18 comments on “Doing Things Right

  1. 20 bucks, g. i thought you were a capitalist?

    i’m down. it’s like buying a lottery ticket with better odds. ‘cept of course for all the hand waving and art jibberish.

  2. I won’t charge $20 for the few minutes I need to spend looking over an artist’s work to decide if I want to show it in my gallery. It’s a sucker tax, losers pay for the winners’ show. Boo for that. I stopped buying those rejection letters from SXSW years ago when I was a musician. Pay to play is teh suxxor. Lanie McCormick asks per artists to contribute a few bucks for a keg at the shows she curates, but only after they’ve been accepted. Seems a lot cooler to do that.

  3. well, i missed the part about cash awards being for the outdoor installations only. i was thinking it was some sort of grant award thinger for *all* entries.

    with that detail cleared up, i agree with your stance.

    also, im fairly unimpressed with the art being linked to from their site. i swear, if i see another spirograph painting / print / wtf ever, i’m going to take a flame thrower to the first museum i can find.

    i’m starting to wonder if anyone can actually draw anymore. i’m talking something more developed than stick figures.

    as an aside, i’m really, really, really happy that i do not require the burned out fuselage of a 747 to express myself.

  4. Generally, I don’t agree with entry fees.

    But I make a special exception for the Biennial. In 2005, I gladly paid the fee not expecting to be chosen. In 2007, I chipped in some cash at the fundraiser because I had no art to enter.
    If you believe in something, then you have to do what you can in order to support it.

    Mr. Scott,
    What art are you referring to? The closest thing I could find to your spirograph comment was Virginia Fleck. And her work is purposefully composed as mandalas.

    You do realize that the ability to render as life-like as possible is not the end all of art, right?

  5. how does,

    “something more developed than stick figures.”

    translate to ,

    “as life-like as possible”?

  6. The Texas Biennial is doing their best to fund an important step in the development of the Texas art community. Part of that is an application fee.

    Hate on the art-makers in this state all you want, Texas has come a long way in the past decade terms of visibility/viability on a national/international playing field. The Biennial will be another important milestone in making Texas an arts destination and it deserves support.

  7. @scott
    I was curious where your comment was coming from. I looked through the links and found work demonstrating adequate drawing elements.
    Duggins, Kahn, Fontenot… They weren’t perfectly rendered, but still more complex than stick figures.
    Maybe your comment was aimed at the greater artworld?

  8. @scott and salvo cheque
    Just got back from the Whi Bi in NYC. if we take that as the art world barometer it’s intended to be then the message seems clear: painting limps on, but drawing is all but comatose.

  9. salvo, my comments were directed at the art world in general. much of what i see these days comes across as so subjective, so personal, so completely abstracted that for me it becomes not much more than a constant stream of white noise with little to distinguish things by other than titles or events.

    i guess it’s no fun for me when everyone in the room is trying to be ornette coleman.

    regardless, as i’ve been thinking about this problem of balance quite a bit lately and i wrote to a painter friend of mine in california that i respect quite bit to see what he had to say. although i would still argue that there’s simply so much of it around that the “uniqueness” of much contemporary art begins to cancel itself out, his thoughtful response has made me reconsider my (at this point) knee jerk reaction to so much of what i see. i can only hope that things are indeed cyclical and the pendulum may swing back at some point.

    “For the past five thousand years what we now call art has oscillated between abstraction and naturalism. Neither pole is more or less valid than the other. Indeed in the best art they enhance and inform one another.

    I call myself a classicist not to distance myself from any specific artistic tendency of this or the last century, but because the term applies most clearly to the period in which I have the greatest interest and from which I believe, we still have much to learn. In fact, I believe that the art of the twentieth century with its astonishing imagination and variety richly enhances the informed viewer or student with new ways to understand the lessons of the past. As an example, conceptual art helps us to comprehend the importance of the underlying theory of much classical art as well as the sometimes obscure meanings and complicated geometrical structures which can, in turn, carry their own complex meanings.”

  10. If one were to dig up some of my own blog posts circa 2004, any one of them could have been written by you, scott. What’s interesting to me is what happened when I left Austin (a conceptual mecca) and came to Atlanta (the capital of traditional painting and drawing). Suddenly, I found that I *really missed* the conceptual stuff. More than that, my own practice has been shifting from making paintings to doing conceptual work. I think I am only responding to what my local ecology is lacking.

    I’ve argued elsewhere for a paradigm shift: moving from a framework that pits classical against conceptual (or avant-garde against rear-garde) and instead talks about varying research purposes. Like chemists. Some research is undertaken to arrive at a final product of some kind (applied research); other research (pure research) is undertaken simply to find out what happens when you mix A with B (oh, it blows up! Now we know…). In art, as in chemistry, you need both.

  11. I changed my mind, abortion chick rules. perfect hoax. if I suddenly came out of the conceptual closet I would want it to be like her project. anybody know if she’s got a myspace page?

  12. Oh, that abortion work is lousy. (Conceptually lousy; I haven’t seen it, so I can’t comment on it aesthetically.) Partly it’s lousy because like so much similar work the artist’s alleged aims are actually not that interesting and won’t get talked about anyway.

    According to the Yale Daily News, she sez the goal of the work is to “spark conversation and debate on the relationship between art and the human body.”

    Um, has she not been aware of exactly that discourse which has been doing just fine for the last couple hundred years? She’s in no position to “spark” anything, and besides it’s the one aspect of the work least likely to get attention. People will talk about tactics, they’ll talk about her career, they’ll talk about the art school, but no one will talk about “the relationship between art and the human body.”


  13. this guy Terrence Koh has it all! http://www.vbs.tv/video.php?id=1488634031

    pretty sure the only thing he’ll be sparking is conversations between therapists.

    i don’t know the “abortion chick” and i’m not sure i want to. seems like quite a bit of conceptual art relishes in digging deep (figuratively and literally) into the more unpleasant aspects of the human condition. i’m have enough reminders in my day to day existence as it is, thanks.

    cinque. i think i know what you mean. i was out in san francisco for a while and saw what was happening out there which although different in focus, also had that regional vibe to it. graffiti, illustration, tattoo and body art inspired work of all kinds, and lots and lots of interesting painting as well as *gasp* drawing. check out the work of shawn barber and mike davis to see what i mean.


  14. “but no one will talk about “the relationship between art and the human body.””

    Well, sure. I never understand that motive for art. I’m not impressed with her dialog-inspiring goals or gender politics, I’m impressed with her publicity stunt and how it played everyone against themselves. I would love to pull off something that ridiculous. I would call it art. I’m a Kozik wanna-be.

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