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	<title>the space in between &#187; academies and institutions</title>
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	<link>http://the-space-in-between.com</link>
	<description>"...that accident which pricks me (but also bruises me, is poignant to me)."</description>
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		<title>A Practice Without Center: the Work of Sophie Calle</title>
		<link>http://the-space-in-between.com/2008/05/05/sophie-calle-a-practice-without-center/</link>
		<comments>http://the-space-in-between.com/2008/05/05/sophie-calle-a-practice-without-center/#comments</comments>
		<pubDate>Mon, 05 May 2008 06:47:42 +0000</pubDate>
		<dc:creator>stacy oborn</dc:creator>
				<category><![CDATA[academies and institutions]]></category>
		<category><![CDATA[criticism]]></category>
		<category><![CDATA[sophie calle]]></category>
		<category><![CDATA[thoughts on art and making]]></category>
		<category><![CDATA[cautionary tales]]></category>
		<category><![CDATA[walter benjamin]]></category>

		<guid isPermaLink="false">http://the-space-in-between.com/?p=28</guid>
		<description><![CDATA[Sophie Calle is not an artist, but an editor...what she practices is an edit without questions, without premise, only formula. She calls the premise for her projects her ideas, says that she is full of ideas, but Ideas they are not; these are parlor questions. She frames herself through the references of repetition and disappearance, but doesn't use them in an authentic or true way. What she does is manipulate these references to distill and create an affect. What she creates isn't related to thinking; what she creates is affectation. As an editor, she is also a greedy one, taking and taking and taking. Instead of trafficking in ideas or thinking, she takes other people's thoughts and experiences as her art supplies, and then calls it collaboration.]]></description>
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		<slash:comments>8</slash:comments>
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		<title>that which moves and shakes</title>
		<link>http://the-space-in-between.com/2006/05/22/william-kentridge-that-which-moves-and-shakes/</link>
		<comments>http://the-space-in-between.com/2006/05/22/william-kentridge-that-which-moves-and-shakes/#comments</comments>
		<pubDate>Tue, 23 May 2006 06:42:59 +0000</pubDate>
		<dc:creator>stacy oborn</dc:creator>
				<category><![CDATA[academies and institutions]]></category>
		<category><![CDATA[art trips]]></category>
		<category><![CDATA[sigmund freud]]></category>
		<category><![CDATA[thoughts on art and making]]></category>
		<category><![CDATA[william kentridge]]></category>
		<category><![CDATA[black box]]></category>
		<category><![CDATA[chambre noire]]></category>
		<category><![CDATA[new media]]></category>
		<category><![CDATA[south africa]]></category>

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		<description><![CDATA[what was so extraordinary about black box was that it managed so many things that art usually so stupendously fails at dealing with: things that have to do with politics both past and present; cultural guilt and grief; memory and forgetting; the evocation of universal themes and then the subsequent questioning of what those themes are, what their validity is in the face of changed contexts, agency or audience; and it did all of these things while still managing to be startlingly, breath-gasping-and-all beautiful. it doesn't try to do or invoke any of the above tropes or themes, but it fully realizes them all. seeing this piece set me about a mad rush to find, see and ingest as much of kentridge's words and works as i could find.]]></description>
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		<slash:comments>2</slash:comments>
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		<title>correspondences</title>
		<link>http://the-space-in-between.com/2004/12/06/correspondences/</link>
		<comments>http://the-space-in-between.com/2004/12/06/correspondences/#comments</comments>
		<pubDate>Tue, 07 Dec 2004 07:47:48 +0000</pubDate>
		<dc:creator>stacy oborn</dc:creator>
				<category><![CDATA[academies and institutions]]></category>
		<category><![CDATA[harry callahan]]></category>
		<category><![CDATA[japanese photography]]></category>
		<category><![CDATA[masahisa fukase]]></category>
		<category><![CDATA[nobuyoshi araki]]></category>
		<category><![CDATA[thoughts on art and making]]></category>
		<category><![CDATA[chicago]]></category>
		<category><![CDATA[institute of design]]></category>
		<category><![CDATA[intimate portraits]]></category>
		<category><![CDATA[model wife]]></category>
		<category><![CDATA[nobuyoshi arkai]]></category>
		<category><![CDATA[photographers and homages to other photographers]]></category>
		<category><![CDATA[yoko]]></category>

		<guid isPermaLink="false">http://the-space-in-between.com/?p=20</guid>
		<description><![CDATA[in the introductory essay to anne wilkes tucker's encylopedic tome  the history of japanese photography, the author asserts that araki and fukase both became known to the japanese because they were the first to show the "intimate homelife and personal emotional state of their subjects."  i also can't help but meditate upon how, in absorbing eastern men reinterpret the tones of callahan's portrait of his wife, they show something else of themselves, of the woman in front of them, and of east contemplating west. it's amazing and a little humbling to consider just how revolutionary something so simple as an unguarded moment of one's wife, captured on film, could revolutionize how an entire generation of photographers began to see, and it's something i've loved thinking about ever since i came across these photographs.]]></description>
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