( In The Year Of The Pig )
At the turn of the century artists were
mythologised, different, outside society. Later we still
encounter rugged individuals such as Hemingway, Kerouac,
Pollock, or Allen Ginsberg; a rejection of social conformity
in favor of a specifically individual path. We learn about a greater vocation,
based on universal truths, centered on the uniqueness
of individual vision prevailing over herd instinct and mob rule.
definition of art and creativity is rather different. Now we
must consider curatorial response, or the ability to fit into a sophisticated
international fine arts circuit (predicated by enormous budgets overseen by
administrators whose careers are undone by the insecurities of controversy).
include essential role playing or public image; the creation of a readily
identifiable persona both in the style of one's work and the positioning
of one's visual appearance and conceptual territory.
there are the necessities of contemporary issues, which must include current
political analyses as well as an understanding of French, Italian and German
semioticians, including perhaps an in-depth appreciation of Heidegger,
reread by Derrida and Foucault - or Nietzsche as reread by Deleuze.
with "The Science of the Concrete" by Claude Levi-Strauss may be helpful.
Painters will realize that Levi-Strauss' comments on painting are painfully misinformed,
but would do better to keep quiet about such embarassing revelations.
As an artist, it may be helpful to avoid "the trap of aesthetics" and
concentrate on social issues. Are we now to be only journalists, newspaper writers?