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The Art of the Damned

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  The Art of the Damned The current gallery system functions as a modern dam built right at the headwaters of artistic creation. The headwaters are the raw, bubbling springs high in the mountains—wild, uncontainable, fed by countless small tributaries of individual vision, experimentation, failure, intuition, and obsession. This is where most serious art actually begins: in studios, bedrooms, sketchbooks, late-night arguments, personal crises, and private obsessions, long before any curator or collector ever hears a name. Once a handful of major galleries, institutions, auction houses, and their allied gatekeepers (collectors, critics, fair directors, residency programs) gain decisive influence over those headwaters—deciding which artists get early solo shows, which receive press, which enter the "right" conversations, which are anointed with blue-chip representation—they effectively place the dam. From that point forward: The flow of visibility, legitimacy, money, and audien...
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Darwin Streets on a motorcycle: Sprigg

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The starting point






This is the starting point.
However, my starting points are flexible and never reliable.
For this reason I have started in the middle.
Although a street has a starting and finishing point, the stories of in-between are what I am interested in.

There is nothing ordinary in ordinary.
You don't have to be a christian to be a christian.
You don't have to be an American to feel powerful.
You don't have to ride a motorcycle to feel the road.

The problem is, there is too much road.


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