Edition #32

June 11, 2014 · Print This Article

Trending: Florida!

Feeling a little tropical, Chicago? WTT? couldn’t be more proud to see our own cracked out home state finally trending somewhere aside from Buzzfeed.

McCraney addressing the “fancy people” at the Palmer House on June 2nd.

The Arts Alliance of Illinois is even feeling the heat, as they honored award-winning American playwright and McArthur Genius AND Miami native, Tarell Alvin McCraney, at their Voices of a Creative State 2014 luncheon on June 2nd. McCraney speech was (as you might expect from a New World School of the Arts grad) completely captivating, inspiring, and a formidable act for Gov. Quinn to follow. Not to mention he looks like $625,000 in that suit. If you hear me clap once.

The program image for the luncheon featured an image of McArney sporting the Miami area code “305″ shaved into the side of his head. BOSS!

Had to sneak a photo in with the man of the afternoon.

Abraham Richie’s lively Roundtable conversation on #ArtinChi at Western Exhibitions in the West Loop. Peep the internets for posts from the event.

This past weekend Miami art non-profit Locust Projects brought their popular Roundtable Series and it’s moderator and creator, the lovely Amanda Sanfilippo, to Chicago for progressive conversations hosted by stakeholders in Chiacgo’s cultural scene. The Locust Roundtables were a part of EXPO Chicago’s /Dialogues program, in conjunction with the Association of Independent Colleges of Art and Design Conference at the School of the Art Institute of Chicago.

SPOTTED: Sanfilippo (right) & WTT? informant Alexis Bassett (left) at the Starwalker gala on Saturday night. We assume if you’re reading this you’ve probably seen enough images from the evening (or better yet, you were there!) so we’ll spare you any more shots.

Rapid Pulse continues tomorrow night with a performance by the much loved Mikey McParlane, who will be performing with Floridian transplant, filmmaker & musician, Jimmy Schaus (the performance will also include the hottest jogger in LS, Caleb Yono).

We spotted this sneak peek of McParlane’s rehearsal with Schaus last night on the artist’s instagram account.

And here’s a picture of Rick Ross just because.

The Weatherman Report

Judy Chicago, Queen Victoria (Great Ladies Series), 1973. Sprayed acrylic on canvas, 40 × 40 in. Collection of the Brooklyn Museum.

Starving Artist is Anything But

No one will go hungry at the CAC’s Starving Artist benefit June 21, 2014 to be held at their West Loop gallery space. Based on last year’s event, it appears that no one will go thirsty either. Tired of waiting in long lines for booze at benefit events? We counted at least three inventive alcoholic beverages from last year, including a popsicle made of Hennessey and that classic cocktail of old, jello shots. Enterprising gallerist Andrew Rafacz even managed to make an installation of his own by turning a ping pong table into a game of beer pong in 2013.

Andrew Rafacz

Photos or it didn’t happen! Andrew Rafacz, gallerist and professional beer pong athlete.

The event will feature local artists Diana Gabriel, Luftwerk, Alexandra Noe and Edyta Stepien will work with Chefs Matthia Merges (Yusho) and Chris Pandel (Bristol and Balena) and Jared Van Camp (Element Collective). Score! WTT? freakin’ LOVES Yusho (can someone say double fried chicken and seafood too weird/ delicious to be located in Logan Square?). Looking at last year’s roundup, it’s unclear what is art and what’s food so hopefully we don’t see any tipsy art patrons trying to lick Luftwerk’s projections. Wait, who are we kidding? We TOTALLY hope that happens!

From 2013′s Starving Artist, “The Cave” installation by Andrea Morris of Cocomori.

Tickets are available on the organization’s website. Chicago Artists Coalition is located at 217 N. Carpenter Street. See you there?

