Fraud, Fraud, Fraud

Everywhere you look more fraud! Lest one get the totally mistaken impression (and given the totally delusional state of art world denizens I can only make the assumption that your impressions are mistaken) our dear old Capitalist America is hardly the only place mired in fraudulent accounting practices. So is Capitalist Communist China.

It’s not just that many of their artists are just as fraudulent as ours:

wee wee

Ai Wei Wei (American pronunciation “I Wee Wee”)

And naturally the most fraudulent of the bunch from China, like Mr. Wee Wee, are lauded here as the most brilliant artists of the new century. It all makes sense, kiddos, if you bother trying to follow along at all even though I know that people with art brains find this tremendously taxing as the limits of their intelligence and interest seem not to extend beyond the tap of their mouseclick hitting the like button on Zuckerbarf’s Facebook.

For those unfamiliar with my blog I generally like to start out with insulting as many people as I can so that only those with a burning intellectual curiosity about the state of art today will continue reading. And the rest will stop wasting their time here and go find more satisfying pursuits. I am talking to myself, in other words. And while the top is a bit dry if you go down further I’ve posted some really fantastic contemporary art you might not be aware of.

As to the source for my awareness of the enormous financial fraud that is China Today I link you to Macrobusiness and China’s Capital Outflow is Accelerating, which might be a little dense reading so to cut to the chase:

Whereas Chinese Customs reports $1.68 trillion and SAFE report $1.57 in goods imports into China, banks report paying $2.55 trillion for imports. In other words, funds paid for imported goods and services was $870-980 billion or 552-62% higher than official Customs and SAFE trade data. This level of discrepancy is extreme in both absolute and relative terms and cannot simply be called a rounding error but is nothing less than systemic fraud.

Is there any country in the world that doesn’t have a financial system that is entirely fiction and whose bedrock reality is systemic fraud? Liars telling lies to the the liar next to the next liar in a daisychain of universal grift? And industrialized nations filled with befuddled sheep doing their online shopping throughout the day, selling their craft items on ETSY or buying and trading art on artnet. And there are actually still artists today who think they’re making art when all they’re doing is making commercial objects destined to fit inside the walls of an insane asylum composed of know-nothing shakedown artists known as art dealers and pathological liars known as art critics and ignorant collectors known as suckers of all stripes and colors?

Not to mention the terminally moronic visited with delusions of grandeur as they’re washed over with millions of dollars of the sucker’s greenbacks. I take you now to  the illuminating insights into the Capitalist system that only an artist of colossal intellect, such as  Barbara Kruger, could dispense. Below are her staggering insights as patiently elaborated  to Interview Magazine 02/28/13 for the really slow types who go there to understand the true meaning of today’s art. And as for myself, how else could I follow the exciting developments in the avant-garde without artists like Kruger to keep me up to date and perceptive interviewers like Chris Bollen who burrow down to the deeper truths of art’s relationship to Global Finance Capital?

CHRISTOPHER BOLLEN: You’ve lived downtown since the mid-60s, so obviously you’ve seen a lot of change in New York– how it’s increasingly become less of a place for artists and more of a place to show expensive art.

BARBARA KRUGER: Yes, but I’m not into it when people say, “Oh, I remember the gritty ’70s.” I feel like, Oh give me a break. I’m not nostalgic. I can’t stand that. The only scary thing and this is true with most cities everywhere–it that there’s no room for the working class and middle class people here anymore. {Fucking hell! I had no idea!}. Tribeca is exhibit A. I moved into this neighborhood in 1967. Nobody lived here. You know, artists did not gentrify this neighborhood. These floors and these building were all empty. All these small businesses had moved out to Long Island or Queens. {This is insider information that very few people are aware of outside of every real estate agent in the Manhattan/Triboro area and extending into New Jersey and Connecticut.} That’s when artists appear, right? {Yes, Barbara. Before you and the other artistic geniuses appeared Tribeca and the rest of NYC never had any artists living in it close to the significance of your generation.} But when I first came here, the only people who’d been on Chambers Street were Yoko Ono; [acid pioneer] Owsley Stanley; and Ken Jacobs, the filmaker. {All of the other people on Chambers St. were total nobodies as they weren’t famous names. At least famous within the precincts of avant-garde New York genius. I’d wager few reading this have ever heard of Ken Jacobs, who can be credited along with Andy Warhol,  Bruce Nauman and other avant garde cinematic pioneers with directing (if you can call it that) some of the most boring films ever made. Even America’s Funniest Home Videos puts this stuff to shame. Believe me. I had to sit through much of the avant-garde cinema at art school when it was as fresh as a baby cow’s first shit.}

