I like to assume that humankind once played our fiction without pretense of its being anything other than our fiction - but that at some point we began taking our theater for reality and falling for the resulting theater ever since. Poor humans. We have lost our inherent knack for being genuinely fake. And not sucking.
And if this reality were not bad enough, simultaneous to our stinking up the stage, we proclaim how much we don't suck on television and billboards. And in banner ads.
I am skeptical of any artistic statement when it's not made within the art itself, but sympathetic to the artist caught in the trap of hustling for patronage.
Unfortunately, this language easily bleeds over into brochure'd entreaties to come & see this or that compelling & important work. If the text therein is not quotations from critics with long-buried creativity dreams, then the pretentiousness leads even more seamlessly back to the artists themselves. And why not? What is art school for, if not to learn how to write a grant application and suffer the consequences?
Thumbing through Biennale material and finding the expressions "blurring the line", "breaking down barriers", and - egad! - "crossing the border" make me want to build a wall between me and those pieces of work so I never run the risk of accidentally "experiencing" them.
Perhaps the Schools of the Arts should teach would-be professional artists to draw lines? In the process they might learn to erect a big barrier along the border between the profession on the one side, and the art on the other. Understandably, the art world is crowded with those who don't know the difference.
If your moments are not transitional, then you aren't likely to move anyone else, especially if the moment is explained on the wall directly beside your piece in all its boundary-breaking significance.
For the installateur who feels the need to summarize a piece of work for the general public - that is, to reveal its relevance in textual form to someone standing right the fuck in front of it, "plumbing the depths" might be a good choice of phrase, and he or she should charge a hefty hourly fee to do so.
Welcome to the working class.
And to the woman who recently blurred the line between the chore of the art and the art of the chore, keep the 800 grand. You're doing important work.
This digital image was recorded on a cellular telephone on the occasion of the radio programme Kate Donovan & davidly Play w/Words & Music for their broadcast on the topic of Covers: Musical artists who cover a song originally & more popularly known by another musical artist, reinterpret that music and, in doing so, invite the listener-at-large to reexamine the boundary between the music that had been known up to that point in time, and a music that is to be known thereafter.
With the above image, we invite you, the observer, to look a picture of the "on air" sign outside the radio studio and view it in a fresh & exciting new way: with a hand over it. We, the artists feel that this is an important breakthrough. We hope you feel the same. Tip your waitress. Yours, K&d
And if this reality were not bad enough, simultaneous to our stinking up the stage, we proclaim how much we don't suck on television and billboards. And in banner ads.
___
I am skeptical of any artistic statement when it's not made within the art itself, but sympathetic to the artist caught in the trap of hustling for patronage.
Unfortunately, this language easily bleeds over into brochure'd entreaties to come & see this or that compelling & important work. If the text therein is not quotations from critics with long-buried creativity dreams, then the pretentiousness leads even more seamlessly back to the artists themselves. And why not? What is art school for, if not to learn how to write a grant application and suffer the consequences?
Thumbing through Biennale material and finding the expressions "blurring the line", "breaking down barriers", and - egad! - "crossing the border" make me want to build a wall between me and those pieces of work so I never run the risk of accidentally "experiencing" them.
Perhaps the Schools of the Arts should teach would-be professional artists to draw lines? In the process they might learn to erect a big barrier along the border between the profession on the one side, and the art on the other. Understandably, the art world is crowded with those who don't know the difference.
If your moments are not transitional, then you aren't likely to move anyone else, especially if the moment is explained on the wall directly beside your piece in all its boundary-breaking significance.
For the installateur who feels the need to summarize a piece of work for the general public - that is, to reveal its relevance in textual form to someone standing right the fuck in front of it, "plumbing the depths" might be a good choice of phrase, and he or she should charge a hefty hourly fee to do so.
Welcome to the working class.
And to the woman who recently blurred the line between the chore of the art and the art of the chore, keep the 800 grand. You're doing important work.
This digital image was recorded on a cellular telephone on the occasion of the radio programme Kate Donovan & davidly Play w/Words & Music for their broadcast on the topic of Covers: Musical artists who cover a song originally & more popularly known by another musical artist, reinterpret that music and, in doing so, invite the listener-at-large to reexamine the boundary between the music that had been known up to that point in time, and a music that is to be known thereafter.
With the above image, we invite you, the observer, to look a picture of the "on air" sign outside the radio studio and view it in a fresh & exciting new way: with a hand over it. We, the artists feel that this is an important breakthrough. We hope you feel the same. Tip your waitress. Yours, K&d
