Exciting Art World Developments: A Short Survey


 Diego Riviera, Night of the Rich, 1928

Fortunately for us living out here in the hinterlands where no exciting art is taking place, the New York Times is there to keep us informed of the latest profound art developments going on in the capital:

This account of Art that puts the viewers to sleep appears to be almost as riveting as the art itself…. here. :

Is this art different than the rest of the art in contemporary art spaces that put one to sleep?

Andy Warhol’s works have been rearranged at his museum in Pittsburgh! How much more exciting can it get??!! The first line of the inimitable Blake Gopnik’s NY Times piece had me hooked: “Andy Warhol was, chronologically and by his own description, a nose picker, a pimp and a water guzzler.” There simply can’t be enough news about Andy Warhol and his legacy! I wish they’d just stop reporting on everything else to make more room for reporting on Andy’s work, his nose picking, his pimping, his water guzzling… all the deep facets of the gem that is Andy!

Of course, the Times has been slipping a bit lately. Fortunately, Jonathan Jones at the Guardian keeps up with the cutting edge stuff, like the latest paint-filled-eggs-dropped-out-of-vagina  art of Milo Moiré. Jonathan gives this artist a piece of his (empty) mind. He tells us that anyone who likes this kind of stuff is not just pretentious. They’re  intellectually dishonest, pseudo-intellectuals, or just plain liars! In fact they’re the opposite of Jonathan Jones, a man of sterling integrity and a real intellectual just like his esteemed colleagues.

He’s a guy who knows the difference between  a phony artist with paint-filled eggs stuffed up her crack and Vito Acconci jerking off under a platform at Sonnabend Gallery! (Hint to Moiré: If you jerk off in a famous New York gallery it’s serious art; if you squirt a paint filled egg out of your vagina outside an art museum it’s not.)

While Jonathan seems skeptical about the vagina artist (is he losing faith in the avant-garde?) he has done the serious art lover the favor of explaining the greatness of serious avant-garde jerking off, as compared to pretentious paint-filled egg dropping.

Be sure to read Jonathan’s Guardian piece if you want to avoid the rookie error of mistaking the spurious vagina art of Milo Moiré with the authentic jism art of Vito Acconci and Antony Gormley.



About trueoutsider

I'm an artist.
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2 Responses to Exciting Art World Developments: A Short Survey

  1. wewordsmiths says:

    Since you made the error of reference re – AW’s personal habits, I couldn’t resist this facet of psychological relief:

    I used to know a ballerina from the ABT who had an interest in the art scene of the mid seventies. At one Warhol-hosted party most of the guests were enjoying themselves in & about the apartment space with *whatever*.

    Warhol *Himself* spent the duration alone in his kitsch kitchen, ignoring everyone and everything. Except the giant plastic/rubber tit (female) seated on the formica kitchen table. Which he would suck at off&on between the long bouts of stupor. If spoken to he might turn and give you a blank stare, but mostly it was the cold shoulder of oblivion.

    She didn’t believe he was on any drug, alcoholic or non.

    Res ipsa loquitur. But not today. Today it would be pretty good performance art…

  2. trueoutsider says:

    The cold shoulder of oblivion is a good phrase as it encapsulates Warhol’s hollow soul, and complete lack of empathy. Greenberg wrote in 1948, “I am sick of the art-adoration that prevails among cultured people,… that art silliness which condones almost any moral or intellectual failing on the artist’s part as long as he is or seems a successful artist. It is still justifiable to demand that the be a successful human being before anything else, even if at the cost of his art. As it is, psychopathy has become endemic among artists and writers, in whose company the moral idiot is tolerated as perhaps nowhere else in society.”

    Of course, Greenberg is describing the art world he himself ushered into being in the 1950s, the opposite of the one that existed in 1948. In 1948 there were myriad artists practicing in the service of a moral vision, a vision of social justice depicting the conditions of the working class. There was nothing at all silly about the art world in 1948. But Greenberg’s art world would be totally silly and morally bankrupt and psychopathic. The art world he helped create was one entirely devoted to serving the interests of a small wealthy elite.

    In my opinion, Greenberg was a psychopathic liar and charlatan. As was Duchamp, as the recent research shows. When will anybody bother to seriously look at Greenberg’s squalid financial dealings? At any rate, Duchamp and Greenberg begat Warhol…. Warhol is the perfect lovechild of Greenberg and Duchamp. Andy used flat pretty colors as prescribed by Greenberg (through Matisse incidentally) over top the dead object banality of Duchamp. Warhol didn’t spring full-blown out of the head of Zeus. He sprang out of the Capitalist culture of commercial products based on exaggerated and false claims of transcendental beauty, a Capitalist culture that couldn’t be more happy with Duchamp’s tireless and trivial “art” declaring painting (which is art) dead. Artists followed whatever the New York critics and power brokers sanctified as great art like lemmings over a cliff. If they didn’t, they were welcome to wander off into exile. I’m unaware of a single artist who had any objection at all to Duchamp/Greenberg silly land who has ever opened their mouths publicly or privately. It’s a cult belief system. No more. No less. One simply cannot dismiss Greenberg and Duchamp. The entire cult edifice rests on their teachings.

    What I’m saying now is no different from what I’ve said since Warhol. I’ve never found a single artist I spoke with who agreed with what I said. So now artists all exist in the cold shoulder of oblivion, most of them thoroughly thrilled to be here. The ones carping about the current decadence are the same ones that facilitated its triumph. Art that is devoid of human values, devoid of human concerns… Sterile and “pretty”, ironic, posturing anarchism, funhouse entertainment,… it comes in all kinds of flavors concocted in Andy’s Kitsch Kitchen.

    But artists can still open their mouths to object and are free to create outside the boundaries of the mess. Strange that there are no more than a handful of them doing so. To me, at least. They seem to think that the only place art exists is in galleries or museums. Brainwashing is an amazing thing, really.

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