Now that we’ve gotten the history of Tribeca and the only notable people who lived on the same street as Barbara over with let’s move on to the exciting part:

I was living in the Village, going to Parsons for a year; I used to go to parties in a building down here on Reade Street where some friends lived. I got involved with someone who had just settled in that building. I think we were there for about two years and then I moved for one year to a building in SoHo, and then in ’70 or ’71, I moved back to a placein Tribeca. But to me it’s symbolic that people take over buildings and luxury lofts. {Symbolic of what? Who knows? Who cares?} It’s just the way it goes. For a long time, literally, {not just for a long time, guys, literally for a long time. Big difference.} When the roof leaked, it would be fixed with Scotch tape. {Sufferings rivaling Modigliani and Soutine in the early days of 20th Century Paris who both no doubt were forced to live through the indignities of leaks fixed with Scotch tape.}  When AIRs (artists-in-residence, permits which allowed artists to live legally in buildings zoned for manufacturing use) happened, the landlords wouldn’t give an AIR to a single woman. They wouldn’t give artist-in-resident status to women in the 1970s. {no comment lest the political correctness police boycott my blog which could risk me losing 3 of my 7 readers}

BOLLEN: That’s important to note.{Absolutely! It’s critically important! Women like Kruger have been incredibly discriminated against. Even her show at the Hirshhorn is on the bottom floor. While the White Male Robert Irwin is on the floors above. The man is always on top! Always! Don’t you just hate this! When will it end, Lord? When will the sufferings of women like Barbara Kruger end?]

KRUGER: That’s the way it was. {You tell it sister!] So you’d stick your bed down in the apartment of a guy who lived downstairs and make believe it was only a working loft whenever the inspectors would come. {The trials and tribulations of having an artists loft in Manhattan. How they all suffered. Van Gogh in his room in Arles never went through this kind of inconvenience, I’ll tell you that!]

BOLLEN; So developers have come to these neighborhoods to transform them into luxury lofts? {Fantastic question, Chris. Reader will no doubt not understand how this came about. Let Barbara tell us what it was all about, shrewd and insightful exposer of how the cruel Capitalist system works to benefit the wealthy and powerful, not to mention artists like herself who are in a position to cash in themselves.}

KRUGER; It’s all about profit, which is how the culture works. {This is a key insight by Barb. First artist to have recognized how the culture works and that it’s all about profit. We have to applaud her making the rest of the ignorant masses aware of it as well, poor saps that they are. What would they do without major American artists explaining complex truths with such simplicity.} I understand that. So I don’t feel victimized in that way.

Oh, man. Well, that’s it for me. I need to cool off my brain and let these insights sink in. It’s good to hear that Barbara has gotten over her victimization with her works installed in every major collection of art museums around the world. And it’s only justice, having been put through the kind of discrimination and deprivations of those early years of Scotch taped water leaks and classes with Diane Arbus and Marvin Israel at Parsons before her great breakthrough with work boldly exposing the Consumer Society and Capitalism, which she has unflaggingly documented in ever more scathingly simplistic ways for many decades.

I’m certain she gets around to explaining what is going on in Asian Markets and the Eurozone later in the interview as her keenly focussed mind  pares down these complex issues that consumer capitalism presents us with into phrases that every art world simpleton can understand, just as long as an art critic writes a fifteen page essay deconstructing the elaborate cathedral of meaning conveyed by juxtaposing Marilyn Monroes cropped features with the phrase “Not stupid enough.”

Not stupid enough. I like the ring of that. Kind of echoing in the sound of silence following my post How Stupid Are You? The lack of comment or “likes” actually answers the question, don’t ya think? Stupidity, hypocrisy, cowardice, decadence, collaboration. Are there any other explanations I haven’t thought of. It’s known as Dante’s 8th Circle of Hell. Look it up… or wait. I’ll get there eventually. I’m burning with the fire of the Holy Spirit and it is trained on the desecrators of the temples of culture, as well as those gutless wonders unable to find their voice to speak out against this for fear of losing their status within the gaudy excrescence of the mentally ill people we now laud as major artists.

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4 Responses to Fraud, Fraud, Fraud

  1. Abbas Mehran says:

    Here is a link to a record breaking exhibition at the National Gallery of Victoria, Australia, of two masters of the twentieth and twenty first century, Andy Warhol and Ai Wei Wei. The incurable infectious cultural disease, the super social bug, spread by Michael Duchamp had infected all aspects of the human being.

  2. trueoutsider says:

    Hello, old friend. Thanks so much for sending this one in. It’s funny, but things that depress all the other bozos who call themselves artists cheer me up like you wouldn’t believe. Andy and Mr. Wee Wee. What a team. Tweedle Dee and Tweedle Dumber. Tweedle Dumber hatched out of Andy’s excremental droppings as he followed him around like a dog figuring out how best to charm the mindless people who love art so much. The people mesmerized by Andy-mania. The narcissists.

