Who owns the past betsy carpenter

Carpenter So turning to the current moment, do you feel that the contemporary art world today still has that same sort of power to provoke? Contemporary art still can make people crazy, but there is not a new movement. When I was younger, it was being juvenile delinquents and beatniks and hippies and punks, and then grunge and rappers, but now what?

That is how you rebel, and there is no fashion from hacking except bad posture from sitting in front of your computer. Carpenter The idea that somehow artists are swindlers …. Waters Maybe they are, but is that bad? I say I use photography. But really, my work is hardly like Ansel Adams. Carpenter One of the benefits of working with you on this exhibition is that you have kept me laughing, and many of the works that you have selected for the show are ironic, even laugh-out-loud funny.

But our audience should know that you take the art you collect very seriously. Waters Well, to me contemporary art uses wit, and uses humor a lot, too. And I am serious about what I collect, but at the same time I embrace the impenetrability of some art, I embrace the elitism of the art world. I find it humorous because it is a secret club. Art is a magic trick. You have to start going to galleries, you have to read, you have to learn about art history. But once you see it, you have that power—and it is power—forever.

Well, I do see it. To me, well, that is art! Skip to main content. Carpenter Were your parents interested in art? Carpenter The idea that somehow artists are swindlers … Waters Maybe they are, but is that bad? Horace appealed the decision and lost. Three years later, on Jan. Her cause of death was listed as insanity followed by paralysis. The judge refused to probate the will as she had been a former mental patient prior to the time it was written.

Horace married Jennie Hastings, 20 years his junior, that same year. With his company at the corner of Friendship and Dorrance streets continuing successfully, the couple enjoyed world travels and the help of live-in servants.

They were members of several social organizations and served on numerous boards. The new Mrs. Carpenter was a popular hostess at all the Fountainhurst parties. Horace retired in and died of senility and heart disease in Jennie had died the year before. The City of Providence was left his natural history collection, which consisted of books and thousands of shells, minerals and other artifacts. Horace and Jennie are buried in Swan Point Cemetery where a massive statue marks the final resting place.

Elizabeth rests in the same burial ground. No comments on this item Please log in to comment by clicking here. Log in Subscribe. Main menu Toggle navigation. This item is available in full to subscribers. Attention subscribers We have recently launched a new and improved website. Please log in to continue E-mail Password Log in.

Need an account? Print subscribers If you're a print subscriber, but do not yet have an online account, click here to create one. Non-subscribers Click here to see your options for becoming a subscriber. Posted Thursday, October 28, am. She explores the frames and stakes of both the intermedial and reality-making contexts of performative practice while clustering her reflections around selected artworks and thinkers from the mid-twentieth century to the present. She argues for a precise and varied vocabulary for the wide variety of expanded, cross-media practices that we now encounter regularly in museums, on stages, and in the streets.

Starting with Minimalism and its orientation toward the phenomenological space in which art is presented and experienced, and continuing with artists such as James Coleman, Robert Irwin, and Tino Sehgal, she frames the artistic focus on the creation of experiences from the s to the present.

How are experiences shaped in and by specific artworks? How do they produce meaning? In which way does this challenge the aesthetic experience of the viewer? Auslander identifies Michael Kirby as the primary theorist of performance documentation at this time. Kirby distinguished documentation from criticism, regarding the latter as needlessly dominated by interpretation and lack of objectivity.

He then returns to speech act theory to propose a more refined concept of the performativity of performance documentation, enlisting John R. Through the contents of this catalogue, we enter the current discursive fray, in which the topics of performance and performativity have received increased attention, as evidenced by the conspicuous proliferation of international museum exhibitions, acquisitions, and publications; academic and curatorial symposia; university programs offering degrees and curatorial certificates in performance studies; and the evolution of a major biennial, Performa, which debuted in These principles have stood us in good stead as we continue to question how and what we collect, and stay open to and respond to developments in the expanded interdisciplinary field.

Introduction Elizabeth Carpenter. Citation Carpenter, Elizabeth.