In a move receiving both scorn and applause across the art world, dealer Larry Gagosian will host an exhibition of George W. Bush’s paintings.
The paintings went viral. Spread to the public through the Huffington Post and other media outlets, Gagosian reportedly told his staff this is a move meant to capitalize on the media attention.
An image of a mock flyer for the show, titled ‘American Legacy’, was anonymously leaked online over the weekend, forcing the gallery to reveal its secret this morning to several art publications.
The show will open uptown at his Madison Avenue gallery March 30th.
Will you attend?
I have been thinking about the idea of difficulty in art: ‘difficulty’ as an approach to a viewer or as the result of a seriousness towards experimentation, not difficulty of craft. The idea of difficulty in art is tied to the loss of difficulty. The loss of difficulty is one thing a cultural sphere mourns when it is altered by an overly commercialized context.
Thinking off and on all day about movements and theories from the past – from art and literature – it became clearer what has been lost during the recent growth in art’s economic clout and what is maintained at the risk of obscurity in a market that speaks ten times louder than any alternative to the production of the desires of the collecting class. These devotions are lost: devotion to pushing fixed concepts, devotion to the value of difficulty, devotion to something that is the opposite of entertainment. ‘Difficulty’ is the accurate intent for artists. Wrestling with, undermining, questioning, pushing the limits of form, viewers, authors and medium is the only blood. ‘Difficulty also, of course, has political purpose. It confronts the wishes of a corporate ethos. It confronts one way communication.
Easily transmitted cultural objects have a terrain homogenized for their acceptance. One way communication is unblinking. ‘Difficulty’ is removed from the demographic, prepped by public relations, receiving the transmission. Easily transmitted cultural objects also must maintain a strict control of their language so value is explained without question. ‘Difficulty’ is arrested and buried to transmit farther.
Someone told me the other day I take art too seriously, and I thought, maybe so. Maybe, I thought, I am the outsider. In other words, maybe art has fallen victim to the same insidious rape of reality by a corporate ethos much of the population has swallowed.
I am an anti-artist, then. Along these same lines, what is left of our country? I would rather be an anti-citizen in an anti-country, banned from participating in the lifelong debt slavery of the hyper capitalist church.
I will seek the difficulty in objects and words and images within the newly fabricated prisons of American dissidence. I look forward to getting out of the role of mainstream American citizen, and into indefinite detention where I can experiment in our dystopian prisons.
Now, returning home to Tennessee from Brooklyn, six years between, it comes back in front of the sun: the ignorance and hate of American culture’s fascist forms of Christianity. My cab driver had gold teeth; is ready for the vengeance, the war of the soul, the enemies are coming; prepare the soul and his faith was generating money – rewarding his capitalist life. “There are those picked to go to heaven and those picked to go to hell at birth, he said.
“Predestination”, I thought.
We picked up another passenger who was reading the same book. Read more…
As the political reality in the world continues to dissolve into fascism, poverty, death and ecological disasters, the artists who became professionals over the past decade, drinking from the new corporate investors and giving them empty mindless art will be written into history as complicit.
We will see that these artists are frozen in place by the seriousness of the economic investment in their work and they will be incapable of addressing the horrors of reality.
Notorious Nazis Ilse Koch, her husband Karl Otto Koch and Erich Koch are the ghosts of Koch Industries, who seized the U.S. conservative political agenda years ago and seem capable of seizing the government in total through the Tea Party. Ilse Koch was the Nazi’s specialist in making objects from human skin; was the only woman charged with war crimes; and along with her husband was in charge of one of the most horrific horror camps in Nazi Germany.
Koch Industries is the child of the violence of Buchenwald, widely regarded as one of wartime Germany’s most notorious “death camps”.
Information connecting Ilse and Koch Industries is hard to find but is a string of fragments, pieces of information that connects the American and German Kochs and this connection gives us a clear image of the sentiment behind the Tea Party and conservative American politics since the 1950s. Where is the connection between the German Koch’s and Fred Koch? Besides evidence the American Koch was related to Ilse’s family, Erich Koch (a high level Nazi official in charge of Prussia) invites Fred Koch to sell his oil in Nazi Germany when he is banned from doing business in the US. After the fall of Nazi Germany, Erich Koch and Fred expand the oil empire to the Soviet Union. Erich Koch had been in charge of Prussia for Hitler so his ties to the Soviet Union ran deep. A few years later the Soviets took Fred Koch’s oil and prosecuted Erich for war crimes – Fred Koch returned to the US, became anti-communist, and was allowed to do business in the States again.
You cannot find sympathetic texts about Foucault and the Iranian Revolution on the internet from within the United States….
“Foucault’s rejection of structuralism and Marxism can be explained as a consequence of his own approach which posits a radical ontology whereby the conception of the totality or whole is reconfigured as an always open, relatively borderless system of infinite interconnections, possibilities and developments. His rejection of Hegelianism, as well as of other enlightenment philosophies, can be understood at one level as a direct response to his rejection of the mechanical atomist, and organicist epistemological world views, based upon a Newtonian conception of a closed universe operating upon the basis of a small number of invariable and universal laws, by which all could be predicted and explained. The idea of a fully determined, closed universe is replaced; and in a way parallel to complexity theories, Foucault’s own approach emphasises notions such as self-organisation and dissipative structures; time as an irreversible, existential dimension; a world of finite resources but with infinite possibilities for articulation, or re-investment; and characterized by the principles of openness, indeterminism, unpredictability, and uncertainty.”
Mark Olsen – Foucault as Complexity Theorist: Overcoming the problems of classical philosophical analysis
“Multiculturalism has made UK a ‘soft touch’ for jihadists.” – A top British defense think tank.
“We are seeing the first, the very first, early signs of a police state in this country. It does not have to go that way if people stand up to it. But the torture scandal cannot be dealt with separately from the impending emergence of a police state. The distortions of the corporate-media cannot be analyzed separately from that emergence.”
– Lila Rajiva; The Language of Empire,An Interview with Lila Rajiva by Seth Sandronsky
If contemporary art reflected reality we would believe the last decade in the United States was a reality embedded with infinite jewels and parties all within a capitalist utopia so advanced and perfected that emotional, psychological and political ruptures have become a thing of the savage past.
Today is 09/11/10.
The event of 9/11 has become the perfect incubator of fascist tendencies, already built deep into the American psyche and now born as new oppression often exercised through either the invisible imprint of a corporate ethos or a nationalist chant.