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art

Chomp Le Monde/ The Shark Gives A Press Conference

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(Getting that sheen powdered off my nose before meeting the press has become ritual at this point.)

The killing took place at dawn and as usual it was a decapitation, accomplished by a single vicious swipe. Blood geysered into the air, creating a vivid slick that stood out on the water like the work of a violent abstract painter. Five hundred yards away, a man watched through a telescope. First he noticed the frenzy of gulls, bird gestalt that signaled trouble. And then he saw the blood. Grabbing his radio, he turned and began to run.........he started the engine and powered two hundred yards toward the birds, where the object of all the attention floated in a cloud of blood:............The odor was dense and oily, rancid Crisco mixed with seawater.

"Oh yeah," Peter said. "That's the smell of a shark attack."
-Susan Casey -from The Devil's Teeth.


Mark Staff Brandl aka The Continental Shark ruminating in his postmortem on Art Chicago (posted on artletter) has nailed the sea lion on the head with one well aimed chomp: Art Chicago -in any incarnation present or, future, versus Art Basil Miami, will be unable to compete, will not attract the big galleries. Simply stated, they are not coming back to Chicago, as the currents have shifted to Manhattan South- beach, that is. Confronted with this fact, its probably a good idea to consider some entirely new model for whatever it is we as a community choose to do.


I should also mention (at least for a good laugh) that the unfortunate Mr. Paul Klein also weighs in on this topic. Paul's latest foray into the land of baked brain insipidness (why do his ideas - a four month long cultural affair complete with the likes of Lucien Freud smell exactly like the teen spirit epitomized by the now of course, defunct CAF- not that it ever really was...) by the way, as far as that 115 million they were going to raise…well, I’m hearing they only have something like 114,993,000.00 to go and I'm sure this figure is destined to shrink substantially come next fall as donors flock to purchase those objects of non-for profit marketing genius -ie. Tony Fitzpatrick Christmas Tree ornaments....sheeeeesh! Talk about a confederacy of dunces...I know, since we aren't getting results from the dealers we currently give 50% to...for what? .....lets all put our faith and fates in the hands of a FAILED art dealer -like Paul Klein for instance...what a concept! The Chicago art world: where every subsequent idea is exponentially dumber than the one preceeding it!


Hey! I have an idea! Lets us artists take over the art world here -you know, that place that is supposed to be our environment. We could question the authority of say about twenty or so people who really run things here, and lose them! What with sharkforum, bad at sports and other burgeoning enterprises….why not consider what is essential and what is not? A whole new construct –with us artists as apex predators… then, we can decide what has currency and is valid and what isn’t. We might even confront and address issues that some art is designed specifically as a weapon against -like for instance, decadence on an individual and societal level, all the while, circumventing the stranglehold of academic aggression/institutional corruption that has hampered us for at least the last two decades. What a relief to not have to look at all that dry, dull, academic junk (‘those aren’t brushstrokes- those are anti-ejaculatory marks being made’) yep, Larry Poons op art/color field painting circa 1963, being poorly aped, contextually re-jiggered via some form of Foucault like ideation as to truth and power/its purveyors -in other words, more of a political than esthetic archeology, sloppy and skewed, a slack variant of minimalist/pattern painting excavated, exhumed then reinterpreted and trotted out as what's serious and 'edgy' here….enough to gag a shark, not to mention reduce international interest in art being made here to almost nothing…

Just think of not only what a good idea it would be to rid our selves of sociopathic butterflies like Mr. Curator (Judith Kirshner's lapdog James Rondeau) for instance, but how much fun it will be to feed them both to some less discerning...Tiger Sharks for instance! (they'll eat anything) ...perhaps researchers should run tests on the two of them for starters: what is it about their particular species that seems to act as a shark repellant to us Great White Sharks? Whatever it is, I won't be circling that unfortunate set of circumstances thinking lunch, anytime soon-

We need a revolution here, both cyber and analog…we happen to have here in Chicago, the perfect set of conditions ie. problems/possible solutions, to effect this, to question and then remove those in positions of authority all the while seeking out a more interesting and legitimate idealism. For instance, why not in lieu of Art Chicago/Basil/Miami, create a week long series of interdisciplinary events linked together via the internet that are not centered around a trade show -but instead, around ....ART! Run by artists! I know, its a tough concept in these times to even begin to get your head around...but just think about it for a moment: if nothing else, we could all stand around and act important like that elite circle of international curatorial superstars, many with dubious at best, credentials; -only we could be what they claim to be: you know, 'cutting edge' and not show the same small group of annointed artists complemented with the prerequisite and ubiquitous 'hot young, emerging' institutional product/ speculative investment opportunity, errr.... I mean 'artists' at every event...

This, would be anathema to/get the attention of the so called art world of today, complete with its moveable malls designed primarily as market place/and, or as a way to supply Mr. Curator, his coterie of fawning sycophants, and cronies with destination points to flit off to for their shopping junkets and social networking excursions....

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Comments

Very amusing Herr Haifish W! But ---- do you think we arteests could really run the whole shebang --- my God that's an idea somewhere between "turning the asylum over to the inmates" and "real democracy"! Do you think we could stop backstabbing one another (in the name of "constructive criticism") and obeying (in the name of "wise career building")long enough to actually become constructive?!!


