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	<title>
	Comments on: Roundtable:  &#8220;The Forever Now&#8221; at MoMA	</title>
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		<title>
		By: Noah Dillon		</title>
		<link>https://artcritical.com/2015/02/09/a-critics-roundtable-on-the-forever-now/#comment-325041</link>

		<dc:creator><![CDATA[Noah Dillon]]></dc:creator>
		<pubDate>Tue, 17 Feb 2015 22:47:24 +0000</pubDate>
		<guid isPermaLink="false">https://www.artcritical.com/?p=46502#comment-325041</guid>

					<description><![CDATA[In reply to &lt;a href=&quot;https://artcritical.com/2015/02/09/a-critics-roundtable-on-the-forever-now/#comment-325034&quot;&gt;Nora&lt;/a&gt;.

Well, I would say that the word &quot;play,&quot; to me, has connotations of frivolity, amusement, and entertainment. I think a lot of people look on what artists do as just goofing around and trying to pass off their idle effort as something more important than it is. It&#039;s a hobby. I think there are probably elements of play in the work of every artist, but to call the activity itself &quot;play&quot; seems like a bit of a demotion to me, even compared to the low baseline at which it enters the cultural dialogue.

We could also turn you question around: &quot;Why is the finished work of artists just called &#039;practice&#039;? What are they practicing for?&quot;]]></description>
			<content:encoded><![CDATA[<p>In reply to <a href="https://artcritical.com/2015/02/09/a-critics-roundtable-on-the-forever-now/#comment-325034">Nora</a>.</p>
<p>Well, I would say that the word &#8220;play,&#8221; to me, has connotations of frivolity, amusement, and entertainment. I think a lot of people look on what artists do as just goofing around and trying to pass off their idle effort as something more important than it is. It&#8217;s a hobby. I think there are probably elements of play in the work of every artist, but to call the activity itself &#8220;play&#8221; seems like a bit of a demotion to me, even compared to the low baseline at which it enters the cultural dialogue.</p>
<p>We could also turn you question around: &#8220;Why is the finished work of artists just called &#8216;practice&#8217;? What are they practicing for?&#8221;</p>
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		<title>
		By: Nora		</title>
		<link>https://artcritical.com/2015/02/09/a-critics-roundtable-on-the-forever-now/#comment-325034</link>

		<dc:creator><![CDATA[Nora]]></dc:creator>
		<pubDate>Tue, 17 Feb 2015 21:19:34 +0000</pubDate>
		<guid isPermaLink="false">https://www.artcritical.com/?p=46502#comment-325034</guid>

					<description><![CDATA[I whole heartedly agree with Noah here. But I&#039;m wary of using &quot;labor&quot; to describe the making of art; I find the word too reductive...unless it is significant to your individual practice.  Applied to art-making as a generalized activity, the word seems to close in on itself, instead of opening up to the world. If words are needed, I prefer play and work. Why do jazz musician get to &quot;play&quot; and painters have to &quot;labor&quot;?]]></description>
			<content:encoded><![CDATA[<p>I whole heartedly agree with Noah here. But I&#8217;m wary of using &#8220;labor&#8221; to describe the making of art; I find the word too reductive&#8230;unless it is significant to your individual practice.  Applied to art-making as a generalized activity, the word seems to close in on itself, instead of opening up to the world. If words are needed, I prefer play and work. Why do jazz musician get to &#8220;play&#8221; and painters have to &#8220;labor&#8221;?</p>
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		<title>
		By: Noah Dillon		</title>
		<link>https://artcritical.com/2015/02/09/a-critics-roundtable-on-the-forever-now/#comment-324064</link>

		<dc:creator><![CDATA[Noah Dillon]]></dc:creator>
		<pubDate>Fri, 13 Feb 2015 05:26:54 +0000</pubDate>
		<guid isPermaLink="false">https://www.artcritical.com/?p=46502#comment-324064</guid>

					<description><![CDATA[In reply to &lt;a href=&quot;https://artcritical.com/2015/02/09/a-critics-roundtable-on-the-forever-now/#comment-324053&quot;&gt;Ken Ecker&lt;/a&gt;.

I make paintings. Making art is labor just like anything else and artists should be paid for their labor. I also make essays, and it&#039;s good to be paid for the work (and money) that I put into both. And I think that saying art is different from other forms of productive labor persists the treatment of artists as different, other, uninterested in being able to support themselves and their families. Artists are people who do what they love, which is making things. And as long as there&#039;s a market resources and produced goods will be marketable. You can&#039;t just carve out one enterprise and tell everyone it&#039;s sanctified without A) subsidizing art, B) making it a religion, and/or C) marginalizing artists and reducing them to poverty.]]></description>
			<content:encoded><![CDATA[<p>In reply to <a href="https://artcritical.com/2015/02/09/a-critics-roundtable-on-the-forever-now/#comment-324053">Ken Ecker</a>.</p>
<p>I make paintings. Making art is labor just like anything else and artists should be paid for their labor. I also make essays, and it&#8217;s good to be paid for the work (and money) that I put into both. And I think that saying art is different from other forms of productive labor persists the treatment of artists as different, other, uninterested in being able to support themselves and their families. Artists are people who do what they love, which is making things. And as long as there&#8217;s a market resources and produced goods will be marketable. You can&#8217;t just carve out one enterprise and tell everyone it&#8217;s sanctified without A) subsidizing art, B) making it a religion, and/or C) marginalizing artists and reducing them to poverty.</p>
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		<title>
		By: Ken Ecker		</title>
		<link>https://artcritical.com/2015/02/09/a-critics-roundtable-on-the-forever-now/#comment-324053</link>

