Not quite sure who Grayson Perry is..sounds like some kind of performer. Side note: give anyone a platform and they become an actor seeking out the laughter and 'companionship' of the audience. You can see academics at TED doing their best to throw in a joke here and there, cultivate some two-penny act, become a showman, an entertainer, a "communicator" (can anyone beat Reagan here?)..forget "relevance" and academic acclaim; nothing beats being a media whore-except, of course, for being a servant of the state as a public policy wonk, a self-styled expert who will sell his soul for some greenbacks and the dream of a comfortable life out in the sticks.
Anyway, some interesting thoughts in his Reith lectures:
"By the early 70s, you know most things have been at least sort of tried or suggested, and now we're in a state where anything can be."
There is something mildly irritating by the casual use of, you know, the language, like. It's all sort of, you know, vague, confessional-ly, kinda of like how a teenager speaks, you know, right, like we was in Essex or something.
But put that to one side and get to the meat..
"The avant-garde is now a period style."
And the art establishment sort of looks down and goes, oh yeah, nice rebellion! Welcome in!
[And take your clothes while your at it, luv]
We were now in a period where anything could go.
[Against that, cultivate some mode of thinking that is stuffy, arcane, esoteric and impossible for the plebs to understand-even if it is utter nonsense]
We've accepted a lot of things that were weird now are normal..."We're all bohemians now". [Or, as the like to say in late capitalism: "Everyone's a nomad!"]
[Rebel. I told you to rebel. Je suis Charlie..]
And if you think about it [no, don't] all the things that were once seen as subversive and dangerous like tattoos and piercings and drugs and interracial sex, fetishism, all these things sort of crop up on Saturday night on family viewing.
[Of course, we sort of don't want to think of subversiveness as independence of thought, or as a way of dealing with the fact that the political and media machines have worked us over].
But what they don't realise-by being all inventive and creative, they're actually playing into capitalism's hands.
The art world is the perfect model of neo-liberalism..
So radical art of the 60s has become a kind of messy play lifestyle accessory for the Fifty Shades of Grey generation.(LAUGHTER).
Outrage has become domesticated.
But realness is a thing, you know that has a high currency..the currency of a bohemian-ness, lefty, arty-fartiness..especially in the urban ecology.
A part of his [Graham Fagen] installation if you like was a pile of sweets and they [a group of students] all just started eating the sweets! (LAUGHTER). You know that's their argument.
I mean Piero Manzoni in 61 famously canned his own faeces and sold them for the weight, equivalent weight of gold.
[Hey, you can't blame all of the decline of western civilisation on immigrants!]
And we should all say yes everything we do is really brilliant.
Theme park plus Sudoko. You know, people want an outrageous and exciting experience from art and then they want to slightly puzzle over what it's about. (LAUGHTER).
You know it might be art rather than just an interesting website when it has the grip of porn without the possibility of consummation or a happy ending.
Anyway, some interesting thoughts in his Reith lectures:
"By the early 70s, you know most things have been at least sort of tried or suggested, and now we're in a state where anything can be."
There is something mildly irritating by the casual use of, you know, the language, like. It's all sort of, you know, vague, confessional-ly, kinda of like how a teenager speaks, you know, right, like we was in Essex or something.
But put that to one side and get to the meat..
"The avant-garde is now a period style."
And the art establishment sort of looks down and goes, oh yeah, nice rebellion! Welcome in!
[And take your clothes while your at it, luv]
We were now in a period where anything could go.
[Against that, cultivate some mode of thinking that is stuffy, arcane, esoteric and impossible for the plebs to understand-even if it is utter nonsense]
We've accepted a lot of things that were weird now are normal..."We're all bohemians now". [Or, as the like to say in late capitalism: "Everyone's a nomad!"]
[Rebel. I told you to rebel. Je suis Charlie..]
And if you think about it [no, don't] all the things that were once seen as subversive and dangerous like tattoos and piercings and drugs and interracial sex, fetishism, all these things sort of crop up on Saturday night on family viewing.
[Of course, we sort of don't want to think of subversiveness as independence of thought, or as a way of dealing with the fact that the political and media machines have worked us over].
But what they don't realise-by being all inventive and creative, they're actually playing into capitalism's hands.
The art world is the perfect model of neo-liberalism..
So radical art of the 60s has become a kind of messy play lifestyle accessory for the Fifty Shades of Grey generation.(LAUGHTER).
Outrage has become domesticated.
But realness is a thing, you know that has a high currency..the currency of a bohemian-ness, lefty, arty-fartiness..especially in the urban ecology.
A part of his [Graham Fagen] installation if you like was a pile of sweets and they [a group of students] all just started eating the sweets! (LAUGHTER). You know that's their argument.
I mean Piero Manzoni in 61 famously canned his own faeces and sold them for the weight, equivalent weight of gold.
[Hey, you can't blame all of the decline of western civilisation on immigrants!]
And we should all say yes everything we do is really brilliant.
Theme park plus Sudoko. You know, people want an outrageous and exciting experience from art and then they want to slightly puzzle over what it's about. (LAUGHTER).
You know it might be art rather than just an interesting website when it has the grip of porn without the possibility of consummation or a happy ending.
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