Well Mark, it would all be a lot more amusing if my assessments were not so true. When you look at the next bland piece of work purchased by Mr. Rondeau and his rubber stamp collectors group ensconsed at the Art Institute here, please understand the criteria was more about a junket package to shop Soho, have lunch at Balthazar with 'Go Go' ie. Gagosian......then zip across town with awestruck suburban sycophants in tow for the purchase, than it was about anything having to do with esthetics.


Aaaah those dahhhling junkets. Do you know that it is a fact that New York artists (some good, some minor) get more, and more regular, studio visits from a certain pack of Swiss curators than some even major Swiss artists do? Why, it is just so much more fun to go to "The City" and play important and knowledgeable than it is to go around the corner, and be important and knowledgeable.


btw Mark no, I do not think we can run everything -but, I think with the web era of dissemination of information.......much of the existing hierarchy in terms of infrastructure may be indeed, antiquated: in this months issue of Chicago Magazine here is a photo and short article on four local curators whose job apparently is to arbitrate and confer importance upon what for them, is cogent...the only problem is, looking at them, one can hardly imagine the tedium of sitting down for a cup of coffee and a 15 minute conversation with one of these milquetoast in black variety of formless, institutional creatures-let alone letting them actually decide what is relevant in terms of art-. wouldn't most artists what with the viral fluidity of the internet rather avail themselves with whats out there and then, decide for themselves? or, at least, shouldn't legitimacy be deigned by performance rather than mere title? lets judge the quality of these people as they supposedly (ha ha-) do us... -especially when one considers how so many museum programs are really little more than promotional programs for various educational institutions...dealers? lets see artists start questioning like you would think anyone would, what exactly are the services being rendered for 50% of the take- ...as for junkets to NYC -its the trip Mark -it has almost zero to do with art....when I talk about Mr. Curators collectors group, I can name the names..... of any number of overly ambitous suburbanite art mavens- its just another shopping trip , don't kid yourself otherwise.


I really think that the big shift here is that artists (and musicians) are no longer reliant upon dealers (and labels) for publicity. Sharkforum demonstrates much more than just "strength in numbers," as it naturally implies context and relationship amongst the work of the individuals represented here.

When I used to think about getting gallery rep., or signing with a label, it was often more a result of a desire to be associated with the other artists represented. Such associations may still be desirable, but we no longer are limitted to only one venue for legitimacy and publicity.

Now we can create our own context. I wonder how this will change the dealer system. I imagine some of them will actually welcome such a change, as they migrate toward quality artists who are actually trying to promote themselves. 35% may be a smaller take, but it's more gross dollars if the artist is selling more of their work.

The times they are a-changin' indeed.


Exactly Dave- it's very depressing to look at what is out there to support artists. As Donald Judd noted - besides artists and dealers where there is tangible motive, what kind of person usually ends up in the art world? Lets face it, the serious curator or critic is a rare commodity in a venal sea of vapidity and speciousness. In fact in the 90's artists became so much fodder used to create the visions of the new superstar, jet-setting curators- some of whom were failed artists who connived a way around their own lack of vision and talent...how did we let this happen?

The internet changes everything: creating context is now becoming an essential part of being an artist.


I have fun reading all this -- the writing is crisp and hilarious! -- but can't help why you folks seem to spend so much energy discussing the "art world." It won't go away if you ignore it, but you'll certainly get more of your own work done ...


I once heard an artist say that dealers and curators don’t even want to leave Manhattan to consider work. I think this plays into what Wesley said at the Bootstrap talk at Art Chicago, that there are a couple of people (he named names) that decide what gets shown. It’s based on the collection of graduates from SAIC and Circle (yes, I still call it Circle Campus) and they don’t even want or need to look further. It just amazes me that so much laziness is involved in what is important work and what is not.

This gives artists no other choice than to do it themselves. If we are able to do great work and make some noise, people will notice. As people notice what is happening and like what they see, they will want to be a part of it. It takes a while, though. I’ve seen a few artists give it a couple of years and then find or fall into something else.

I agree that we have the tools to do it ourselves and don’t need to follow the old road that is full of barriers. Hell, I’ve met some people in the past year or so through this blog and the Artforum bulletin board that I didn’t think I would have otherwise. It’s a start.



Mark, thank you for your concern - if you knew The Shark or had ever been to his studio beneath the waves of Shark Alley here at Maintop Bay, you would know better than to make comments about the amount of work or, the ferocity of its nature, taking place.
Actually the attitude you describe, which amounts to sticking your head in the sand, is sadly typical and pathetic. Art isn't made in a vacuum Mark. The existing model which I am attacking is an enemy of creativity -one that I have watched impact numerous artists work and lives.
The Shark feeds off of conflict; he chooses this fight as it pleases him to do so.


And "This" Mark also feeds on conflict! And is very prolific in several areas, most of all my art. Concern and criticism (in its both positive and negative senses) actually tend to fuel energy levels. Criticism is not just negative --- it often involves genuine concern and intellectual interaction with circumstances --- every "is" engenders thoughts of an "ought." Artists don't necesarilly need to sit off by themselves angsting over their navels in order to be productive. That works for some, it has a name --- Expressionism ---, and does not work for others. I, e.g., am a gregarious, happy fella with a bad attitude. That works for me. Positive actions OFTEN begin with clear, critical thoughts.


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