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V—Reception Strategies

Inspirational looking is a new form of observing that dominates contemporary consciousness.

Always searching for untapped resources and taking lots of photos.

The “dandified” refusal to engage any topic in a way that the general reader recognizes as effective no longer makes sense under this paradigm.

As I mentioned earlier, we can think of these shows as recipes maybe. Both decorating galleries and group shows.

A cynical yet often appropriate approach to receiving artworks ( related to but no the sociological approach) would be to imagine the unconscious motivation behind the thing as a fashion production. Something like this proposal by Walter Benjamin in reverse.

Perhaps we could liken this to a kind of trend report. This would be (is) an alternative approach to generously fabricating meaning for the artist (individualized work than an art writer would do). Working for oneself rather than for the artist.

To analyze and instrumentalize.

Becoming a different kind of reader-as-author in attempt to produce an explanation for the work [Not John Kelsey1].

Or, the possibility to not produce an explanation for the work.

We need to better imagine what is going on so that we can better imagine what could be going on.

We need to more properly recognize the mechanisms within which we work so that we may detourn them and make them interesting.

JK and studio lighting in question to jack barth.

perhaps we could think of this active role as a form of DE-ALIENATION from the art world to which we have become totally  alienated.

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Readymade and the production of newness.

Students as readymades.

Galleries as readymades.

Instead of building programmatic architecture, programs are found in the previous sites of museums (Resuscitating a cracker factory or a public school) or galleris innumerable.

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1 “Morality and Style – A writer will find that more precisely, conscientiously, appropriately he expresses himself, the more obscure the literary result is thought, whereas a loose and irresponsible formulation is at once rewarded with certain understanding.

It avails nothing ascetically to avoid all technical expressions, all allusions to spheres of culture that no longer exist. Rigour and purity in assembling words, however simple the result, creative vacuum. Shoddiness that drifts with the flow of familiar speech is taken as a sign of relevance and contact: people know what they want because they know what other people want. Regard for the object, rather than for communication, is suspect in any expression: anything specific, not taken from pre-existent patterns, appears inconsiderate, a symptom of eccentricity, almost of confusion. The logic of the day, which makes so much of its clarity, has naively adopted this perverted notion of everyday speech. Vague expression permits the hearer to imagine whatever suits him and what he already thinks in any case. Rigorous formulation demands unequivocal comprehension, conceptual effort, to which peoples are deliberately disencouraged, and imposes on them in advance of any content a suspension of all received opinions, and thus an isolation, that they violently resist.

Only what they do need first to understand, they consider understandable; only the word coined by commerce, and really alienated, touches them familiar. Few things contribute so much to the demoralization of intellectuals. Those who would escape it must recognize the advocates of communicability as traitors to what they communicate.”

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Written by secondcousin

June 17, 2013 at 6:32 PM

Posted in Uncategorized

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