Re: [Nettime-bold] Re: [Genius2000 cry baby] Another Salvaggio Discussion

[Terrence Kosick <kosick@sprint.ca>]

Terrence writes;

All  this debate gets misanthropic because of the paranoid perceptions of a
few list people that  some individuals and institutions seemingly selfish
behavious live off the possibly paranoid philanthropy of government and
corporations and private donors. It is not about taste or good will. Its
about politics and the curent state of humanity, but is all this unusual?
Is this not just the usual compalints of the rabble?

When I was in my undergraduate teachers and teachers for the other art
college would running in and out of my store calling my work barbarism or
that's why men get famous etc. etc. I was dragging my work up onto the
court house steps. One large work was on the front page of the local paper.
I did get into a large group show here that includes artists from portland
to alaska. Unfortunately i got paned in favor of the one's being set up
with shining new 80's painting careers. I thought they did not like a
independent young man. A 24 year old something whisky drinking muscle jock
making art. I got blacklisted, I think. because I 'once' criticized the
laziness of the profs (2 students left the program due to this.) Suddenly I
was a little big mouth who despite telling the truth was branded. I got
ignored and rejected for 10 years. I went to new York in 1996 and talked to
the director of a gallery there who was appalled by my story but loved my
paintings of the past 5 years. He thinks my work is amazing. I told him I
was getting into the information culture because i see it as a natural meta
environment. And here I hoped the truth of human perception and society be
known. ( I think you're one of the truthful honest souls who is short
sighted about how society and power works. ) Maybe you're right or maybe
your perception is a bit paranoid. And maybe you wish the people who ignore
you would like you, and if they did would you be complaining now? At least
Alex posted your shtick on Rhizome. Someone likes you. God knows why.

In my case what the powers that be did not know back then, that I was
preparing for a life's battle. I did not quit like most of th other
artschool grads. It seems you and a couple of artists on these lists are in
the thick of it. Max I just keep filling my storage rooms and friends
basements up with art while the favored who have been given the
opportunities are teaching, (god knows why). Well sadly their work is
sitting in major museums storage. They have a few more catalogue apearances
but they are dependant on the system. Would my work be as good as it is if
I was in their place? I wait for my epiphany.

Sure I could do more to kiss butt and spend half my time applying to
galleries and institutions and spending more time contextualizing my work
then doing some " things ".  Max what you and Eric and Brad run into is
just what most people run into. Power and conscience.  People look after
themselves. I have my own successful business now and I do my coool art in
my nice new studio loft I paid for with no one but my happy customers money
for honest work. I feel like a king. I'll feel great once i start getting
into shows again on my own terms. Its been 15 years waiting for me Max, and
I got an independent life out of it and honest art and involvement in this
info culture environment. I am happy to be hanging out here and being a
unabashed artist posting humerous material. So get with it dude, exploit
your goof ball mania and energy for your own work and stop burning art
world crosses. You guys are a pain in the ass cry baby kill joys.

Best


T.

Nicholas Hermann wrote:

> >>> fluxis@mediaone.net 04/11/01 03:08AM >>>
> Do you think I would lose in a debate against Bosma?
> I don't.
>
> ++snip
> I wouldn't lose a debate against anyone in the world if the resolution
> was (be it resolved) that the Genius 2000 Network, the Video First
> Edition, and the Genius 2000 Network website are way better than
> anything else offered by any museum in the world today.  But getting
> into the debates is tres dificil.  Bosma wants you out of the debate;
> she wants to label you a beast barking at Brad Brace's blood-spoor.  Of
> course she won't even say a sentence about me.  She knows I won't play
> nice.
>
> Also, why is it you think Sherman and Peppermint openly rebuffed my
> request for footage in the fall of '98 and have done everything possible
> since to act as if my video is irrelevant?  They don't want to engage
> its ideas.  It would harm their careers and filthy reputations.
>
> Understand that Cary works for the NY Daily News making their website
> look hip.  He makes $85,000, a figure that Sherman once posted to Shock
> as the amount that "a good web artist can earn in the private sector
> while pursuing his work in New York City."  Now why work in NYC?  To
> hobnob with the rich.  Cary and I used to discuss how much the academy
> sucked.  I said--this is 1996 now--that I was going to quit after my
> master's and either write a book or get an MCSE (computer repairman)
> degree.  I asked him if he was going to teach, and he said "no, but I
> would be an art star."  I didn't know what that was, and he said "it's
> when a university pays you to make art, not teach or write papers."
> Then I said, in my beneficent way, "but the academy is bullshit, they
> only fund punch-pourers."  Then he said, "but can sell my polaroids.  I
> can't sell my sites but I can sell my polaroids to a rich guy."  He went
> on to discuss the eternal need for patronage of art by the rich.  Ask
> him yourself if you don't believe me.
>
> So why live in NYC?  To work the scene.  Cary doesn't believe in
> activism of the ordinary rank and file.  Rich people love that attitude.
>  He loves rich people, and rich people also love that attitude.  Cary
> works for a sickening organization in order to get enough money to live
> and be hip in NYC, where all the rich people and their hired curators
> live, work, and play.  Cary is pure rotten.
>
> You can call it lack of apathy, but I'm very apathetic about it.  Such
> criticism as this rolls off my tongue like "As We Go Up We Go Down."
> Same as if you ask me if I like Bosma.  That being said, I would admire
> you if you brought Bosma to justice.  I wouldn't call it lack of apathy,
> necessarily.  If it bogged you down and you became an uncreative whiner,
> then I would call it lack of apathy.  But I would respect your decision
> to muckrake because you've reached the age of consent.
>
> Did anyone see Malkmus and the Jicks on Letterman?  I talked to the
> bassist for a few minutes about Genius 2000 and gave her a ticket.  It
> was fun to see someone I'd talked to Saturday on TV Wednesday.  By
> comparison, I gave Boy George an early ticket in 1998 when he came into
> my bar in SF.  I didn't talk to him, I was too busy totin ice.  I saw
> him on Leno or something a month ago and the feeling wasn't there.  He'd
> turned back into just another celebrity keeping his nose to the
> grindstone.
>
> Max
>
> nmherman@aol.com wrote:
> >
> > In a message dated 4/10/2001 3:32:16 PM Central Daylight Time,
> > fluxis@mediaone.net writes:
> >
> > > It will be interesting and it will be fun. What do you say?
> >
> > You see, another genius thing nn said was that if you make the
> > mistake Bosma
> > accused you and Brad of, you get a whole new world of
> > grooviness--a flood in
> > fact.  The best thing that could possibly happen.  A flood.  If
> > you can
> > physically feel the desiccation of humans, animals, and flora
> > in your
> > environment you know we need a flood.  I mean, can you see the
> > cracked mud
> > even if you're drinking a glass of cool non-bulk water.  If you
> > can, then you
> > know you GOT to make that butter mistake!  In Denmark, if
> > someone tries to
> > fuck with you when you're getting happy with some crazy
> > mistakes, you say
> > "laevaer"--"luh-vair."  A world full of honest mistakes is
> > flawless.  I've
> > rarely felt so impressed by my fellow humans, all of you.
> > Thanks, and I mean
> > it, keep making those fat fucking mistakes, it's groovy.  More
> > more more more
> > more.  More more more more more.
> >
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