If you take a moment to brief the history of this very contemporary city you soon are revealed that it is indeed a ‘legendary eclectic modern edgy classic’ point in space where a great many artistic movements’ from the 1950’s through to present day not to mention the memorable ‘movie star’ status golden years when movies’ were actually supremely creative from scratch with visionary directors’ – composers’ – musicians’ – writers’ -etc. My question is: “When you’re a legendary eclectic contemporary classic city who needs a higher profile ?”
Los Angeles is at the ‘peak of profile pronouncement’ within this regard everything else is just a ‘lower profile’. Who’s ‘knuckles are knocking’ hard drawing hemoglobin on this supposed ‘elite club of art world cities ?’
These are not ‘artists’ knuckles’ these bones’ are competitive overachieving ‘rich business bones’ who are highly responsible for totally mashing up this ‘art idea’ with the totally medieval ‘gallery concept’ a forum for ‘money matters’ than artists’ affairs then the poor artists’ get stuck in the ‘middle of this mashing’ within a ‘vixen vampire vice’ to pay the price for creative enslavement.
Who is directing this ‘higher profile’ enigma ?
Not intelligent artists’ their too busy creating so it must be the ‘illiterate elitist, mobsters who brand their ‘illiterate values’ on artists’ they do not know, but feel they can fit into their ‘status orientated monetary art club which has absolutely nothing to do with creativity (or) creative artistic pieces that spinoff ‘second generation’! These very choice in saying anything at all about this ‘illiterate elitist’ sector do not even know (or) possibly even understand these artists’ they are selecting for their ‘art grab bags, but they cohort amongst themselves these ‘illiterate artistic values’ that shock the ‘dumb founded public’ into believing this is some kind of ‘art idea’ ridiculousness. Most of them are told what to purchase from so called ‘art consultants’ because they have no intelligent understanding of the ‘artists’ creative history it’s all for their mansion walls’ when their competitive over achieving cronies’ come visiting to compare ‘status symbols’ what I have and what you have not (yuk yuk) this is sick stuff !
Keeping in mind with all of this stuff the artists’ suffer with this elitist monetary might they possess the money and they inflict ignorance flaunting this monetary concept on this ‘art idea, but ‘money & creativity’ do not mix and they have no meaningful (or) useful benefit being in the same statement.
This ‘super gallery’ concept is becoming like a ‘commercially competitive’ sport there is no ‘competition within creativity’ but there is competition within the monetary – greed – ego. There needs to be a ‘revolution in the gallery’ where accents are much more on ‘the artist’ getting to know aspects of ‘the creator’ and less accents on these ‘illiterate artistic values’ thrust upon these poor artists’ by elitist ‘money magnets’ who have no artistic sense in the least their just bats’ flying out of hysterical hell sucking the ‘creator’s creative’ blood before they transform back into the vampires’ they all are.
I mean the ‘creative curse’ is bad enough all artists’ go through every creative day we don’t need ‘monetary mongols’ feeding on our creative lifeblood as well!
Los Angeles has always been a ‘hot bed’ of eclectic contemporary modern edgy transforming elements this keeps the city extremely unique and exciting. Artists’ are walking in the legendary creative footprints of genius like Raushenberg – Ruscha (who was part of West Hollywood’s notorious Ferus Gallery). Los Angeles is ‘fluid transforming elements’ earth (shakes) – air (smog heavy) – fire (in the hills every summer) – water (surfs up) it’s spread out and frees the spirited like the ‘beat generation’ of the 50’s Chet Baker cool West Coast jazz. The Pasadena Art museum landmark shows of Marcel Duchamp (1963) and Man Ray (1966) to mention just a couple of artistic visionaries that have walked Los Angeles streets it has always been the ‘city closest to the realities of the age’ and future fantasies.
All the curators’ and dealers’ tend to forget that the buying public really is the ‘bottom line’ as with regards to ‘artistic interest within artistic shows’ sure the elitist play with the ‘art game’ expensively, but this does not support artists’ creative longevity. I think what is really needed here is a ‘collaborating creative cooperative’ like Raushenberg was executing for many years of his creative life to enable everyone as in: dealers’ – artists’ – curators’ – galleries’ worldwide to partake within this creative realm providing a ‘useful meaningful balance’ that all can share and not the scales being tipped in any one’s favorable direction, but in many directions positively unbiased so everyone can also understand the many creative explanations’ offered by the creators’ creativity to better reflect the current time and environment.
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The Art Of Monteque