Scott Oliver wrote a nice little essay about the doings of Josh Greene. He describes looking at Greene’s work while on the Southern Exposure Curatorial Committee way “back in 2000. [Before ever hearing] the term ‘relational aesthetics,’ [when] CCA’s Social Practice program didn’t yet exist:”
It becomes immediately apparent to anyone reviewing artists’ submissions just how important the ability to effectively communicate one’s practice through a few images and some text can be to an artist’s success. This is especially true for artists like Greene, whose work is dependent on context and, for all practical purposes, unrepeatable. Documentation is the only way for this type of work to outlive the moment in which it was created and reach a larger audience. But Greene holds back, giving just enough information to get the imagination spinning. As with any good story we (the viewers) are required to do part of the work. In this way documentation and its presentation can be an art in itself—a balancing act between a compelling idea and the minutia that surrounds putting that idea into practice. Greene’s projects then, both make for good stories and are stories well told. Or, to put it another way, Greene is as much a raconteur as he is an artist.
(via Shotgun Review)
