“And the big daddy that I learned from all this: I actually CAN’T paint like other artists, and nor do I want to. That’s the best thing this exercise has taught me over the years; it’s fun to experiment, to try out what other artists are doing, but if I only ever did that I’d be unfulfilled and dissatisfied. I’d be surrounded by a vegetarian buffet and craving steak.”
“So, while many are keen to talk things down, the reality is more nuanced. Indeed, this isn’t the first time the U.S. art market has asked itself such questions. ‘The art world has an enormous capacity for reinvention,’ said Robb. ‘We’re all creative. We’re representing creatives. We’re creative in our own ways. This is an opportunity for some exciting change to take shape.’”
“Why escape your intended purpose by copying and trying to be someone else? You will discover who you were meant to be only after you have shown confidence being yourself.” — Suzy Kassem
Word Series: A #Copy of A Copy Poster. This is a copy of a copy poster. Size: 18 x 24 in. On a matte paper. Heavyweight stock.
Both physical and NFT items are now available in our store.
Object-Oriented Ontology (OOO) isn’t an art movement originally, but a philosophical framework that’s had influence in contemporary art and theory.
Here’s the gist:
What it is: OOO is a branch of speculative realism, developed mainly by Graham Harman, Levi Bryant, and Ian Bogost in the early 2000s.
Core idea: Objects exist independently of human perception. A chair, a rock, a virus, or even a fictional character has its own reality that isn’t reducible to how humans experience or use it.
Why it matters for art: Traditional Western art has long been human-centered — even abstract or minimalist works are often framed around human meaning or perception. OOO pushes back against this “anthropocentrism.”
In art practice: Artists influenced by OOO often explore the agency of objects themselves, how materials interact with each other, or how nonhuman entities (machines, ecosystems, algorithms) shape reality. This can look “anti-human figure” because the focus shifts from people to things.
Examples in art influenced by OOO:
Installations where objects “confront” viewers as independent beings.
Works that emphasize materiality — like how steel, plastic, or digital code behaves on its own.
Ecological and post-humanist art that treats humans as just one actor among many.
So in a sense, OOO isn’t anti-human like Suprematism or Constructivism were, but it de-centers humans — making the human figure no longer the default subject of art.
According to information provided by the Human Rights Foundation on 7 August and verified by ArtReview, representatives of the Bangkok Metropolitan Administration (the main funder of BACC) accompanied by Chinese embassy officials visited the exhibition on 27 July, three days after it opened, and flagged several works as ‘problematic’. Works by Hong Kong artists Clara Cheung and Gum Cheng Yee Man, Tibetan artist Tenzin Mingyur Paldron and Uyghur artist Mukaddas Mijit were removed or obscured and the names of the artists were blacked out.
“I don’t think it’s necessary to be original. It’s necessary to be honest.”
Martin Creed: What’s the point of it? is the first major retrospective of Creed’s ingenious and often highly provocative work. Since the beginning of his career, when he made small objects that could be placed anywhere, Creed has made work that questions the very nature of art and challenges taboos. His work takes on a multitude of forms—from sculpture, paintings, neons, films and installations, to music and performance—appearing both in the art gallery and in broader public circulation. At once rigorous and humorous, his art continually surprises, disrupts and overturns our expectations. It reflects on the unease we face in making choices, the comfort we find in repetition, the desire to control, and the inevitable losses of control that shape existence.
Martin Creed Work No. 88 1995 A sheet of A4 paper crumpled into a ball.
Ideas have fathers One of the many destructive assumptions nowadays is that ideas have no fathers. But ideas are thought up by someone. For example, the concept of placing a sculpture on the ground without a plinth was one of Judd’s ideas; it is now very common and no one is aware of this. Another one of his ideas was the concept of the installation, the use of the whole space. Many artists devalue this idea. Once again there is no discussion at all and mediocre works are created. Art historians who are concerned with the past are at least still interested in chronology, those who work with contemporary art are not, and they see art as the subject for their own speculations.
Artist Donald Judd (1928 – 1994) held the 1993 Mondrian Lecture called ‘Some aspects of colour in general and red and black in particular’.
“A man who works with his hands is a laborer; a man who works with his hands and his brain is a craftsman; but a man who works with his hands and his brain and his heart is an artist.”
“Why escape your intended purpose by copying and trying to be someone else? You will discover who you were meant to be only after you have shown confidence being yourself.” — Suzy Kassem
Word Series: A Copy of A Copy Poster. This is a copy of a copy poster. Size: 18 x 24 in. On a matte paper. Heavyweight stock.
Both physical and NFT items are now available in our store.