Reading is Fundamental

  • Conversation in Art Gallery Actually Has Tangible Result. As part of the Locust Projects Roundtable hosted by EXPO and Western Exhibitions, Chicago Artist Writers (CAW) wrote an on the spot review of Nicholas Gottlund exhibition at Paris London Hong Kong with Chicago’s king of conceptual art writing, Brandon Alvendia. Not for the anti-collaborative or the faint of heart.
  • The Aguilar Family Engages Openly. This 6-point perspective recap of the Aguilar Family’s experience at the Open Engagement conference last month in New York City is kind of like reading a Faulkner novel, except that it’s actually enjoyable. Short and sweet, take a minute to read both Part 1 and Park II on the Cultural Reproducers blog.
  • Become Required Reading! As artist Jason Lazarus once said on Facebook, “writing poetry is embarrassing and ecstatic.” Turns out it can also be profitable! Submit your writing to the Guild Literary Complex’s Gwendolyn Brooks Open Mic Poetry Award and you can win $500 and the satisfaction of knowing that you’ve made more money off your writing than most poets.
  • Money can’t buy taste. Or can it? What is good taste anyway? Not the Yusho kind. “If art matters, then we should care about quality. And that means having the courage to forge a standard of good taste,” an article posted to the BBC boldly proclaims. We’re not ready to lead the charge but we enjoyed this meditation on taste for the BBC by Tiffany Jenkins anyway.

Chicago Celebrates Life of Frankie Knuckles With Totally Epic Dance Party


Don’t Snooze on These Upcoming Exhibitions…

In the spirit of Stephanie Burke, here are our Top 3 most anticipated exhibitions opening in the next week.

Postcard image for Black Cauliflower.

Black Cauliflower. New work by Corkey Sinks & Jamie Steele opening June 14th, 6-9 PM and open through July 19th at Roots & Culture.

#BRUTEFORCEFIELD Work by Christopher Meerdo for his ACRE Exhibition, opening at The Hills Esthetic Center June 14th at 7PM. Open by appointment afterward.

Not sure what brutality has to do with puppies but we’re willing to find out.

Alex Chitty for Trunk Show. Opening Sunday, June 15th, from 2PM – 4PM on the rooftop Parking Lot at Home Depot, 1300 S Clinton St. (at Roosevelt). On view on the open road through Friday, July 18th. Follow @trunkshowtogo for updates on the gallery’s location.

Getting Chitty with it!




The Rise of the Performance Art Festival in the USA

December 17, 2013 · Print This Article

Guest Post by Autumn Hays 

Over the last few years within the United States a growing interest has arisen in festivals that specialize in Performance Art, that offshoot of the visual Arts, who’s practices center around temporal body-based works. This festival-circuit format for showing performance based art works has already produced a strong development in terms of organizations and events outside of the United States. Often however it’s difficult for American performance artists to break into these circuits. Although there have some who have successfully done so, many festivals go years without showing a single American performance artist. This could be for many reasons, but one is certainly the relative lack of funding. Often the diplomatic and cultural establishments of foreign countries, such as embassies and consulates assist artists with expenses so that they can make and show artworks outside their country of origin. In the USA however, we do not invest money in the arts to the extent of other countries and thus American artists often have less accessibility to funds outside of their own pockets.

Arahmaiani. Rapid Pulse 2013. Photo by Arjuna Capulong

Arahmaiani. Rapid Pulse 2013. Photo by Arjuna Capulong

Performance art festivals are often intensive endeavors, involving a diverse group of international artists. Always on very tight budgets, these festivals often seek to supply food and housing for the artists for the duration of the festival, often lasting from several days to weeks. Unlike showing at a, gallery the festival becomes a sort of community or summer camp. Here artists and curators network and meet performers from all over the world. Viewership is open to the public but there is a community of support at many festivals where artist see each-other’s works, often living together and sometimes collaborating on the fly. Festivals are often popular for performance art as spaces willing to show the work, or spaces aware of the needs of exhibiting performance art are often few and far between.

