Noah Barker

marzo 2, 2015

To start from the beginning, What was what first interested you in art?

I was introduced to art making through ceramics. I enjoyed making functional goods and the idea of obtaining my own means of subsistence. I was obsessed with the idea of getting a bit of land and making pots the rest of my life. I could exist autonomously, so I thought. Later I learned that art could be a means of moving through ideas. Also, I got much more interested in the failed pots than the ones that could be used.

 What was your first approach to art?

Making arbitrary objects through redundant processes and relating these processes of production to those I acknowledged in the world.

What is the importance of the art history in your work? Do you admire works or artists that influenced your ideas about art?

History is extremely important to all aspects of my life and work. The past and how it is retold shape the present and future. Ad Reinhardt is a tremendous influence for me. His historical position in art history is as important as the work itself. Artists that write about art have unique historical positions which I see myself attempting to occupy.

What is the process in the development of your work?

It’s important to note that my work takes many forms: curating, writing, discussing, art making, exhibition design, graphic design, etc. I begin by responding to a specific context and developing the proper existence there. Ideally it is an existance that disrupts and allows for systems and structures governing the existence to be revealed. But I am constantly revising my process of address and my previous addresses. 

What do you think of the relationship between art and civilization?

It’s changed and is changing, as does society and history. Art does not remain art forever as it becomes art history and artifact.

How would you define the art you do?

I wouldn’t and can’t. Contemporary art attempts to avoid the very aging problem I mentioned above through a transient existence. I’m weary of this tactic and employ it endlessly. It’s not necessarily a tactic though, but a naturalized means of address. It plays into certain systems and structures which excerpt power over art and life.

Categoría: Arte, Entrevistas