In addition to the riot of color that punched me in the eyes and so delighted my soul this morning, there is a really interesting piece that Douglas Kelley has written both on the artist Deborah Kass and an exerpt from a Simon Critchley lecture which I found really interesting this morning. So thank you!
I will include the DK's "disclaimer" and a link to the rest of the piece. Looking forward to more.
From the DKS site. Read the rest here.
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"A General Disclaimer.
Despite these accolades it is still my humble opinion that Deborah Kass, as popular and influential as she is, is nevertheless still one of the most undervalued artists in the world. Obviously I'm a fan.
I am not an art critic or even an art historian, even though I have interests in both. Mostly my interest in art is strictly from the point of view of being an artist, and so when I write about Ideas, Trends and Key Individuals Shows, Galleries and History, I feel I am in a collaboration with all of those things. It's sort of a one-sided collaboration, because I never let people read what I'm going to send out with the list beforehand, because that's an invitation to editing and rewriting the material, and the unhappy fact is that I don't consider writing that easy to want to do it over. In fact I find it damn difficult, (I can't understand how critics and art historians by Jerry and Roberta, who I idolize, crank it out by the pound?) So I feel it's always necessary to begin with a blanket apology for any errors, omissions, mistakes or mischaracterizations of people's words, history, politics, quotations or People's personal or private's subjectivities I write about. All opinions are strictly my own and definitely should not be considered representative of the opinions of any individuals mentioned. I'm extremely confident when I am expressing my own opinions, prejudices and ideas, or when I am drawing freely upon the work of someone like Simon Critchley, who I quote freely, because I feel he expresses my ideas better than I do. (That, in addition, to being my biggest influence currently.) I'm planning to use a lot of quotes of his and take my time bringing everything full circle. because in addition to talking about Ms. Kass, I plan on introducing my new personal philosophy, the global art manifesto, and political agenda to save the world, that I have tentatively titled as being: “Synthetic Speculative Surrealistic Anarchistic Otherism," or SSSAO or "Otherism" for short.
These essays are going to be an ongoing weekly project, and I plan to add more maternal about Deborah Kass in the weeks going forward, because this year I want to write about only a few artists whom I think of as values artists. Individuals whose work I feel will be an interesting commentary on our present times 500 years hence.
For those you who don't know Professor Simon Critchley, he is a New York-based, British born Philosopher, who is the philosophy chair at The New School For Social Research. Who is a fan of art, and a popular speaker at art fairs, who has in the past discussed some of the contemporary contradictions in the relationship of art to theory. I am going to mix some his remarks, with my remarks, and maybe with some remarks by Deborah Kass. Here is some of that, little of his ‘terroristic’ model of theory, (in which he real reassures artists they should stress too much about it) as he explains how perhaps that art and theory have not become divorced. We might even say that in some cases they have merged, or perhaps both become attached to a third term, perhaps art and theory have adopted a form of triolism, a ménage a trois?
Negotiating art and theory through a third term is extremely relevant to Deborah Kass's work. whether it's politics, feminism, the Jewish intellectual tradition, Broadway theater in musicals, our many other things, everything has something to do with her relationship with the intellectual Jewish life of New York City."
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