The good news for performance artists is, the USA is starting to develop their own performance art festivals. These festivals seek to bring international artist to the USA while showcasing local talents. It will be exciting to see what other festivals are brewing here in the United States and some in and near Chicago itself. Here are three festivals to look for this year:

 

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     Lone Star Performance Explosion

     Huston, TX

     February 19-23, 2014

 

This is the second time around for this international performance art      biennale after a successful run in 2012. “LONE STAR EXPLOSION 2014 seeks to showcase performance art that pushes the artists and audience in new ways, especially performance art that questions fundamental assumptions about the way we experience time, space, relationships, the self, society, and sexuality. “ As many of our festivals on this list the line up features local, national and international talents in Performance Art. Lone Star Explosion 2014 is curated and directed by Jonatan Lopez and Julia Wallace. Confirmed artists include: Elia Arce (Costa Rica), Marce Sparmann (Germany), Natalie Lovleless (Canada), J. Morrison (NYC), Ryan Hawk (Huston), Roberto Sifuentes (Chicago), and over 25 more artists. http://lonestarlive.org/

 

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Rapid Pulse International Performance Art Festival

Chicago, IL

June 5-15, 2014

 

This is year three for Rapid Pulse International Performance Art Festival, taking place here in Chicago. “The RAPID PULSE INTERNATIONAL PERFORMANCE ART FESTIVAL aims to represent a range of styles and forms in order to provoke thought and stimulate discourse surrounding performance art.” This intensive festival features performance,  video screenings, artist’s talks and panel discussions. It includes a wide range of performance art from durational, public, and digital based works. Unlike the rest of the festivals on this list Rapid Pulse is centered in and around Defibrillator Performance art Space as opposed to being a wide range, multi-venue event. Artists have yet to be announced but the application period is closed and the curatorial process is beginning. Rapid Pulse is curated by: Steven Bridges, Julie Laffin, Giana Gambino, and Joseph Ravens.  http://rapidpulse.org/

 

 

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Supernova Performance Art Festival

Rosslyn, Virginia

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Super Nova first took place in June of last year and word is the event will be back again this year. “SUPERNOVA will bring together emerging and established local, regional, national and international performance artists to present an expansive range of positions and approaches to performance art.” Though not confirmed Supernova came together well last year showing and they have to potential to continue on this year. Tough mostly national based artists, Supernova has the bones of a strong festival and hopefully they continue. Supernova’s 2013 Chief Curator was Eames Armstrong. http://rosslynartsproject.com/

 

Lone Star Explosion 2014

Lone Star Explosion 2014

The question that arises with these projects and others like it is one of sustainability. Performance Art festivals are often struggle all year to find funding for the next event. Often performance artists who wish to see this kind of festival thrive in the USA produce these festivals. These factors, and the fact many performance art specific festivals around the world struggle to stay open make the running of an international festival a labor of love, to say the least. Even if these festivals eventually come to an end, the recent creation of these festivals might be pointing to a new trend in performance art exhibitions in the USA. Hopefully the adoption of the festival format international performance festivals will continue to propagate more opportunities in the exhibition of performance art. It will be interesting to see if the new trend in festival production will flourish in the United States and if festivals like these will run strong and multiply in the years to come. Perhaps, the appearance of American Performance Art festivals, and the participation of American artists in them, may lead to an increased interests in American practitioners of performance works both at home and abroad.

 

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Autumn Hays is an Artist, Curator, Teacher and Writer. She graduated the School of the Art Institute of Chicago with an MFA in Performance where she received the John Quincy Adams Fellowship. She received her BA in Visual Arts at UCSD. Hays was the recipient of numerous scholarships, grants and awards including two major Jack Kent Cooke association scholarships. Currently she is assistant curator at Defibrillator and Co-Producer of the 2014 IMPACT Performance Art Festival. www.autumnhays.com




Recoloring Queer and Transgender Performance Art: Reflections on Recent Performance Panels

November 19, 2013 · Print This Article

Guest Post by Autumn Hays 

Let us start off by acknowledging that there is a distinct difference between Queer and Transgender subjects. It’s important not to lump these two together. Though related and often overlapping, these are not interchangeable terms. Queer being a reclaimed pejorative for gay, and transgender being a person whose self-identity does not conform unambiguously to conventional notions of male or female gender. (see more.) With that in mind what I would like to look into a reoccurring concern in the discussions that take place around both queer and transgender performance art.