		<dc:creator><![CDATA[Ken Ecker]]></dc:creator>
		<pubDate>Fri, 13 Feb 2015 05:01:57 +0000</pubDate>
		<guid isPermaLink="false">https://www.artcritical.com/?p=46502#comment-324053</guid>

					<description><![CDATA[Artists paint paintings but hacks &quot;make paintings&quot;. You can&#039;t &quot;make art&quot;. You make pies or products. Painters get this but hacks have no idea what you&#039;re talking about. This makes products easy to comodify.]]></description>
			<content:encoded><![CDATA[<p>Artists paint paintings but hacks &#8220;make paintings&#8221;. You can&#8217;t &#8220;make art&#8221;. You make pies or products. Painters get this but hacks have no idea what you&#8217;re talking about. This makes products easy to comodify.</p>
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		<title>
		By: Karen Schiff		</title>
		<link>https://artcritical.com/2015/02/09/a-critics-roundtable-on-the-forever-now/#comment-321855</link>

		<dc:creator><![CDATA[Karen Schiff]]></dc:creator>
		<pubDate>Tue, 10 Feb 2015 08:09:57 +0000</pubDate>
		<guid isPermaLink="false">https://www.artcritical.com/?p=46502#comment-321855</guid>

					<description><![CDATA[Thoroughly enjoyed this roundtable.  There&#039;s something about it that I find analogous to the &quot;Forever Now&quot; show...  My basic takeaway from the show was that all the paintings were BIG.  (The digital context wasn&#039;t so prominent.)  Each artist had an individual sensibility, but the work had a very consistent scale, &#038; I left with that more strongly than the memory of any particular painting(s).  Here, each of you writes in a dense paragraph.  Individual points of view &#038; frames of reference, yet all in this same format (edited for consistency, or...?).  (And, along the way, I think you&#039;re jointly reinventing the rhetoric of criticism -- it&#039;s no longer about a single author&#039;s assessment, &#038; more about a &quot;group show&quot; conversation.  I suppose that happens at, say, the Review Panel, but not so often in print.)  Kudos.]]></description>
			<content:encoded><![CDATA[<p>Thoroughly enjoyed this roundtable.  There&#8217;s something about it that I find analogous to the &#8220;Forever Now&#8221; show&#8230;  My basic takeaway from the show was that all the paintings were BIG.  (The digital context wasn&#8217;t so prominent.)  Each artist had an individual sensibility, but the work had a very consistent scale, &amp; I left with that more strongly than the memory of any particular painting(s).  Here, each of you writes in a dense paragraph.  Individual points of view &amp; frames of reference, yet all in this same format (edited for consistency, or&#8230;?).  (And, along the way, I think you&#8217;re jointly reinventing the rhetoric of criticism &#8212; it&#8217;s no longer about a single author&#8217;s assessment, &amp; more about a &#8220;group show&#8221; conversation.  I suppose that happens at, say, the Review Panel, but not so often in print.)  Kudos.</p>
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		<title>
		By: CAP		</title>
		<link>https://artcritical.com/2015/02/09/a-critics-roundtable-on-the-forever-now/#comment-320917</link>

		<dc:creator><![CDATA[CAP]]></dc:creator>
		<pubDate>Mon, 09 Feb 2015 11:18:53 +0000</pubDate>
		<guid isPermaLink="false">https://www.artcritical.com/?p=46502#comment-320917</guid>

					<description><![CDATA[I thought it was really a show about abstraction in painting but the curator had no idea how to talk about that which is why it was so unfocussed. I also found everything just over-sized and the space a bit crowded as a consequence. 

http://capscrits.blogspot.com.au/2015/02/the-forever-now-contemporary-painting.html]]></description>
			<content:encoded><![CDATA[<p>I thought it was really a show about abstraction in painting but the curator had no idea how to talk about that which is why it was so unfocussed. I also found everything just over-sized and the space a bit crowded as a consequence. </p>
<p><a href="http://capscrits.blogspot.com.au/2015/02/the-forever-now-contemporary-painting.html" rel="nofollow ugc">http://capscrits.blogspot.com.au/2015/02/the-forever-now-contemporary-painting.html</a></p>
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