Official portrait of former MN Gov. Jesse ‘the Body’ Ventura (more info here)
There has been a lot of chatter online about the recent NYTimes profile of Jeff Wall (here, here, here, here, here, here, here, here), but I’m the first to make this connection:
- You have to forget about the idea of the spirit of the place. It’s one of the big, consoling myths of people who live nowhere. Jeff Wall
- Organized religion is a sham and a crutch for weak-minded people who need strength in numbers. Jesse Ventura
- I’m a more affectionate person than I thought I was. I like trees or I like people’s faces. That’s one reason I think my work has changed. I realized I wasn’t interested in filtering my affection for things through certain levels of mediation. Jeff Wall
- If I could be reincarnated as a fabric, I would come back as a 38 double-D bra. Jesse Ventura
- The aesthetic norm of fragmentation implies that the avant-garde movements made a fundamental and irreversible break with the past. The art of the past is defined as “organically unified,” art that does not want to recognize its own contingent character, its own fragile illusionism. It wants to revel in the illusionism, for its own sake and for the sake of its audience, and it wants to seem to be inevitable and complete, the creation of magicians. This is what is called the “genius ideology.” Tearing apart the organic work of art was the accomplishment of the avant-garde, which revealed the inner mechanics of traditional illusionistic art, the stagecraft of the masterpiece. To a great extent, I agree with that process, and I like a lot of avant-garde art very much; it’s very important to me. But I feel that it’s an unfree way of relating to it to erect it as an absolute standard, against the aspects of the unified work which I like. I like the idea of the unified work because I like pictures, and there is always a sense in which a picture exists as [such] through its unification, [through] its precisely pictorial unification. I think the art of the past is not as unified as the avant-garde polemic needed for it to be, or[ made it] appear to be. There are always acknowledgments of contingency and a sense of alternatives in good work from earlier times, probably very far back in time. So, firstly, there probably is no completely unified work, outside some very specific limits, at least, none in the tradition that we’ve been talking about. But there is the phenomenon of unity in a work, the way it might be experienced as a unity, even if, when you look closer at it, it displays or at least indicates, or hints at, its own contingency. That phenomenon, that moment of appearance, that moment of the experience of the work’s unity, remains important. That moment, that instant, will always be there when we experience good art, even if we are experiencing a work which rejects the whole idea of unity, like in radical avant-garde or neo-avant-garde art. So, I see the unity of the work of art as an unavoidable moment of the making and of the experiencing of any work. There is a dialectic in all of this, not two antithetical forms, each complete in themselves, one coming after the other in time and rendering the first one “obsolete”–a favorite polemical term of the proponents of the new orthodoxy. And, just an aside, I would say that it was always my experience that the criticisms aimed against so-called pre-Modern art were not terribly accurate, and they were tendentious, in that by trying so hard to break away from the past, a lot of avant-garde artists and writers, critics let’s say, exaggerated the flaws or weaknesses of the art of the past so that they could get away from it. That’s just a rhetoric of the avant-garde, and the times made it necessary; OK., but let’s not live under that as some kind of law now. You look at so-called pre-modern art–I say ‘so-called’ because I don’t really think it’s un-modern’whether it’s Caravaggio or Botticelli or Durer, it’s not as unified as those writers made it out to be. The antithesis between avant-garde art and “museum art” is less pronounced than the avant-garde wanted it to be. Older art is much richer and more nuanced than a lot of the arguments give it credit for being. It’s kind of obvious by now, how adolescent a lot of avant-gardist attitudes were- the “burn the museum” attitude from the 20’s, from Dada through the 60’s. Jeff Wall
- I asked him [Dalai Lama] the most important question that I think you could ask – if he had ever seen Caddy Shack. Jesse Ventura
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