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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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Celeste Glorious and Absolute Joy

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In all of their form
Superb bravo
The immaculate facets
Of questionable answers
Those who will never approximate beauty

In sets of three
In pairs
In isolation
This war between intellect and history
Actuality and vision
For most a stretch too distant to attempt

Punished all deviants
Those suspicious
Those who disclaim institutional correctness
In this room
The once dearborn
Once cherished now scorned
The binding fate
To encapsulated and make use of traitors









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