From: IN%"[email protected]" "Art Criticism Discussion Forum" 10-FEB-1994
16:48:29.52
To: IN%"HRL@xxxxxxxxxxxx" "Howard Lawrence"
CC:
Subj: >>dead.artist<<
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Return-path: ARTCRIT <@PSUVM.PSU.EDU:[email protected]>
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Date: Wed, 9 Feb 1994 19:09:12 -0800
From: Brad Brace <bbrace@xxxxxxxxxx>
Subject: >>dead.artist<<
Sender: Art Criticism Discussion Forum <[email protected]>
To: Howard Lawrence <HRL@xxxxxxxxxxxx>
Reply-to: Art Criticism Discussion Forum <[email protected]>
Message-id: <01H8Q79BIJ988ZDUX7@xxxxxxxxxxxx>
confusion, manyartists began producing directly for the museums, the
s-=-=-^-=-=-=-=-=-=-^-=-==-=-=-=-=-=-=--=-=-=-=o=-==-=-=-=-=-=-=-=-x-=-=-=-=-=
DEAD-ARTIST DESERT TRAILER-PARK
offers scholarships and studio-space
for qualifying applicants
contact: bbrace@xxxxxxxxxx for info
..the specialists tend now to be pariahs of art, trained and graded by the
specific criteria essential to contemporary education.. and frightened by
the potential power of the image... their relationship to creativity is
rarely one of love or obsession; they are salaried to it... they seem
more comfortable with analysis, as if a dozen or so photographs of a
masterpiece, taken under perfectly controlled conditions in neutral
isolation, would best satisfy them... they could then destroy the original
and limit the publicUs understanding to their own photo-based analysis of
the measurable elements... you cannot be an expert in genius or in the
mystical) ...and since these experts controlled the major galleries, they
applied their standards to the Western definition of art; new generations
of artists -- cut off from the reverberations which their predecessors
had felt, thanks to their integration into society -- instead found that
the only sustained reverberations came from the experts... in the ensuing
confusion, many artists began producing directly for the museums, the
technocrats of art... that is now the dominant theme in Western art...
Man-made imagery revolves around the forces of fear, magic and ritual.
A radical change in the relationship between the last two cannot but
lead to a growth in the first. The more sophisticated the controlling images
become, the more likely it is that individuals will seek reassurance in
increased levels of fear. It is as if the last know refuge of visual
imagination and fantasy had been occupied by the forces of structure.
| The Dead-Artist Desert Trailer-Park is located in the American
| Southwest Desert. I basically inherited (after paying back-taxes)
| an isolated, derelict trailer-park which is being
| transformed without the interference of cultural bureaucrats
| into a working resource for creative pursuits. The financial
| overhead is practically non-existent; intelligent applicants are
| told the location of the Trailer-Park and given written permission
| to abide there. Usually some structural and creative contribution
| is made to the Park during your stay. No application fees, slides,
| or resumes are required or desired. A questionnaire is sent to all
| applicants. Expect to receive this late summer of 1994; an
| electronic response is preferred.
=-=-==-=-==-=-=-ox^-=-=-=-==-=-=-===-=-=-=-=-=-==-=-=-===-=-==-=-=-=c=-=-=-=-=
16:48:29.52
To: IN%"HRL@xxxxxxxxxxxx" "Howard Lawrence"
CC:
Subj: >>dead.artist<<
Return-path: <[email protected]>
Return-path: ARTCRIT <@PSUVM.PSU.EDU:[email protected]>
Received: from Jnet-DAEMON by ARCH.PSU.EDU (PMDF #12866) id
<01H8Q79BIJ988ZDUX7@xxxxxxxxxxxx>; Thu, 10 Feb 1994 16:48 EDT
Received: From PSUVM(MAILER) by PSUARCH with Jnet id 1555 for HRL@PSUARCH; Thu,
10 Feb 1994 16:48 EST
Received: from PSUVM.PSU.EDU (NJE origin LISTSERV@PSUVM) by PSUVM.PSU.EDU
(LMail V1.1d/1.7f) with BSMTP id 7861; Thu, 10 Feb 1994 00:26:06 -0500
Date: Wed, 9 Feb 1994 19:09:12 -0800
From: Brad Brace <bbrace@xxxxxxxxxx>
Subject: >>dead.artist<<
Sender: Art Criticism Discussion Forum <[email protected]>
To: Howard Lawrence <HRL@xxxxxxxxxxxx>
Reply-to: Art Criticism Discussion Forum <[email protected]>
Message-id: <01H8Q79BIJ988ZDUX7@xxxxxxxxxxxx>
confusion, manyartists began producing directly for the museums, the
s-=-=-^-=-=-=-=-=-=-^-=-==-=-=-=-=-=-=--=-=-=-=o=-==-=-=-=-=-=-=-=-x-=-=-=-=-=
DEAD-ARTIST DESERT TRAILER-PARK
offers scholarships and studio-space
for qualifying applicants
contact: bbrace@xxxxxxxxxx for info
..the specialists tend now to be pariahs of art, trained and graded by the
specific criteria essential to contemporary education.. and frightened by
the potential power of the image... their relationship to creativity is
rarely one of love or obsession; they are salaried to it... they seem
more comfortable with analysis, as if a dozen or so photographs of a
masterpiece, taken under perfectly controlled conditions in neutral
isolation, would best satisfy them... they could then destroy the original
and limit the publicUs understanding to their own photo-based analysis of
the measurable elements... you cannot be an expert in genius or in the
mystical) ...and since these experts controlled the major galleries, they
applied their standards to the Western definition of art; new generations
of artists -- cut off from the reverberations which their predecessors
had felt, thanks to their integration into society -- instead found that
the only sustained reverberations came from the experts... in the ensuing
confusion, many artists began producing directly for the museums, the
technocrats of art... that is now the dominant theme in Western art...
Man-made imagery revolves around the forces of fear, magic and ritual.
A radical change in the relationship between the last two cannot but
lead to a growth in the first. The more sophisticated the controlling images
become, the more likely it is that individuals will seek reassurance in
increased levels of fear. It is as if the last know refuge of visual
imagination and fantasy had been occupied by the forces of structure.
| The Dead-Artist Desert Trailer-Park is located in the American
| Southwest Desert. I basically inherited (after paying back-taxes)
| an isolated, derelict trailer-park which is being
| transformed without the interference of cultural bureaucrats
| into a working resource for creative pursuits. The financial
| overhead is practically non-existent; intelligent applicants are
| told the location of the Trailer-Park and given written permission
| to abide there. Usually some structural and creative contribution
| is made to the Park during your stay. No application fees, slides,
| or resumes are required or desired. A questionnaire is sent to all
| applicants. Expect to receive this late summer of 1994; an
| electronic response is preferred.
=-=-==-=-==-=-=-ox^-=-=-=-==-=-=-===-=-=-=-=-=-==-=-=-===-=-==-=-=-=c=-=-=-=-=