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Artist Micha Cárdenas. (photo- Fran Pollitt)

In the last month I have seen multiple panels touching on the subject of new Queer and or Transgender works. There was a definitive connection between all panels: and attempt to shake up current the definitions, and what some define as new codified zones of safety. When I say zones of safety, I am referring a kind of identity politics that sits safely in a form of expression that is confortable enough for new standards of acceptance. Artworks that sit in this comfort zone fail to realize the full potentiality of the subjects and often begging to forum it’s own predictable cliché. The challenging of the formulation of a tamed queerness or transgender performance is an often-highlighted theme appearing in new works. The formulation of a safely circumscribed zone undermines the attempt to reconsider the subject due to an inadequate scope.

Queer and or transgender arts panels often attempt to define the new wave of artists making work in these areas. Today many artists are attempting to define a new direction that departs from the identity work that came out the 80s and 90s. Often these earlier works are ascribed the quality of crying out for recognition. Much of the work being produced today is looking for finer definitions, as opposed to this preliminary awareness.

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“Queer Chicago” ‘ Artist Keijuan R Thomas. Defibrillator on 19 October 2013. (photo- Isabelle McGuire)

We could go on to talk about the subject of the word Queer as discussed during the roundtable “New Queer Aesthetics” in late October. Queer New York International Arts Festival (QNYI)  had come to Chicago to exhibit a Queer Fest as an extension of the one in New York at Defibrillator Performance Art Gallery . The Chicago show featured artists Suka Off, Bruno Isakovic, Gabreiela Mureb, and Keijaun Thomas. Queer fest distinctly pulls itself away from other Queer festivals which they feel are accepted ideas of the term Queer. As one of the festivals curators, Zvonimir Dobrović, explained, the festival seeks to redefine and challenge preconceived notions of the term Queer. Not all work is made by the LGBT community and instead is defined loosely by a sort of norm-challenging ascetic. After struggling through various definitions, redefinitions, embracing, rejections, fears of washing out the word of meaning completely, and other post-modern linguistic dilemmas an audience member mentions queerness in regards to race, specifically the colored queer. Why is this important? Because the conversations began to progress from the semanticlogical, what is Queer, to what are current Queer issues are concerned about, who are we dealing with the queer female of color in art today.

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“Transgender/Arts- A Roundtable on the Future of Transgender Cultural Production” at the The School of the Art Institute of Chicago on 6 November 2013. (photo- Noah Davies / SAIC)

This November I attended a panel at the School of the Art Institute of Chicago. Transgender / Arts : A roundtable on the future of transgender cultural production, which  included panelists Trish Salah, Jules Rosskam, Julian Carter, David Getsy, and Micha Cárdenas. During the panel many valid points were made about Transgender art. Micha Cárdenas presented important question to the panel, “Where are the trans women of color in art?” Many of the panelist themselves who specialize in Transgender arts could in fact not think of a single artist. The panel began to discus a kind of film festival, performance and art transgender normative narrative. A washed down version, where you began to see something constrained, not quite all the way there. Sitting in a place somewhere in academia where it is comfortable and safe.

