At 9:06 -0800 1/28/03, { brad brace } wrote:
>Isn't it ridiculous how artists continue to reinvent their
>institutional misery and abuse?
>
>/:b
brad,
you have yet to make a decent argument for whatever your alternative
system may be.
perhaps you should lead by example. you aren't starting any
grassroots networks to support artists. you simply use the net as a
delivery system for your old media photographs.
you carp on the slavery of the institution but offer no alternatives
or even anecdotes of how much nicer it may be to live without our
chains. how does it work?
i'm not saying that rhizome or the thing or sfmoma or any other
institution is nirvana for artists, but you offer no alternative
except: use the network. ok, now millions of people have the ability
to see my work. but, unfortunately, 98% of those people hate
contemporary art and could give a damn.
rhizome has helped me quite a bit over my short career by giving me
access to a network of people are interested in contemporary arts,
inviting me to speak in public forums of interested people (and
paying), introducing me to a community of individuals who have helped
me technically, aesthetically, and intellectually in growing my work.
how has rhizome lead to your misery? how have they abused you?
i'm sure you are against the idea of a professional artist. you
probably subscribe to the notion that artists should function as they
do in small-scale societies: hobbyists. i reject that idea totally.
–
<twhid>
http://www.mteww.com
</twhid>
Re: [thingist] don't deny me -- you'll be sorry
-
Type: discussion
Comments
On Tue, 28 Jan 2003, t.whid wrote:
> brad,
>
> you have yet to make a decent argument for whatever your alternative
> system may be…
That's merely an old trap that prolongs the misery. Artists
would have much better careers/work if they didn't also have
to pay insipid institutional homage/extortion at every
juncture. Everyone is compelled to pay (on many levels) for
the subsidized institutional artworld – that 'network'
enslaves. Rhizome's done little for me – yet I've done
plenty for it: and now it wants me to pay for the
'privilege.' Its desire to join the ranks of major cultural
imperialists on the insufferable 'new media ticket' is
clear. Its priorities are blinkered and suspect. This is how
institutions 'work': they practically prevent individual
creatives from building their own careers, grassroot support
systems, and reliable, integrated networks. How likely is it
for an individual, or even a small alliance, to 'compete'
with (often) million(s)-dollar and 'critically validated'
subsidized art institutions – institutions that for
centuries have refused to even pay (any) decent
fees/royalties to artists/heirs? Has Rhizome, or any other
art institution really helped you sell your work? Have they
just paid you some trinkets to further _its preemptive
cause? What exposure does it provide that you could not
build (and be better for it) yourself? [You may scoff at my
simple networked delivery of 'old media'(?) but what gallery
these-days would exhibit/sell a subsequent image of mine to
hundreds of dedicated viewers per day every day all over the
world?]
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