Re: answers to Fred's questions

From: db (email suppressed)
Date: Fri Feb 17 2006 - 16:44:47 PST

This may be old news by now, but I just got to it, so it's new news
to me!

On Feb 8, 2006, at 5:49 PM, David Tetzlaff wrote:
> You say you are in favor of all possible models for art making. Me
> too.
> Where we differ is that I am for many (not all) possible models of
> art-receiving, art-interpreting, art-using. If you think this
> devalues the
> artist as a human being and their struggles, I can only say that I
> don't
> think it does, and ask why you would place the humanity and
> struggles of
> the artist so high above the humanity and struggles of someone who
> comes
> away from the art with a different POV? I don't see anything here
> different from the Romatic cult of the artist (though I think your
> post
> states that positon with a good deal of elegance and passion, which
> I do
> honestly respect, btw). If _i've_ missed where your philosophy and
> aesthetics differ from the Romantic tradition, please point _me_ to
> the
> appropriate citations.

I'll comment via a quote. This is from Chumbawamba's Album 'SLAP'



o xmas tree, o xmas tree
how bent your branches seem to be
1921 and all's well
another fifteen years and we'll be laughing in hell

one bullet straight through the heart
Rubens caught a ricochet, Durer's lady cried today
cracked old masters up against the wall
blue-faced Wendy Woolworth: she's seen it all

housepainter, housepainter
hanging your swastika wallpaper
rows of pretty cabbageheads to gobble up your words
laughing along to your blah, blah, blah

"After the Kepp Putsch of 1920 (an attempt by the radical right to
violently overthrow the new Weimar Republic) clashes occurred
between the army and workers in Dresden. A bullet went through the
window of the Zwinger Gallery and damaged a Rubens painting.
Incensed by the incident, Kokoschka - then art professor at the
Dresden Academy - financed an appeal which appeared in local
newspapers and as wallposters, urging the two sides to settle their
scores well away from cultural treasures. Kokoschka's elevation of
art above political struggle outraged Grosz and Heartfield
(political art activists) who replied with a furious polemic 'Der
Kunstlump' (The Artist As Scab) ridiculing the idea that art could
be considered more important than lives of workers. They welcomed
the fact that bullets had penetrated galleries, palaces and a Rubens,
rather than the homes of the poor."

from "Photomontage: A Political Weapon" by David Evans & Sylvia Gohl

For info on FrameWorks, contact Pip Chodorov at <email suppressed>.