Tom Moody
Since 2002
Works in New York, New York United States of America

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DISCUSSION

Caitlyn Jenner and the Facebook Real Name Policy


Michael, have you considered shutting down Rhizome's public editorial presence and moving it to Facebook? You acknowledge Facebook's "continued role as something like a public international utility." It seems that most Rhizome readers have moved their art discussions and social lives to this utility. The internet is no longer a diverse rhizomatic web but rather a centrally controlled authority that imitates rhizomatic diversity. You should be on the inside of that, agitating for change, rather than complaining from the outside where no one can "like" you (and those likes can't be counted to prove the strength of your ideas). Of course, Facebook is a business, and you would have to be careful about posts that support rival businesses, such as the ones that hire buses to move mock-protestors to anti-Facebook astroturfing operations.
Best, Tom

DISCUSSION

Bodies on the Line


Not the discussions -- the threat. You can probably research that.

DISCUSSION

Bodies on the Line


Correcting my own typo, that first sentence should read:

"Michael, if you truly felt sorry for the distress that you caused Ripps you'd remove the tweet slamming his work, as well as this post vaunting your superior ethical sense."


DISCUSSION

Bodies on the Line


Michael, if you truly felt sorry for the distress that you caused Ripps you'd removed the tweet slamming his work, as well as this post vaunting your superior ethical sense.

Besides picking and choosing which social media criticisms to validate, another example of your selective ethics is the choice of Andrea Fraser as a counterpoint to Ripps. That's actually pretty rich, since she also made an artwork about sex in a hotel. Let's let Wikipedia describe it:
"In her videotape performance Untitled (2003), Fraser recorded a hotel-room sexual encounter with a private collector, who had paid close to $20,000 to participate, 'not for sex, according to the artist, but to make an artwork.' Actually, according to Andrea Fraser, the amount that the collector had paid her has not been disclosed, and the '$20,000' figure is way off the mark. Only 5 copies of the 60-minute DVD were produced, 3 of which are in private collections, 1 being that of the collector with whom she had had the sexual encounter; he had pre-purchased the performance piece in which he was a particularly important participant."

Here's an artist who actually did have sex in a hotel -- nothing nearly as innocent as watching while someone made drawings -- and filmed it, in a piece that narcissistically dealt with her position as a much-feted artist and her "relations" with wealthy collectors in the faintly ridiculous upper strata of the art world. You've airbrushed out her past to present the new, earnest white liberal Fraser, flying from her LA art professor job to pantomime the little people of New Orleans, in their own best interests, of course.

The online magazine Dazed did a better job describing Ripps' artwork than you did -- their treatment is skeptical, but balanced, accurate, and lighter in tone. For all its appearance of balanced "compare and contrast," yours is a hatchet job, reducing art to "correct" politics.

DISCUSSION

Bodies on the Line


I would take Ripps at his word that the discussion of "Art Whore" was friends-only, and therefore social media "reaction," to the extent it escaped those bounds, is not "part of the art." Evidently some of his "friends" (who weren't really friends) pulled it into a private context and thereby declared their part of it off-limits to discussion. If Ripps deleted his posts by the time you were ready to write about it, and the dissent was never available, this says to me it's not a proper subject for the Ripps vs Fraser analysis you make here (where Fraser is clearly favored).