    The American public has no interest whatsoever in art and never has. Turn on your TV. That’s what the public is interested in. And that’s what Andy and Marcel Concept art and Greenberg pretty fashion art and shit on the floor and wade in it art give them.

    This is what the public wants. And what the public wants isn’t art. Seems that way to me anyway. I’ve drawn outside in clubs, cafes, parks, subways, strip joints, casinos, and everywhere people hang out. I love drawing people. They interest me. And it’s clear as a bell to me that these people have zero interest in art. Few, if any, people even look at what I’m working on they’re so disinterested. The few that do look for all of two seconds before they say, “Fantastic! Man You’re a genius!” Or, “I don’t know how to draw myself but I have a cousin who is really fantastic. He’s a real genius. He illustrates children’s books for money.” Or, “Can you make any money from that?” Or, “Wow! Dude, that stuff is really cool. You should take it to the tattoo convention. People there would really get into it. They like stuff like that.” I’ve yet to ever talk to somebody in 30 plus years who has ever heard of Claude Lorraine, or Louis le Le Nain or even Titian. The have ZERO interest.

    But neither are they interested in any kind of reality. They haven’t the slightest notion of Hillary Clinton’s actual record in public life. They simply don’t follow what politicians do and have no idea what is going on whatsoever outside of our borders, if they even have much of an idea of what’s going on inside our borders other than what they watch on TV or listen to on NPR or other corporate media. And while publicly financed, NPR is as corporate as it gets.

    But let’s just go on believing in this fake Church of Art and all the experts who have University Degrees and the Banking Class who have oceans of cash to back up their opinions. Nobody say a word. Let the show go on! The fun is just getting started. More Andy all the time 24/7. And what is wrong with the Art World? Why are the immortal works of this towering giant of American Art not being screened throughout the world? When will we get great Masterpieces like Chelsea Girls, The Loves of Ondine, Lonesome Cowboys, Imitation of Christ, Bike Boy, The Nude Restaurant, Mrs. Warhol, Tub Girls, Kiss the Boot, Withering Sighs, Flesh, Women in Revolt, Flesh for Frankenstein, Blow Job, Henry in Bathroom, Sleep, Denis Deegan, Rollerskate/Dance Movie, Elvis at Ferus, Taylor and Me, Phoney, Whips, The Closet, More Milk, Yvette, Bitch, The Life of Juanita Castro, 13 Most Beautiful Women, Henry Geldzahler, Fight, Andy Warhol’s Bad and countless other works of cinematic genius that poured from the brilliant gem of a mind of this cultural giant onto big screen?

    Who has had the audacity to keep all these brilliant films in storage when Andy is universally loved and admired by the entire art world of Planet Earth?

    Anyway, Abbas, I can’t tell you how delighted I am to hear from you and the few other artists around who are actually cognizant of the real world, which is what makes you an artist. It’s a pleasure to know you’re out there working despite the absurd conditions that prevail. I find that they it doesn’t get to me that much the more I ridicule it. It deserves ridicule. And artists who take it seriously aren’t really going to do much of any value, in my oh-so-humble opinion. But that’s just me. And what do I know?

  3. Eric Wayne says:

    Yeah, Ai Wei Wei… I wonder if his innocuous installations would be as popular if they were critical of neoliberalism instead of arch rival, China. Uuuh, I wrote an article critical of his installation about Syrian refugees here:

    You would probably consider it too generous. Now to go read the “How Stupid Are You” post with targets by Jasper Johns. Wonder where that’s going to go. Oh yeah, you have 8 readers. I’ve been binge reading. This is the most fun shit I’ve read in a while, because, well, nobody else I’m reading is saying this stuff.

  4. trueoutsider says:

    I have 8 readers? My numbers have quadrupled? Man, Eric, I’m not with it when it comes to technology like you younger guys are I can tell you that. I never even got past the pen and ink and oil paint stage. Will check out ai wei wei piece.

    Do you recall his porcelain sunflower installation. The great ceramicist was apparently unaware of the fact, along with the benighted Tate staff, that crushing porcelain results in silica dust. Causes something similar to black lung in miners. So he and Tate have all the kiddies crushing the sunflowers and breathing in the dusts. Finally, somebody with half a brain shows up and halts the stupidity. What can anyone say about this kind of large scale imbecility anymore?

    And these people are considered by a good part of the population to be geniuses? What kind of morons set up an exhibit where kids are breathing silica dust that will stay in their lungs for life and that is extremely damaging to the lungs of young children?

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