The Other Shoe, in C-Arts Magazine (May 2008)
Reprinted from C-Arts Magazine (May 2008)
“An idea that is not dangerous is unworthy of being called an idea at all.” –Oscar Wilde
Art fairs can be exhausting. Not just city-sized biennales like Venice, but even those that try to limit themselves to a couple of piers, like the New York Armory show. When I wandered those two art-filled piers, I dressed for comfort: sneakers and a VIP pass, so I could go sit in the VIP room, put my feet up and have a drink.
I’d never been in a room with quite that many gallery directors, art directors, and other art middlemen. They were beautiful. They wore the latest styles from Milan, from Paris, from that magical place with heroin-addict skinniness, bulk discounts on the color black, and eyes so sensitive they require sunglasses indoors. Except for me in my worn-out Nikes, everyone looked like they’d just walked off a catwalk, swinging hair and thin molto Italo ties, networking while appearing merely to lounge loosely.
Continue reading The Other Shoe
Reprinted from C-Arts Magazine (September 2008).
Walk through the downtown of any major world city, and you’ll see the intersection of fashion and status carried on women’s shoulders or stacked like oranges in the corners of stores by Louis Vuitton, Prada, Gucci, Hermes, Bottega Veneta, Fendi, Christian Dior, Valentino, and Yves Saint Laurent-handbags with prices ranging between $1000 and $10,000 each.
America hasn’t known rationing since World War II, but Bergdorf Goodman and Saks Fifth Avenue both recently restricted purchases of the popular Yves Saint Laurent Downtown bag to three per customer. Similarly, the Louis Vuitton website limits online purchases to two of each style per customer, per calendar year.
With the American dollar weak, Europeans and Asians are flying in for deals and designers are worried about undercutting themselves, much as in 2000 and 2001 Gucci, Hermès and Vuitton shops in Paris put bag limits on Asian shoppers, leading to surreal scenes of Asian customers on the Champs-Élysées soliciting Western tourists to buy bags for them. And with American handbag sales growth slowing this year (perhaps there’s no more room in those New York closets), the handbag phenomenon has not only become world wide, it is now fuelled by growth in emerging-market countries.
Handbags are weird, almost mystical.
Continue reading Handbags of the Apocalypse
Paul Renner, Theatrum Anatomicum, KUB Plaza, 2007
Reprinted from C-Arts Magazine (November 2008)
Art as a Lifestyle—those four words have such fundamentally opposite possibilities of meaning that it’s like titling an article “Precision and the Soul” and then trying to decide where to start.
The idea of art as a lifestyle requires a definition of art. Artists have asked what is art? for a very long time now; some illustrate the question with every piece they make. And, perhaps, at one end of the spectrum of opposed meanings, art as a lifestyle is the process of artists living out the question of what is art? every day. It’s the vague magic that still dares to believe art is a real thing, interesting because of the impossibility of defining it, gathering people who still quest for it. This is the vaguely utopian, perhaps naïve view of an artful life. In “Precision and the Soul,” this interpretation of art as a lifestyle would be the soul bit. It’s the part not easily amenable to textual interpretation. Writing about it sounds unsophisticated, talking about it best left to freshmen in art school. But it is also the ineffable essence of art, the starting point where art is still art, before it becomes celebrity, marketing, politics, corporations, image or an assimilatory safety valve by which our markets absorb enemies of the state.
Perhaps this should be called art as a mindset, the mental plasticization of a lived reality, where walking through the streets of Delhi can be art, whether you’re from there or not, where every morning you walk out of your house to a new garden because the garden along with all physical reality is determined by subjective layers of shifting meaning.
Some artists have tried to extend and magnify this idea, turning life actions into art, like Hermann Nitsch Dionysian naked baths in the intestines of freshly slaughtered pigs and lambs—as Otto Mühl wrote in the Vienna Actionists manifesto, “Far more important than baking bread is the urge to take dough-beating to the extreme”—or one of Paul Renner’s Hardcore Dinners, in which I was lucky enough to participate once.
Continue reading Art as a Lifestyle