So where do we sit with this? The younger reviewer is more reactionary than the old conservative in their response to Ryan Trecartin, who is being resistant and who is being duped? I didn't know he was a part of the Rhode Island Paperrad scene and it makes a lot of sense, but he brings up good points about how its like youth and internet culture for old people and very retro.
http://seanrocha.com/2011/07/19/ryan-trecartin-at-ps1/
Im a Trecartin fan for sure. He has his own language, creates his own terrain, posits his own conditions. These are hard fought victories for any artist. these qualities are so fundamental to producing something substantial and are always breakthrough achievements in the career of an artist.
ReplyDeleteSo I think that's a given, but more interesting is how the art world, art critics and art history will assimilate his work into its meta-narrative. Like we were talking about how social practice delimits the role of the critic and art history by using ethical standards rather than aesthetical ones on which to base its value judgments. Similarly, if we approach his work on a purely formal level what are the antecedents or is it completely new and on the level of content-what theoretical framework can we use to decipher the SMS, 4Chan, faceboo doublespeak he uses?
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