingencies of a “relationship between”—rather than the object itself—is a hallmark of Gillick’s work and of his interest in collaborative practice as a whole. 

     
  3.  
     

  4.  
  5. #value- working together to produce something to bring to a communal exchange.  

    Liam Gillick My work is like the light in the fridge,” he says, “it only works when there are people there to open the fridge door. Without people, it’s not art—it’s something else—stuff in a room.”26 This interest in the contingencies of a “relationship between”—rather than the object itself—is a hallmark of Gillick’s work and of his interest in collaborative practice as a whole. 

    Tagged #cofa1002 #value
     
  6. week 7 

    value poem Fri 9-12

     
     

  7. Antagonism and Relational Aesthetics CLAIRE BISHOP

     

  8.  

  9. If you are doing the DESIRE question and looking at film this is a great documentary about film. 

     

  10.  
  11. photocopying money: The EURion constellation is a pattern of symbols incorporated into a number of banknote designs worldwide since about 1996.

     

  12.  
  13. Piero Manzoni Artist’s Shit 1961

    It is not known exactly how many cans of Artist’s Shit were sold within Manzoni’s lifetime, but a receipt dated 23 August 1962 certifies that Manzoni sold one to Alberto Lùcia for 30 grams of 18-carat gold (reproduced in Battino and Palazzoli p.154). Manzoni’s decision to value his excrement on a par with the price of gold made clear reference to the tradition of the artist as alchemist already forged by Marcel Duchamp and Yves Klein among others. As the artist and critic Jon Thompson has written:

    Manzoni’s critical and metaphorical reification of the artist’s body, its processes and products, pointed the way towards an understanding of the persona of the artist and the product of the artist’s body as a consumable object. The Merda d’artista, the artist’s shit, dried naturally and canned ‘with no added preservatives’, was the perfect metaphor for the bodied and disembodied nature of artistic labour: the work of art as fully incorporated raw material, and its violent expulsion as commodity. Manzoni understood the creative act as part of the cycle of consumption: as a constant reprocessing, packaging, marketing, consuming, reprocessing, packaging, ad infinitum. (Piero Manzoni, 1998, p.45)

    Artist’s Shit was made at a time when Manzoni was producing a variety of works involving the fetishisation and commodification of his own body substances. These included marking eggs with his thumbprints before eating them, and selling balloons filled with his own breath (see TateT07589). Of these works, the cans of Artist’s Shit have become the most notorious, in part because of a lingering uncertainty about whether they do indeed contain Manzoni’s faeces. At times when Manzoni’s reputation has seen the market value of these works increase, such uncertainties have imbued them with an additional level of irony.

     

  14. Week 7 #Value

    Value and labour Karl Marx: Alienation (Entfremdung) is the systemic result of living in a socially stratified society, because being amechanistic part of a social class alienates a person from his and her humanity. The theoretic basis of alienation within the capitalist mode of production is that the worker invariably loses the ability to determine his or her life and destiny, when deprived of the right to think (conceive) of himself as the director of his actions; to determine the character of said actions; to define their relationship with other people; and to own the things and use the value of the goods and services, produced with their labour.

    Value “in use” is the usefulness of this commodity, its utility.

    The word VALUE, it is to be observed, has two different meanings, and sometimes expresses the utility of some particular object, and sometimes the power of purchasing other goods which the possession of that object conveys. The one may be called ‘value in use ;’ the other, ‘value in exchange.’ The things which have the greatest value in use have frequently little or no value in exchange; and on the contrary, those which have the greatest value in exchange have frequently little or no value in use. Nothing is more useful than water: but it will purchase scarce any thing; scarce any thing can be had in exchange for it. A diamond, on the contrary, has scarce any value in use; but a very great quantity of other goods may frequently be had in exchange for it. (Wealth of Nations Book 1, chapter IV) Adam Smith. 

    Value “in exchange is the relative proportion with which this commodity exchanges for another commodity.

    The value of any commodity, … to the person who possesses it, and who means not to use or consume it himself, but to exchange it for other commodities, is equal to the quantity of labour which it enables him to purchase or command. Labour, therefore, is the real measure of theexchangeable value of all commodities (Wealth of Nations Book 1, chapter V; emphasis added). Adam Smith. 

     
  15. Tower of Power 1985, 100 kilograms of gold ingots, value £2.6m.

    http://www.theguardian.com/artanddesign/2013/oct/04/new-museum-york-security-gold-display

    Value: to view this tiny sculpture you have to queue and then view it one person at a time after you had filed passed a security guard. Once in front you really wonder what all the fuss is about, but that just adds to the value. 

    Tagged #cofa1002 #value