Michael Rakowitz,
The worst condition is to pass under a sword which is not one's own,
2009, photo courtesy of the artist and Lombard-Freid Projects, NY.
Jeffery Rudell C ut
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Goooooooooogle ►
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0
N*jd
cut paper
Search
©
achieved prior to the age of Google, at least
not easily. Their distinctiveness arises from
the profusion of artists presented—as many
as 50, from different countries and working
in very different ways. The experience is
not totally dissimilar from entering a search
(say, “cut paper”) into Google Images, and
watching the screen fill up with examples. ©
Ten years ago, casting such a wide net
would have been a challenge for even
the most globe-trotting of curators. Now
it is almost a default position. And oddly
enough, it works. I have found
m a d ’ s
in-
stallations to be somewhat overcrowded,
but they convey a marvelous sense of dis-
covery—not only for the visitor, but on the
part of the artists themselves. It is the dras-
tic divergences between works achieved
using identical technique that make the
shows interesting. Through the disinter-
ested logic of the search engine, craft is
rendered into an ordering principle—a ru-
bric not unlike Wallinger’s idea of liminal-
ity, or Rakowitz’s harebrained historiogra-
phy. This curatorial method, with its lack
of prejudice about what a given technique
might enable an artist to do, demonstrates
that art is not limited by its materiality but,
on the contrary, shoots off in unpredictable
directions from its material base.
In an art world that is bewilderingly
diverse and fast-moving, perhaps this is the
fairest way to impose system on chaos. It
may sound strange, but it’s true. Google,
that most immaterial of technologies, has
restored to the hoary issue of craft a new
relevance. +
Glenn Adamson is head of graduate studies at
the Victoria and Albert Museum, London, and
co-editor of the
Journal of Modern Craft.
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aug/sep 10 american craft 067
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