Revolt, She Said
written by Peter H. Duhon Jr. in New York
Thankfully, London's Frieze Art Fair said no to the reality TV show The Apprentice. The Guardian's coverage of the refusal, quite biased against Frieze one must all admit in this article, reports that the TV show wanted to have a reality contest amongst dealers to see who could sell the most work at the fair. Rather seriously, that is akin to offering to film someone while they are in the shower, and posting the resulting footage on ABC here in the U.S. or BBC in the U.K. Hell no, shouts the blind man.
Of course, many would argue why not? But assertively, Frieze offers the appropriate word to The Apprentice, that statement that Freud suggested as the word which signifies the stance of adulthood, the word that gives birth to it, the word that postures it: no. Yes, in fact, the blind man can see through the trees, beyond them, revealing the ignorance, the absurdity of the instigator, revealing the brazen motives of the iniquitous beast.
I've always lauded Frieze as one of the most important contemporary art events of year and with this bold decision, Matthew Slotover and Amanda Sharp (founders and active decision makers at Frieze, respectively) do not disappoint.
Those accustomed to, and seduced by the culture of the spectacle are perhaps puzzled by the refusal, but my personal hope is that by their decision to resist this mindless, frivolous forbidden fruit of contemporary culture (to say that reality TV shows present distorted and manufactured reality is an understatement, no apologizes), if you will, those unaware of the significance of Frieze and it's distinguished difference will perhaps investigate further why Frieze exists as a beacon of provocative thought and discourse today. Yes, open that book, hop on that plane, book that ticket, and visit Frieze. No cameras allowed, please.
written by Peter H. Duhon Jr. in New York
Thankfully, London's Frieze Art Fair said no to the reality TV show The Apprentice. The Guardian's coverage of the refusal, quite biased against Frieze one must all admit in this article, reports that the TV show wanted to have a reality contest amongst dealers to see who could sell the most work at the fair. Rather seriously, that is akin to offering to film someone while they are in the shower, and posting the resulting footage on ABC here in the U.S. or BBC in the U.K. Hell no, shouts the blind man.
Of course, many would argue why not? But assertively, Frieze offers the appropriate word to The Apprentice, that statement that Freud suggested as the word which signifies the stance of adulthood, the word that gives birth to it, the word that postures it: no. Yes, in fact, the blind man can see through the trees, beyond them, revealing the ignorance, the absurdity of the instigator, revealing the brazen motives of the iniquitous beast.
I've always lauded Frieze as one of the most important contemporary art events of year and with this bold decision, Matthew Slotover and Amanda Sharp (founders and active decision makers at Frieze, respectively) do not disappoint.
Those accustomed to, and seduced by the culture of the spectacle are perhaps puzzled by the refusal, but my personal hope is that by their decision to resist this mindless, frivolous forbidden fruit of contemporary culture (to say that reality TV shows present distorted and manufactured reality is an understatement, no apologizes), if you will, those unaware of the significance of Frieze and it's distinguished difference will perhaps investigate further why Frieze exists as a beacon of provocative thought and discourse today. Yes, open that book, hop on that plane, book that ticket, and visit Frieze. No cameras allowed, please.
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