THE DANGER OF ARCHIVE DIVING & let’s just make sht up and see how the public lands it & more shows at the de young museum and the legion of “honor”, by scott richard

THE DANGER OF ARCHIVE DIVING & let’s just make sht up and see how the public lands it & more shows at the de young museum and the legion of “honor”, by scott richard

THE DANGER OF ARCHIVE DIVING & let’s just make sht up and see how the public lands it & more shows at the de young museum and the legion of “honor”, by scott richard
best travel deal
Image by torbakhopper
the cult of the machine versus THE CULT OF ECONOMIC INVESTMENT IN ART

lately, the entertaining shows that are getting precedent in the corporately subsidized museums have taken new steps of bravery to protect the investments of those who clearly have a lot more than others and seek to make what they have more valuable than it already appears to be.

so i’m going to lump this review of THE CULT OF THE MACHINE, which is really just an attempt by investors to create a revisionistically realized “genre” of artists called PRECISIONISTS.

first off, there is NO SUCH THING as a precisionist movement in history.
it’s a sheer FABRICATION of revisionists.
revisionists like to make up history and create collaborations which didn’t exist.
trump, for example, is a revisionistic liar like we’ve never really seen before. that jerk off can make sht up just by talking.
i’m surprised he doesn’t send a letter of congratulations to the de young for promoting so much FAKERY.
second off, the creation or grouping of artists who really share NOTHING in common is suspect.

and as i said, i’m going to lump this review together with the DE YOUNG’s sister museum THE LEGION OF HONOR’s new shows which include the hideous oversized trash that is consistently produced by julian schnabel and the other show CASANOVA which is on exhibit in the downstairs space.

since i mentioned mr. schnabel’s crap, let me add that pairing it up with RODIN is fking ugliness personified.
it degrades the value of historical art to put it next to industrial trash.
and the legion should know better and resist the temptation to overfill the galleries simply because the MONEY is so irresistible.

fk julian schnabel and his crappy white man money laundering “art”.
it’s utter shite and part of the CREEPING JESUS ugliness that william blake taught just to say FK NO!!!! to without hesitation.
i wish more people were as smart as blake…

anyway, after seeing schnabel’s filth make rodin’s work look like tacky interior sculptures under bad lighting, i went down to see the new FAKE EDUCATIONAL show about the legendary CASANOVA.

here’s what wiki has to say about the man:
Giacomo Girolamo Casanova (Italian pronunciation: [ˈdʒaːkomo dʒiˈrɔːlamo kazaˈnɔːva] or [kasaˈnɔːva]; 2 April 1725 – 4 June 1798) was an Italian adventurer and author from the Republic of Venice.[1][2] His autobiography, Histoire de ma vie (Story of My Life), is regarded as one of the most authentic sources of the customs and norms of European social life during the 18th century.

sex and gaming were primary interests for casanova.
he was in line with the ways of his days and has been chosen to reflect that period describing it as such: "All the French ministers are the same. They lavished money which came out of the other people’s pockets to enrich their creatures, and they were absolute: The down-trodden people counted for nothing, and, through this, the indebtedness of the State and the confusion of finances were the inevitable results. A Revolution was necessary."

what really changes about people and money and gaming and sex?
not much, actually. con men are con men.

and the men of that day were obsessed with USURY and ALCHEMY, just like they are today. and even though more than 250 years have passed, the same unachievable goals are still in place.

sadly, these very shows i’m reviewing PROVE that the same bad thinking is endemic to the human condition.

but this particular show is about sex. or rather, it’s about titillating the viewer and bring risqué to the forefront while not being pornographic. and it is foretelling our future in some form or another as SEX is relegated and regulated for age appropriateness.

there is a soft core aspect to this show that hints at pornography in the past but refusing to dive into it and explore its genuine nature in art history.

so the glimpse of the future is that these kinds of shows will probably start adding avenues within the venues where only 18+ can go and the porno will be present.

