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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...

Godin Connectedness




Godin Connectedness 
We argued with the vengeance from poorly informed memory.
Straight from the loss to blame.
For whatever reason it perpetuated justification.
Of construeded loss,  from the need to self victimise.
To the need of claiming nothing in particular.
It was the battle to ingrain and embellish memory.
In so, we tore each other apart and to feed individual right.
Our eternal want to be known as right.
The want for immediate anger to surface, rant and to glorify our past glories of being wronged.
And then we rested exhausted.


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