Societies downfall flushed down toilet amazing

Result #1

. I think this is the result of art as a cult, or more accurately, the disappearance of cults. It is as if every popular item or breed of animal had been systematically suppressed and replaced by yet another, and its already-common supplies—including its own reputation—had been made invisible. It was as if the animals and people of the arts had been replaced by machines. What is more, the animals themselves had lost their status as autonomous entities, and became mere resources for the gathering of people, currently serving no clientele other than the collectors market for artifacts. Only an institution—art, of course—could satisfy this new appetite for objects and images by making them available to everyone.As Bernard Cusumano points out in his recent book Party Dogmas: New Cultures in Italy (2013), the success of contemporary art depends on the extent to which it embraces a democratic need to provide alternatives to the irrational indifference that blinds us to the consequences of exploitation, even as it calls for the immediate reinstatement of the value of private enterprise as an artistic practice. But today that need is being met by a homogeneous mass of objects and images whose identifications (if there are any) are fairly reserved. In this sense, we have entered a second epoch, from which new cults are being created, and new values will be attached to an epoch which has made possible a new pluralism.

Result #2

.) And they turned out to be a story about the perversion of history, of the violence of destruction, of the manipulation and erosion of ideologies. The fact that Feria had always wanted to be the Portuguese artist Rudolph Dipper in her story suggests an art that brings us up short, that maintains an illusion of surreality—an art that is unable to survive, like the others, on its own power. But it is impossible to become hypnotized by it, and so one has to return to one of the works in the exhibition to recover the way it began, in a wooden trough filled with water. For this piece, the artist had to sit on the ground, walking with her hands embedded in the trough, her arms and the sides of the canvas furled, and repeatedly repeated in rhythm in order to make the empty space and the time of the new reappear as metaphorically submerged, as a small but comprehensible place.

Result #3

Societies downfall flushed down toilet amazing, when Jordan finally stepped forward with an act of assertiveness. She approached the issue of gender as representation through video—a medium of abject domination—and, to boot, proceeded to set about making a corpse that was still, in fact, hanging out in the gallery space.At the time, her strategy was a big deal. She made a play on the universality of representation in the public sphere, and her willingness to assume the mantle of a body whose private aspects still elude (that of identity) can be read as an endorsement of the status of women as objects of art. This statement could be read as self-reflexive; to her, Jordan as a participant was a kind of murderer. (In some ways, the exhibition also reflects a deadpan identification with her own work.) In the twenty years since, the artist has taken the persona of artist to a whole other level, creating content that functions simultaneously as a critique and an affectionate tribute to her gendered relation to the body, both as an object and an organ of consumption. Since the demise of his career, Jordan has been making work that repeatedly deploys and extends the body as one of its various parts, constantly searching for its own divinity. As he puts it in the pages of the New York Times: I wish I could tell everybody . . . that I could live with their fears and desires, their pain and sadness, and their desire and their joy, and that I would like to do something that would give them the power to change their world.The work in this exhibition, Your Body As Debt, was a kind of tribute to the artist as collector, juxtaposing her feminist collectibles with photographs of the artist herself. In a weird twist, Jordan was somehow given the money to sell her work and immediately gifted it back to the art world, where she promptly donated it to a gallery. In this perverse and obviously transgressive gesture, Jordan also made a public statement.

Result #4

was a visual one.

Result #5

Societies downfall flushed down toilet amazing—up to and including the rise of Nazism and its lethal consequence. But as the work of these modernists and the politicized art form were put to the test, we are left with a much closer look at the period before the Stalinists came to power. Perhaps it is these other spaces, these other events, that provide the opening gambit for Pop Art, a short-lived breed of painting that, like the artists, is obviously political, but also acts upon the rational and typically functional style of painting. The working and posing of the body serve a curious and endlessly evocative function in art and life, both times and spaces, and can be seen as the expression of a strong bond between artist and spectator, between artist and artist. Although not every viewer can be persuaded to take the invitation to an exhibition at his or her own instep—that would be blasphemy—the broader than life-and-art experience as part of our thinking about Pop Art is profoundly real.It is noteworthy that the participants in Pop Art had at times been very defensive. A number of the works were not well received. The director, Otto Bartli, accused the organizers of their failure to get the message out: The work of these artists has often been small and insufficiently widely disseminated. The work of the Kunstverein, too, was marred by a botched opening. In the middle of the room, a small crowd of people with long beards—an obvious invitation to hug the artist—had been invited to re-open the door only to find, it was said, no courage in opening the door. Another incident was reported by Rudi Fuchs of the machinations of a single policeman: The artist took the door off his door, rather than turning it into a photograph, then proceeded to jump down on a construction site. The police, with no reason to suspect that they had insulted an artist, followed her to the street and arrested her.