the difference between pornography and art is that pornography is AROUSAL intended imagery. art with naked people is not supposed to give you a boner or make you wet. that’s the role of pornography.

and this show at the legion follows a very fine line in adhering to the art concept of nudity and nakedness. there are mere hints at pornography, but the real deal is kept tucked away. works by HOGARTH are probably the closest thing in the collection that is truly pornographic, while the rest of it flits around suggestively without really landing on sex offenses.

which is probably great for all the geriatric bus loads of people that pour into this museum on a daily basis. it’s not quite offensive, but sex sells.

here’s some noticeable drawbacks though:

a total lack of video imagery. instead, the show makers (for that is what they are) used mannequins and have set up a couple of show stages. this is so fking boring and the mannequins are ugly to begin with and keep getting reused by the museum. at least over at the de young they originally bought cool and sexy looking mannequins so when they reuse them for shows that present clothing and historical fabrications, they don’t look dumb.

video also takes up less space and can be used to great effect. take note, legion people. this is being done over at “the cult of the machine” show in the de young.

which brings a very interesting point to the forefront. these shows are being written by people who clearly have database access to a ton of museum and gallery collections across the united states. and writing shows by using archive data bases is hardly ART. rather it’s a new breed of education, availability and discovery.

so be prepared. at both of the shows currently at the de young and the legion, there is very little art that you have seen before. and i love this. but on the flip side, it’s not all good art, it’s just what was available to the archivist’s imagination when flipping through a database and trying to find visual support for their own agenda of entertaining people with a limited collection to draw upon.

and the biggest problem for me in all of this is that they FAKE JOIN artists and their intentions in order to construct an ontological view which supports the curator’s opinion or points that direct the show.

this is much more evident in THE CULT OF THE MACHINE exhibit, as so little of the art compliments the other work or even appears related. it’s sheer mishmash and weird textual writing to accompany the visuals. i saw this show once with some friends and one of them was surprised by how little the text accompaniment said. it was like reading doublespeak about nothing.

with the CASANOVA show, the writers have included so much non-related paintings and ideas that span a two hundred year period long after casanova or his influence reached. it’s like casanova is used as a diving board above an abyss.

anyway, i’m going to share as much of the shows with you as a i can so that you can see for yourself.

the big danger is that CURATED EXHIBITIONS will be forced to become FAKE in order to attract audiences. the way our local museums and their corporate run exhibits are going, it’s just a matter of time before spaces that supposedly share art merely reflect the collector’s values and the availability of collected art that isn’t shown unless it joins weird or esoteric traveling exhibits.

in the meantime, all art that travels can be insured and a paper trail of insurance creates the illusion of FAKE VALUE. but the beauty of that is that you can get loans of REAL MONEY based on the fake value of a painting.

say i insure a collection of traveling pieces for 896 million (like the current FAKE KING TUT TRAVELING EXHIBIT). i can get a 300 million dollar loan easily off that kind of insured value. then i can go and make serious purchases in the african economy and bet on the future farming for worldwide consumption.
300 million dollars goes a long way in africa toward colonizing the future beef and cattle industry.

just saying…

so what’s the solution?

art museums need to get braver about showing stuff. and dump the historical stuff. these shows are really just “experiences” at this point. that is the direction of entertainment so museums shouldn’t be so afraid to embrace that. have live bands, get REAL people involved, make videos instead of using mannequins. hire real people. how cool would the “summer of love experience” been if the de young had hired a jam band to play on the weekend?!

it’s obvious that the current sterility of these exhibits has a DEADNESS to it. it lacks life. it’s like looking at mummies while they’re trying to pretend that they once were alive and walked the earth as humans.

and if you’re going to do a show about sex, don’t be so damn shy.
casanova wasn’t.
he was a cheat, a crook and liar who liked to get laid.
and throw away julian schnabel’s crap. it’s seriiously embarrassing to walk into the legion’s plaza and see that sht being honored.
trash is trash.

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