The Why’s
Jeppe Hein, Frieze 2014. Photograph by Kira Sidorova
There is also no evident creative exploratory process visible here. No step-by-step evolution of thought, personal language and no explicit meaning behind the chosen medium. Why neon? Why billboard letters, why sculpture, why painting? It’s as if they were created solely to be photographed and instantly shared on Instagram, Pintrest and whatever else is trending right this second. These affirmations, word paintings and directives in the form of paintings, sculptures and projections and likely taken from someone’s social media feed, or an SNL episode, are forgotten just as quickly, probably in the same amount of time it takes the viewers to post it, like it and move on.
So I ask you, what’s the difference between the store and window decorations we see at Anthropology, Dover Street Market, Fendi, etc., and what is pitched at the art fairs? The intent to create? It’s evident in both examples. What else?
We Make Noise Not Clothes at Dover Street Market in New York
Shiny things with questionable value
It is my opinion that commercially manufactured art, like Koons’ dogs and balloons, Aitkens’ and Pierson’s text-sculptures, where the artists seem to be teaching themselves basic English vocabulary pertinent in the world of realty shows, should remain within the commercial realm and decorate the display windows instead if claiming to be fine art. No multi-comma price paid for it will convince me otherwise. Especially those things whose price in the current contemporary market is based on the manufactured and manipulated perception of value and not the value itself.
Jack Pierson, Don’t Complain, Frieze NY 2014 Photograph by Kristina Nazarevskaia
It is art for those who aim to perfect the “me-too” art acquisition methodology, insist on calling ophthalmologists – eye-doctors, can’t distinguish between Australia and Austria and know of Armenia’s existence only because of the Kardashians. This is their art.