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“Autonets” Artist Micha Cárdenas. (photo- Fran Pollitt)

How does performance readjust and challenge Queer and Trans identity without losing site of the community in general? There is something that happens to us when we are about to fully realize the other; we find a way to compromise, to only go so far. Many Queer or Trans artist today are attempting to push at the boundaries of a newly accepted normative narrative and point at the things we are forgetting, those who still don’t have a voice. The Art world, the world, is still white male dominated. In a way the lull of sleep we put ourselves in this supposedly post-feminism, post-racism, post- sexism, post-gender issues world that we keep referring to as better than it was before is more dangerous. Because hiding under that comfort is the fact we haven’t changed all that much, we should be forging new grounds and making sure it doesn’t fall asleep.

If I was asked where the new queer or trans aesthetic is headed today, I would say somewhere within the struggle of continuous disturbance, in the understanding that things aren’t there yet and we have to keep shaking it up, shaking ourselves up, so we don’t become our own worse enemies, the perpetuators of a normative Queer of Trans identity. As performance art specifically keeps pushing on with another panel at the Hemispheric Institute for Performing Arts, this week discussing “Race & the Colonial Impulse: Queer Performance Practices”, I look forward t a continued discussion that bridges gaps in the dialogue between racial queer and transgender  issues in the arts.

 

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Autumn Hays is an Artist, Curator, Teacher and Writer. She graduated the School of the Art Institute of Chicago with an MFA in Performance where she received the John Quincy Adams Fellowship. She received her BA in Visual Arts at UCSD. Hays was the recipient of numerous scholarships, grants and awards including two major Jack Kent Cooke association scholarships.Currently she is assistant curator at Defibrillator and Directing Coordinator of the Rapid Pulse International Performance Art Festival. www.autumnhays.com




Top 5 Weekend Picks! (8/16-8/18)

August 15, 2013 · Print This Article

1. LA INTRUSA DANZA at Defibrillator

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Performance by Delta Victor, Rojo Manso, Sara Holwerda and Sara Zalek. Presented by Spain Arts and Culture and Defibrillator.

Defibrillator is located at 1136 N. Milwaukee Ave. Performance Saturday & Sunday, 8-11pm.

2. Think First, Shoot Later: Photography from the MCA Collection at Museum of Contemporary Art Chicago

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Work by Thomas Ruff, Andreas Gursky, and Thomas Struth, Jeff Wall, Rodney Graham, and Stan Douglas, Cindy Sherman, Lorna Simpson, Ana Mendieta, James Welling, Wolfgang Tillmans, Torbjorn Rodland, and Elad Lassry.

Museum of Contemporary Art Chicago is located at 220 E. Chicago Ave. Exhibition runs from May 18 to Nov 10.

3.The Universe Next Door at Art Institute of Chicago

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Work by Abelardo Morell.

Art Institute of Chicago is located at 111 S. Michigan Ave. Exhibition runs from June 1 to Sept 2.

4. Cliff (2012) and Better (2013) at Logan Center for the Arts

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Work by William Pope.L

Logan Center for the Arts is located at 915 E. 60th St.

5. Transfiguration at 33 Contemporary Gallery

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Work by Alfonso Piloto Nieves.

33 Contemporary Gallery is located at 1029 W. 35th St. Reception Friday, 7-10pm.




Thoughts from the Cultural Divide: #27 (A Blessed Little Wafer)

April 8, 2013 · Print This Article

Felix Gonzales Torres

Pieces of candy Felix Gonzales Torres’s “Untitled” (Portrait of Ross in L.A.)”

So this is it; the last entry of Thoughts from Across the Cultural Divide. It’s appropriate that I’m writing it on a plane from New York to Milwaukee – that’s where I wrote my first one and most of the ones in-between.

I boarded bent on finishing before landing in Milwaukee as a kind of ceremonial gesture, but I came down with a bit of writer’s block. More like writer’s diarrhea, really; I couldn’t seem to reduce the last 26 entries into a succinct bite-sized wafer of truth fit to reflect what I’ve gleaned.

Fidgety, I reached into my pocket and pulled out a small piece of foil-covered hard candy and struggled over whether or not I should eat it.

