"Any kind of popular trend is infinitely more wholesome than listening to old records. It's more important that people know that some kind of pleasure can be derived from things that are around them - rather than to catalogue more stuff - you can do that forever"-Harry Smith.
“I would conceive of a forward-looking art, which seeks its images in the future. Why is there no such thing? Art attaches itself to reverence”-Friedrich Nietzsche
Monday, August 6, 2012
"Just what is it that makes today's cities so disjointed, so anomic?"
"Endless" indeed: that's three verdicts offered from a single magazine in a five month stretch this year!
Of the three, the Richard Brody take struck the loudest chord with me. After Clock-watching earlier this year when it came to LA, I concluded that it was postmodernism's Sistine Chapel - an achievement of grand scale, at once about and in collusion with faithlessness and the desacralisation of art... a testament to an ever-deteriorating inability to get lost in the work of art (the film, the long-playing record, or indeed the rave - having gone to one at the weekend and been startled by how many people were texting or phone-videoing or otherwise social-mediatising the experience they were only partial-immersed in)
in that sense, truly epochal, deserving of all the column inches
but, as Brody says, a love-less masterpiece... a delightful disenchantment
a mash-up... the art world equivalent of "IntroInspection" (and look how someone's labored to depict the appropriate record-covers for every appropriated intro)
enabled by, expressive of, the same digital facility
the technology itself eloquently speaking its dark will to dis-integrate