Towards an Immersive Intelligence

A review of my book "Towards an Immersive Intelligence" has been published in the May issue of the Brooklyn Rail here:
http://www.brooklynrail.org/2010/05/books/immersion-infinity-and-the-qua...

One can buy Towards an Immersive Intelligence now at Amazon.com here:

Suzan Frecon

The 2010 Whitney Biennial, which opened last week, was a surprisingly optimistic exhibition, partially due to the choices of the two curators, Francesco Bonami and Gary Carrion-Murayari, but also to its pairing with the concurrent exhibition Collecting Biennials on the top floor of the museum. There were surprising parallels between the contemporary attitude of 2010's fully loaded first four floors with the more cerebral weight of plum choices (mainly by male artists) from the museum holdings of works from past Biennials.

There is a theory that when the economy is down, the art world bears more evidence of the works of women artists. In 2010, over 50% of the exhibiting artists are women, some showing strong work with great maturity.

BY MICHA CÁRDENAS, AMY SARA CARROLL, RICARDO DOMINGUEZ AND BRETT STALBAUM
SUNDAY, MARCH 7, 2010 AT 12:04 A.M.

CONFUCIUS: His Life and Legacy in Art
February 11 – June 13, 2010
China Institute Gallery
125 East 65th Street, New York

February 16, 2010. Growing up, I didn't have much time for Confucius. Among the prominent Asian philosophers, he took second place to Lao Tzu and Taosim, and for obvious reasons. Taoism seemed more laissez-faire, less involved with propriety and property. It embraced a certain ease and modesty, a harmonious accommodation with nature. There was a nonchalance that sat well with my hipster, slacker ideal of "there's a road we're all on, man, but it really leads nowhere except right back to where we all started from, so don't get me uptight, just chill and pass that j."

My rebellious, reductivist streak left no room for the conventional wisdom of the Confucian status quo, for its apotheosis of family, for using the correct ritual and sacrifice on every occasion, for a strict legal code that could deaden spontaneity. I had dabbled in the Analects, and these dialogs were obviously "wise", but my lingering suspicion was that they were wise in the wrong way. There was no escaping their prim orientation towards duty and decorum.

Under the category of "Reviews," I present my own reviews of what has happened in the careers and presentations or projects of many during the 20th century, up through now.

Thus one reviews, or takes another view, with the benefit of hindsight, at what occurred.

Letter from LONDON: RICHARD WRIGHT: Turner Prize 09
by Joseph Nechvatal
TATE BRITAIN, LONDON
OCTOBER 6, 2009 – JANUARY 3, 2010
published in the Feb issue of The Brooklyn Rail RICHARD WRIGHT @ TATE BRITAIN, LONDON: RICHARD WRIGHT @ TATE BRITAIN, LONDON

The Transborder Immigrant Tool is Intriguing - as are dead Popes ;-)

Ricardo Dominguez

^ Bruce High Quality Foundation, Bachelors of Avignon ^

Bruce High Quality Foundation University
Susan Inglett Gallery
522 West 24 Street
New York NY 10011
December 8, 2009 - January 23, 2010
www.inglettgallery.com/exhibitions.php?id=93&year=2009

I had to dig up my six gun from the backyard for this. I last used it on Mel Ramos in 1975. But the Bruce High Quality Foundation’s show at Susan Inglett is the worst I’ve seen in many a moon, and that’s why I gotta get on their asses.

Richard Wright no title 2009.

Pop in Crises: Time Has Come Today
A review of 2 London shows: The 2009 Turner Prize winner Richard Wright (Tate Britain) and Pop Life: Art in a Material World (Tate Modern)

Viewing 2009 Turner Prize winner Richard Wright’s pareidolia-laced no title 2009 and Pop Life: Art in a Material World set in motion for me a set of considerations about the contemporary condition of art. Something prime is shifting.

I think I can sum it up by saying that the success of Wright’s large, but delicate, wall mural signaled to me the return of magical immersive thinking into mainstream art. This at the expense of the pop icon/logo celebrated in the Pop Life: Art in a Material World exhibit. Its gold, monochromatic (but kaleidoscopic) ground dominates over configuration. As a consequence, this visionary art produces an exciting all-over full fervor that needs to be interacted with imaginatively.

[I thought post.thing folks would enjoy this review of the project ;-]

A smart phone to help kill American jobs
By Mark Cromer | Published on 12.05.2009

http://www.noozhawk.com/conklin_wayman/article/120509_mark_cromer_an_app...