Laurie Fendrich, of Hofstra, wonders in her Chronicle blog why oh why doesn’t anybody pipe up when she writes about art?
Pontormo doesn't give a fuck if you don't get him.
Hi there
Sara Gallo and David Staniunas transplanted themselves to Columbus, Ohio for SG's pursuit of the MFA in Ceramics at Ohio State. David got jealous, insisting that he have the most degrees in the household, and entered the MLIS program at Kent State. Here is where we distribute quick doses of information about things that pique our interest, projects in the works, sources for current work, pressing issues in foreign policy, and so forth. Let us know what's up, Yrs -- S G & D SPosts
C’est degolas, mais on s’habitue
Allow me to welcome you to the Annihilation of Nature by Spirit...
We could get a lot of traction out of the gestures toward contemporaneity and immateriality contained in MAD’s press release — such as, Why are the two terms necessarily related? Under what conditions does it make sense to conceptualize the contemporary as ephemeral, or rather, to think of our present as any more or less fleeting than prior presents? Is the nose the last stop on the immaterial train? IS there really anyone working in smell? Or is the Village Voice right to ridicule this reactionary woolly-headed Hegelian outburst? Why not just burn incense to ward off evil spirits, instead of pressing art into service to the Geist? Finally, when the American Craft Museum gives up on the intellectual tradition of the handmade, doesn’t that leave the field open to all manner of backwoods, back-to-the-land survivalists? Associate the immaterial with the cosmopolitan present and the material is by default part of the feudal past. Thus do Sarah Palin and Etsy become bedfellows, sweeping all before them… — but we’re going to bracket these concerns, and just talk about conflict-of-interest.
Renauld Dutreil sits on MAD’s board. Dutreil is the current head of LVMH. LVMH makes Dior and Givenchy. qed.
A simple rent-a-museum procedure, akin to Dakis and his New Museum.
Anne of Carversville has obliquely pointed out how the present conflict of interest might operate in future. A Swedish parfumier is pimping a line conceptualized around ink — letters, drawing, painting, in her words:
Easier indeed. Perhaps I’m hyperventilating here. Contemporary art and perfume require a conceptual leap of faith. Once this has been achieved, success comes through canny marketing. The mere idea that a museum exhibition of anything could improve the bottom line of anything else testifies to the desperate lengths that the privileged class will go to to obtain returns. Perhaps the sorta-conceptual belongs with the cannily-marketed, and all we can do is deal. As the old head says in Tout Va Bien, “C’est degolas, mais on s’habitue.” It’s disgusting, but you get used to it.
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ds