Wednesday, December 18, 2013

we don't really teach, we train & incorporate students into a devalued economy of substandard degrees


check out this recently found 8th grade exam from 1912. here are some of the questions:
Through which waters would a vessel pass in going from England through the Suez Canal to Manila?
How does the liver compare in size with other glands in the human body?
How long of a rope is required to reach from the top of a building 40 feet high to the ground 30 feet from the base of a building?
Compare arteries and veins as to function. Where is the blood carried to be purified?
During which wars were the following battles fought: Brandywine, Great Meadows, Lundy’s Lane, Antietam, Buena Vista?
(a good number of my college students would be clueless). it's not their fault. we don't teach. we merely train & incorporate students into a devalued economy of substandard degrees.

via Bullit County History Museum (for an enlarged rendition of the photograph)

Friday, December 6, 2013

if art can walk the viewer through a desire, the purchase of the product, and the satisfaction of the desire in the use of the product, art (automatically) becomes advertising

A general view of atmosphere at Elle Decor Modern Life Concept House 
Opening Night Event on Art Basel December 3, 2013
thus:
Artworks and artists are increasingly becoming elements of advertising campaigns, not only for products and services aimed at the types of older, affluent consumers who have traditionally been patrons of the arts, but also for products and services seeking to reach consumers in their 20s and 30s who are already making art part of their lives. Among the brands and companies getting arty are American Apparel, Chanel, Condé Nast, Dom Pérignon, Gap, Hearst Magazines, Ketel One, Jaguar, Lincoln, Maserati, Red Bull, Samsung, StyleCaster, Vionnet, Louis Vuitton, David Webb and a number of hotels and lodging chains.
artmarket inc.!

new york times (in marketing, art is the thing).

Tuesday, December 3, 2013

“You basically have to treat Art Basel Miami Beach like Vegas”


nate freeman comments artvapity in this article for the new york times.

not to appear pecksniffian at this early stage: art and parties are siblings.

only that,
... the sheer volume of events (dinners, cocktails and blowout parties) not related to art this year is deafening. Sure, the art fairs still display paintings at gobsmacking prices during the day, but the serious art folk are getting sick of the nighttime excess.
serious artfolk?

this is when one needs the right artglasses to properly take pleasure in the spectacle. coming to art basel (an art fair known for its delirium factor) and pretend to brush off its cultural excess is decidedly amateurish. art today is in company of the market. being together, closely supporting each other's goals.

freeman elaborates a bit on the nature of "the company":
But they pale in comparison this year to the flood of parties not related to art but with tie-ins to luxury brands, alcohol sponsors, fashion labels and boutiques. One public relations firm has compiled a party calendar that runs 14 pages and includes 27 events on Tuesday alone, including a fashion show, a brunch for a pop-up store and a dinner for a new furniture line.
27 non-art events on tuesday alone! who doubts that art is a company of the market?

artmarket inc.

so, partygoers of the world, here is a curated list of some of the best art basel's soirees, shindigs and fete champetre:

1- White Cube’s poolside party at the Soho Beach House, 2- Aby Rosen’s A-list dinner at the Dutch and 3- the opening and V.I.P. dinner for the Museum of Contemporary Art North Miami’s winter exhibition (this time, for Tracy Emin). 4- The Pérez Art Museum Miami opening, with a series of private brunches, V.I.P. previews and dinners. and this one for celeb hunters: 5-  a performance of Kanye West & artist Vanessa Beecroft @ Mana Wynwood, a sprawling production village in the Miami Art District.

one may ask why are parties so crucial to the miami art basel mystique? parties are catalysts for artmarket inc., that is to say art being the spiritual veneer of the duality (scaffolded by the market).  parties are to the artmarket what enzymes are to organisms: their function is to increase & speed up chemical reactions. 

but let's not stereotype artbasel-party-goers as decadent souls. they are just regular joes who feel as if they are basking in this experience of spectacle conventions we refer to as culture. & what's wrong with that? nothing, except that these conventions are the very stage of operations of artmarket inc.: a socially-induced form of massive self-blinding.

for instance, a leandra medine is quoted in the piece --as candid and oblivious as when these species  utter opinions: "I don't have a relationship with the art world in any profound capacity, so for me it's just a way for me to unwind."

sure, let's unwind. viva the market!

Monday, December 2, 2013

missing the disease for the symptom

demian hirst in his moment of market glory (hirst is not the devil, he's just a cog in the system)

"contemporary art" is a cipher for a system which produces & legitimizes art/commodities whose function is publicized as "aesthetic."


the system presents art/commodity consumption as cultural spectacle  



what we call "culture" today is really an institution of exchange of art/commodities for mon€y.

the art/commodity//money binity is:

*normative: prescribing stylistic & cultural values.
*inconspicuous: i.e., in your face, but it never appears as such.
*redundant: i.e., "normative" and "inconspicuous" mirror each other.
*non-regulated: i.e., free market for the sake of culture.

this dynamic between contemporary art & the market we call arthoodication.