two types of people

http://www.artlyst.com/member-articles/there-are-two-types-of-people-in-the-art-world-artists-and-boring-fuckers

There are two types of people in the art world: artists and boring fuckers.

The boring fuckers have it in for us. They’re the ones who gleefully academicised art because they knew that real artists hate writing: essays, self-crits, artist’s statements, creative rationales, dissertations, speeches, press releases, blogs and begging letters.In the UK, in the 70s, the perfectly serviceable Dip AD was dumped in favour of a Bachelor of Arts.
Why?
In 1972, it was discovered that those who had failed their Dip AD had the highest average in O level results, and those who obtained a third in their Dip AD had achieved the highest A level results when at school. In other words, academics didn’t fare well in the practical Dip AD framework.
Consequently, later on, the boring fuckers decided to make the entry requirements and curriculum even more academic when they introduced BA, MA, MFA and PhD degrees to art. Naturally, all the little history swots rubbed their hands at the prospect of getting higher grades than their more practical, or should we say, more talented artist contemporaries. The age of the art historian and curator was dawning.
The sad thing is how many truly talented artists were discarded along the way. In order to “address the problem”, the boring fuckers introduced measures to help those “afflicted” dyslexic artists with the loan of special computers and staff support. How very kind and how very condescending. They’re not made to feel valued, or special, as many dyslexics are, but inferior. The poor dears can’t write.
Who the fuck cares?!
They’re fucking artists, not academics, or writers!

recreates scene of dead Syrian toddler

http://hyperallergic.com/272881/ai-weiweis-photo-reenacting-a-child-refugees-death-should-not-exist/

Ai Weiwei poses as drowned Syrian child Aylan Kurdi

Ai Weiwei poses as drowned Syrian child Aylan Kurdi

“Art as we know it is corrupt, exhausted and weak. We see works of postmodern masters sold to bankers for millions of dollars as signs of cultural capital and objects of financial investment. We see shimmering edifices of cultural wealth erected on the backs of hyperexploited labor—the pyramids and coliseums of the twenty-first century. …. We see so-called “social practice,” the well-funded bureaucratization of alienated people’s desire for community. And we see theoretically savvy “discursive platforms” that speak of radical democracy, militant ecology, and even communization, while recoiling at the prospect of deploying their considerable resources, skills, and potentials for the purposes of building a movement. This is no longer acceptable.

We strike art to liberate art from itself. Not to end art, but to unleash its powers of direct action and radical imagination. Art does not dissolve into so-called real life. It revitalizes real life by making it surreal. …. We strike art as training in the practice of freedom. And imagine a never-ending process of experimentation, learning and undoing, resisting and building in the unexplored terrain of an historic rupture.”

narcissism and art

https://news.artnet.com/market/art-world-narcissism-epidemic-373139

Milo Moiré taking selfies with tourists

Milo Moiré taking selfies with tourists

‘According to the American Medical Association, narcissistic personality disorder is defined as: a condition in which a person is excessively preoccupied with personal adequacy, power, prestige and vanity, and mentally unable to see the destructive damage they are causing to themselves and others.’

contemporary art is rubbish

http://www.theguardian.com/global/shortcuts/2015/oct/27/modern-art-is-rubbish-why-mistaking-artworks-for-trash-proves-their-worth

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Carlos Saladen Vargas – ‘news’ (2009)

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Carlos Saladen Vargas – ‘news’ (2009)

Carlos Saladen Vargas – ‘news’ (2009)

Carlos Saladen Vargas – ‘news’ (2009)

“But still, the cleaners keep chucking stuff away (cussed working-class critics of modern art who are the last bastions of criticism)”

a guide to the end of art

http://hyperallergic.com/191329/an-illustrated-guide-to-arthur-dantos-the-end-of-art/

Lauren Purje

image by Lauren Purje

 

“Though widely read, Danto’s theories are not wholly beloved by the art industry. Artists don’t necessarily want to hear that their work has no developmental potential. Danto’s work also presents a challenge for the art market which relies on perceived historic importance as a unique selling point. He predicted that the demand on the market would require the “illusion of unending novelty,” later citing 1980s Neo-Expressionism as an example of the industry’s need to continually recycle and repackage prior aesthetic forms and ideas, a charge that parallels the contemporary debate regarding zombie formalism.”