Saturday, 27 September 2008
Sunday, 21 September 2008
Where it all went wrong
The most famous painting in the world
Behind the smile lies the curse.
Familiarity looses meaning, she is
An example of what art has become.
"What binds these glittery baubles?"
-The shift is all about money
A story is watched, unfolding
Seen with growing disgust.
It is the vast inflation
Effect, and intanglement.
The Curse and the death of experience.
This curse has infected entirely
The contemporary demise of
Cutting edge work.
From new york or the desert of
Writing about art.
A long time ago, Florence the
Great centre of art and patronage
Destroyed. Inclined to help?
Help with the salvage of the after
Confirmed that art is more than life
There is no choice but to watch
The curse and the death of indifference.
The most famous painting in the world
Behind the smile lies the curse.
Familiarity looses meaning, she is
An example of what art has become.
"What binds these glittery baubles?"
-The shift is all about money
A story is watched, unfolding
Seen with growing disgust.
It is the vast inflation
Effect, and intanglement.
The Curse and the death of experience.
This curse has infected entirely
The contemporary demise of
Cutting edge work.
From new york or the desert of
Writing about art.
A long time ago, Florence the
Great centre of art and patronage
Destroyed. Inclined to help?
Help with the salvage of the after
Confirmed that art is more than life
There is no choice but to watch
The curse and the death of indifference.
Monday, 8 September 2008
Thursday, 4 September 2008
Clarification
Concerning the nature of conflict between 'art' that exists on the street, or in the city vis a vis art that exists in gallery spaces falling under the jurisdiction of the set.
It is important to realise that 'endorsed' art spaces like Phoenix, Grey Area, Permenant, and Fabrica are excluded on the basis that it can be assumed that these spaces provide their own 'dialogues' relating to the art they present. It is not the duty of the set to stifle the presence of discussion around the city by focusing on already established spaces.
It is within the remit of the set however, to find discussion about art where art is presented without it. The 'unendorsed' space - The obvious place for this is the street or the 'outside wall'. The distinction between art/non art relating to whether something is in a gallery or not hinders expression. It removes the possibility of discussion. Additionally, places whereby art hangs as phantom object inside spaces such as KraneKalman, who conribute to the discussion regarding art by simply affirming the 'gallery as shop' hypothesis. It is the intention of the set to not ignore or treat lightly the content of what is sold, and this applies to any wall in any building, available for use.
It is important to realise that 'endorsed' art spaces like Phoenix, Grey Area, Permenant, and Fabrica are excluded on the basis that it can be assumed that these spaces provide their own 'dialogues' relating to the art they present. It is not the duty of the set to stifle the presence of discussion around the city by focusing on already established spaces.
It is within the remit of the set however, to find discussion about art where art is presented without it. The 'unendorsed' space - The obvious place for this is the street or the 'outside wall'. The distinction between art/non art relating to whether something is in a gallery or not hinders expression. It removes the possibility of discussion. Additionally, places whereby art hangs as phantom object inside spaces such as KraneKalman, who conribute to the discussion regarding art by simply affirming the 'gallery as shop' hypothesis. It is the intention of the set to not ignore or treat lightly the content of what is sold, and this applies to any wall in any building, available for use.
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