Monday, April 09, 2007

So I've been going crazygonuts with the blogging. I can't help myself; my shiny new laptop beckons me with her rounded keys and cool, glossy countenance. It's such a pleasant departure from my last computer, who I called the Peevish Dell from Hell. Peevish Dell used to give me such shit, especially when I spilled jelly or beer on her (motherboard munchausen syndrome?). But my new computer (named Applinaya, goddess of limewire and discreet internet porn) knows her place. That's right, that bitch is going to download youtube animations all day and not slow down a bit. I even switched my screensaver to an agit-prop poster of a happy Russian satellite with a sickle lodged in its claw. Yes, I knows how to control my Applinaya.
Another blog about blogging? God, I'm so meta.

Depressing things to think about:

-Tammy Faye Bakker's son has a reality show.

-Julie Mehrehtu won a Macarthur genius award.

-I am so heavily in debt that I will have to use my beautiful, beautiful body as collateral. Like Catherine Sullivan, who arranged a fuck-session with a collector, filmed it, then gave the aforementioned collector the first edition. What a wonderfully literal way to express the pimpalicious world of art n'money.

-This is more of a question, prompted by reading Ezimmerman's blog (which I shall link in a bit): what is the role of a museum (or gallery for that matter)in the "reading" and legibility of art? Sometimes I think that once an art object is placed in that context (museum, gallery, any place whose purpose is to explicitly "show" work) it becomes insincere, disingenuous. Unless it talks about the context; addresses the museum as a space that purports to be "objective." Then it is sincerely insincere, or acknowledges that every space is charged with an agenda and therefore is completely mutable. I think for this reason I enjoy artists playing with the "idea" of a museum and using their collections to reimagine the arc of art history, or at least to confuse the faux linear timeline we're supposed to follow. People who have done this: Kara Walker curating her own work alongside the Met's collection. Robert Gober using the Menil's collection. I think Glenn Ligon did something similar? Also, Nicole Eisenman went to the Contemporary Arts Museum in Mexico and drew all over the glass covering drawings by the Mexican Muralists. Yes. These are Museum interventions I enjoy.

-Whew, what a tangent. That shit is too heavy. Now I remember why I shroud my thoughts in vacuous pop-culture phrases.

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