Rachel Harrison You were saying that you don’t see any issues in the art world today.
Nayland Blake Yeah, I really don’t see any.
RH Implying that artists used to have issues?
NB That there used to be a consensus of what ideas the community of artists was grappling with, but it broke down at least ten years ago. Do you hear friends talking about having to take a stand for or against something in their work?
RH Yes and no. But if we look back into previous decades we could find a time when art was an argument, and artists were arguing with each other. I feel it’s in the air not to piss anyone off too much. The art world is so big right now—there are many different pockets in which you can fall, so many different groups that form. Yet I don’t think that those groups come out of artistic practices.
NB Things are more organized around scenes than political positions; it’s about clusters of people socializing. Part of that diffusion is evidence of the virtualization of so much of the cultural discussion.
RH Everyone looks at art online now, and with the exception of video art that is made for YouTube, everything is mediated. For a long time art historians have written about art by looking at reproductions, and now the Internet takes this even further. I wasn’t able to travel to Munster to see Sculpture Projects, but I could find images of Mike Kelley’s petting zoo on Flickr soon after it opened. I’m not sure what I got from this except a superficial idea of the appearance of the work. I certainly didn’t know how it smelled. Someone told me the animals were going crazy from the sound. People assume they know an artwork from looking at pictures, but what do they really get from that?
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