This week’s artist is asking “how can triangularization contribute to the ever-increasing signification of subject formation?”, certainly one of the most pressing issues in the world right now. At least someone is dealing with it instead of just sitting around and ignoring the effects of triangularization. Come on everybody, let’s get it sorted out.
International Art English tropes in this episode of Artbollocks Theatre, rated on a scale of one to five stars
Tongue twisters *, pseudoscientific claptrap ****, bad grammar, typos or misused words **, telling us what we see or think ****, spurious appeals to art history *, art world jargon ***, pretending artists are more [superlative adjective] than people who are actually [adjective] (0), justifying nothingness or lack of…
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This article has a strange origin. I was posting comments on Facebook, some of which were in response to other comments. A founder of the Stuckists took an interest, pieced my words together into an article and sent it to me for approval. I made a few changes. They made a few minor corrections to my poor punctuation and dropped my strap-line, “Never-was pours cold water on over-rated has-beens”.
I thought about not allowing its publication because some of it might be taken personally by some people if they read it, and inevitably some people might think its only my sour grapes. I decided that it was worth these risks to exercise my little voice. After all I was there, and it’s a little irritating listening to version of those times being repeated without being able to say, ‘actually that’s not really how I remember it.’ That’s all.
I have been unable to work on large drawings because of disruptive repairs to the building, so I have become very absorbed by making these smaller drawings. I have the feeling that if I can just get the edges in the right place then everything will be okay. Today I want to make the kind of art that will ward off evil, and that fascists will hate.