Oh and . . this encounter with a provocative work tends to draw ALL attention to it AS provocation, to the detriment of the work. That's the real price of a restrictive environment. It' s not just a price paid in terms of the interest new work generates. It's certainly not just a question of having some kind of political "impact." The greatest price is that of interpretation. You get really dumb fixations on work if there isn't a serious investigation of what gets passed off as "provocation."
Bernie
________________________________
From: Bernard Roddy <roddybp_at_yahoo.com>
To: "frameworks_at_jonasmekasfilms.com" <frameworks@jonasmekasfilms.com>
Sent: Sunday, November 20, 2011 8:06 AM
Subject: [Frameworks] Value systems
Value as a reference today strikes me as dated. It draws on a period when art as commodity was an interesting question.
Restrictions on freedom of expression are back. It's time to examine the renewal of conservativism in media art.
To propose a term for critical study: professional responsibility. Not the debate between modernist and post-modernist experimental film. Not the relevance of "avant-garde."
Performance art's history is really to the point. We see a transformation of performance art's provocations into not only gallery-safe work but a kind of artistic administrator's ideal.
Apologies for the obscurity.
Bernie
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Received on Sun Nov 20 2011 - 08:47:24 CST
