May 2012
April 2012
March 2012
… the “shift that has taken place during the past ten years in how art objects reach the market, how they are defined and how we read them. The professionalization of art production—congruent with specialization in other postcapitalist industries—has meant that the only art that will ever reach the market is now art that is produced by graduates of art schools.”
This is the crux of...
The critics and gallery assistants and freelancers tasked with producing captions and catalog text become copywriters. Their job is “to give [art] a language that translates into value.”
…the art inside constituted a closed circle of vacuous self-reference. “Preemptive emptiness” prevailed: “the greatest triumph of this art work is … the way it references so much, content dancing on the surface like a million heated molecules”—angels on the head of a pin and pixels on a screen—“until you can’t pin it down to any given meaning. As such, it is an embodiment of...
The MFA is a “two-year hazing process” “essential to the development of value in the by-nature elusive parameters of neoconceptual art. Without it, who would know which cibachrome photos of urban signage, which videotapes of socks tossing around a dryer, which neominimalist monochrome paintings are negligible, and which are destined to be art?”
February 2012
