It’s not a typo, it’s a delightful Icelandic conceptual artist, who made me want to share his works:

From Malmö Konsthall’s Future section, Fridfinnsson image gallery:

(Uncaptioned)

From Malmö Konsthall’s Future section, Fridfinnsson image gallery:

(Uncaptioned)

From Gallerie Nordenhake website, Artist section, Fridfinnsson page

Jar, 2004, stainless steel mirror, glass object, 125 x 200 cm

From E-flux’s event page for Fridfinnsson’s show at Malmö Konsthall:

Pair. 2004
Mirror with silver wooden frame, shoe
48 x 57cm (mirror)

From Serpentine Gallery website, Past section, Fridfinnsson’s 2007 show page:

Hreinn Friðfinnsson
Floor Piece 1992-07
Fluorescent paper, bookbinding material, cardboard box
Collection of Pétur Arason and Ragna Róbertsdóttir
© 2007 Hreinn Friðfinnsson

In case you were wondering, even art world types can object to baseless arty jargon. New York Times critic Roberta Smith lodges her complaints with “What We Talk About When We Talk About Art” (December 23, 2007). She calls out the oft-loftified terms “reference” (in place of “refer”) and “privilege” (over “favor”).

I sympathize with Smith’s overall point — I have always felt a little fake using the terms “moment” (as in, “Longo’s drawings reflected the anxiety of the historical moment”). And my ears prick up with irritation whenever I hear the word “rubric.”

[While I’m on this point, let me clarify: not all art jargon, as much as some common-sense belly-achers like to say, is B.S. For example, you could say, “how the painting is laid out,” but why would you, when “composition” is concise, coherent and unambiguous? More often than not, jargon is purposeful.]

Still, I disagree with Smith when she argues that “practice” is a destructive, misleading characterization of what an artist does. Smith associates an artist’s “practice” to a doctor’s or lawyer’s practice, with the implications that (1) artists must be sanctioned, (2) art making is “depersonalized” and controlled, and (3) practice “sanitizes a very messy process.”

But Smith doesn’t acknowledge the other use of “practice” — the one I embrace — suggesting a rehearsal or exercise. For example, I maintain an art practice. That’s not to say I’m open for business like a doctor or lawyer. It means I’m committed to keeping up this activity against the odds; with or without external validation, without predetermined outcomes. It also suggests that I’m not out to make my magnum opus today or tomorrow, but am confident that achievements are arrived at through repeated engagement.

Furthermore, Smith suggested alternatives to some phrases, but not for “practice.” Despite its divergent interpretations, I think “practice” is the best we’ve got for now. It serves an important function: to distinguish between “the Work” (as in outcome or product) and an artist’s “work” (as in labor or process).

Welcome back! I’ve redesigned my site, christinewongyap.com, as well as this blog! I’ve made the interface cleaner and the navigation simpler. Hope you enjoy it.

While I love the new site, I’ve also re-configured the site architecture. So if you’ve linked to a page within my old site, you might have a broken link! Sorry about the inconvenience. I did not mean to break links with you! And I would appreciate your updating efforts.

If you come across broken or incorrect links on christinewongyap.com, I’d love to hear about it. Email me at info [at] christinewongyap.com. (Don’t forget to mention the page, or just copy and past the URL from your browser’s location window.)

Enjoy!

Makita jig saw
Fast, clean cuts, smooth operation. I’ve joined the club of owners of iconic blue-green hard cases.

Discount Builder’s Supply
For letting me return the bad jigsaw without hassling me. Also for staff who asks if you need help finding anything, and don’t look disappointed if you say yes.

Ashby Lumber
Despite the small store, they actually have a ton of stuff if you just ask. Plus they’re cool about special orders.

American Science and Surplus
The website’s design, writing and ink drawings oozes personality. (Talk about a content-rich website. It makes me hope to work with a humor writer on a design or art project one day.) Their stock is like the East Bay Depot of Creative Re-use, but brainier.

Validation
I was skeptical about the reception of the Regalos Project in Moving Cultures, an exhibition at the Euphrat Museum (Cupertino, CA) that ended yesterday. Maybe people didn’t ‘get’ it, I thought. Maybe it’s too conceptual. Or maybe people didn’t engage with it because it looks disposable and crappy. But Diana Agrabrite, Director of the Arts and Schools Program, told me that the Regalos Project was a great way to start conversations about the nature of art and to introduce conceptualism to students. With delight in her voice, Diana mentioned how one teacher started a 30-minute discussion with his students by pointing at my work and declaring “This is not art!” Clearly Diana enjoyed having the work in the show. And whether or not people think it’s art or not, I’m thrilled the questions it raises were explored by so many school groups. Cool!

A photo of the Regalos project on the Headlands stoop: