Thursday, April 12, 2012

When the left hand can't see what the right hand is doing

One of my primary concerns with this Kinkade debate is the intensity in which some of these open-minded artists attack a fellow artist...a recently deceased fellow artist at that. Many of these verbal digs are in bad taste at the very least and are outright hateful on the extreme end of the spectrum; some of which are masked behind clever verbiage or tactical humor but none the less, the message is clear. This over the top discourse is specific to a sanctioned mindset that allows the art world -as the case may be- concessions towards overt aggression aimed at the white Christian conservative male (irregardless of specifics in some cases). It seems that targeting this group is the path of least resistance within our tribe in which base human pack mentality and bigoted aggression is allowed to go unchecked. I may even go so far as to suggest that this overcompensation is in response to the decades of suppression of innate aggressive tendencies (via multiculturalism) in liberal-minded white progressives. In other words, this forced system of tolerance has created and nurtured a backlash in which the white Christian conservative male is the only outlet left for intellectuals to freely express their natural tendencies toward collective aggressive behavior. With this in mind, let's not forget that the enlightened academia in Germany played a big part in helping secure Hitler's reign...hell, even Jung was not immune. Bad history tends to repeat itself when the left hand fails to see what the right hand is doing. but hey, this is all just coffee-house speculation coming from a pseudo social scientist/art critic who doesn't believe in a it should be taken with a grain of salt. 

Tuesday, April 10, 2012

Double dealing

In light of all this Kinkade bashing from the art world, let's talk about contemporary artist Hunt Slonem over at Marlborough
Hunt Slonem, is the secular art world's accepted, approved and very $uccessful master of "worthless schmaltz" or to go further with what critic Jerry Saltz originally wielded at Thomas Kinkade: "Unoriginal rote things done in his perfectly conventional, balanced people-pleasing way... confected conglomerations of things people wanted to think they wanted to think about, democratic paintings whose meanings are hidden from no one, whose appeal is to not to vex or disturb, to produce doubt or newness." Slonem’s work fits this description well; in fact you could apply most of Saltz’s scathing Kinkade article to Hunt’s entire body of work and career.

I challenge any art world critic including the “bullshit detector” Walter Robinson, Charlie Finch, Roberta Smith or that pesky husband of hers to take up the challenge and write (in the negative) about Slonem's sugar-coated paintings that any truthful assessment would render “a cliché that has already been told.” This beloved darling gets a free pass with his "hotel art" it seems. The challenge stands.

I doubt, in fact I guarantee that this challenge will NEVER be taken up by ANY critic of consequence in our very open-ended and open-minded tribe (did I mention that I am not a critic of consequence?...yet). Oh you arrogant, exclusive, crooked, decadent, politically-biased, short-sighted, narrow minded, pack-driven art world...I love you.

Hunt Slonem (born July 18, 1951) Since 1977, Slonem has had over 150 solo exhibitions. Over 75 museums internationally include his work in their collections including the Metropolitan Museum of Art and the Guggenheim Museum, both in New York. Hunt owns several homes including two Plantations in Louisiana and the Cordt Mansion in Hudson, New York, as well as several lofts in New York City.

Monday, April 9, 2012

Darkness Visible

In light of all the recent information surrounding the inner workings of artist Thomas Kinkade, it should by now be apparent that this assumed purveyor of pollyannaish product was not as one dimensional as many critics might have suggested; there was indeed a darker current at work here. On a lighter note, may I dare say that Kinkade’s psychological approach was not unlike the late great Mattise in that the latter painted through a rose colored lens…of course the outcome was vastly different but technique and inventiveness aside; Kinkade was a troubled figure at bottom who decided to shelve all that dreary shit and accentuate the positive, to a fault even; but I do wonder -as have others-  if this darker aura could have somehow seeped into all those delightfully banal paintings. If so, these things are shining examples of the contemporary existential dilemma. Future culture connoisseurs might even go so far as to view the works by Kinkade as postmodern suburban-domestic amulets; doing for the average American middle-class household what protection masks did for ancient tribal communities. Why not?...only time will tell.