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Yes, 85 percent of the art you see isn’t any good. But everyone has a different opinion about which 85 percent is bad. That in turn creates fantastically unstable interplay and argument.
Artistic qualities that once seemed undeniable don’t seem so now. Sometimes these fluctuations are only fickleness of taste, momentary glitches in an artist’s work, or an artist getting ahead of his audience (it took me ten years to catch up to Albert Oehlen). Other times, however, these problems mean there’s something wrong with the art.
Many museums are drawing audiences with art that is ostensibly more entertaining than stuff that just sits and invites contemplation. Interactivity, gizmos, eating, hanging out, things that make noise – all are now the norm, often edging out much else.
Can space break? I mean the space of art galleries. Over the past 100 years, art galleries have gone from looking like Beaux Arts salons to simple storefronts to industrial lofts to the gleaming giant white cubes of Chelsea with their shiny concrete floors.
Contrary to popular opinion, things don’t go stale particularly fast in the art world.
I hate art auctions.
The price of a work of art has nothing to do with what the work of art is, can do, or is worth on an existential, alchemical level.
To me, nothing in the art world is neutral. The idea of ‘disinterest’ strikes me as boring, dishonest, dubious, and uninteresting.
The art world is an all-volunteer force. No one has to be here if he or she doesn’t want to be, and we should be associating with anyone we want to.
Wolfgang Tillman’s stunning large-scale pictures, being shown for the first time, were so offhand I failed to see them as art.