I actually started unwrapping it, almost placing it on my tongue before rewrapping it and carefully putting it back in my pocket. The guy next to me must have thought I had a disorder. As I sat with the candy in my lapel pocket, I dwelled on this strange apprehension. Why did eating it feel so, well, unholy?

The candy in question was taken from a Felix Gonzalez Torres art piece, “Untitled (Portrait of Ross in L.A.)”, from the Art Institute of Chicago, where I had taken a class on a field trip a few days prior. With my class in tow, I picked a couple pieces off the top of the pile, eliciting a hushed gasp from some onlookers. The security guard stood by stoically knowing very well the nature of the situation. Only after establishing that he was cool with the move did the rest of the visitors take their turn grabbing souvenirs. Did anyone get the wonderful metaphor? Did the sacredness of the context turn Torres’s point into an object to be fetishized?

I explained the nature of the work to my students, how the dwindling supply of candy represented the fragility of existence and, specifically the disease that tragically took Torres’s partner’s life. They seemed moved, if still content to have a bit of insider material.

Only a week earlier I had gone to the Lutheran church in Cedarburg. I attended in spite of the fact that I’m not religious. My wife and her family have belonged to the church for years, and the pastor is surprisingly ecumenical. That day, when it came time to take communion, I hesitated. Somehow, watching from the back pews, faking my way through the Lord’s Prayer and mouthing hymns I didn’t know, seemed ok, but consuming a wafer and some wine that represented, or, depending on your level of devotion, actually WAS the body and blood of Christ, pushed it. But, still, I headed toward the altar.

Communion Wafer

Communion Wafer

His body tasted surprisingly bland; his blood vintage Franzia, and, though I didn’t feel the prescribed transubstantiation, I did feel something more profound than indigestion.

This unexpected twinge reminded me of a piece by James Gleick that was in the “New York Time Magazine” a few years ago about the auction value of the Magna Carta. He describes a passage from Philip K. Dick’s novel, “The Man in the High Tower”, where two similar cigarette lighters are placed side-by-side, one owned by FDR and the other of no significance. One with ‘historicity’, the other without.

The narrator muses:

“Can you feel it? … You can’t. You can’t tell which is which. There’s no ‘mystical plasmic presence,’ no ‘aura’ around it.”

 

James Gleick's "Keeping it Real"

James Gleick’s “Keeping it Real”

Or is there?

Though he doesn’t invoke it specifically, Walter Benjamin’s “The Work of Art in the Age of Mechanical Reproduction,” seems to hover palpably over Gleick’s analysis. Are there plasmic presences? Are there auras? No and yes. As Benjamin noted in the essay we all choked down in art school, auras are born from artifacts that derive power from ritual. And rituals require gangs of believers to endure. And most of us, wherever we locate ourselves geographically or metaphysically, happen to believe in something strongly enough to wring a little plasma from it.

So, Religion? Culture? Not so different from 38,000 feet above the earth. Both are terms ascribed to all those things we can’t know for sure. And if you’re familiar with Descartes, Montesquieu, Wittgenstein, Barthes, Derrida or even CNN, there’s a LOT of things we don’t and indeed can’t know.

So what I’ve taken from 18 months of immersion in Wisconsin’s more parochial precincts is that one person’s “Light of Christ” might simply be another’s frisson of energy evoked by a Richard Tuttle wire piece or a Donald Judd “Specific Object”. Aren’t we all looking for a little transcendence, never mind where we get it or what we decide to call it?

There’s a lot of religion in a Tuttle and a lot of culture in a Lutheran pancake social.

It’s funny when you can feel the antagonism about your remarks as soon as you utter them. Now is one of those moments. My friends are generally from the tribe that would side with the transcendence brought on by a great work of art, rather than a passage from the “Book of Job”. Most of my acquaintances would probably claim that I’m making a false and probably dangerous distinction – the religious right influences politics, right? Indeed. They infringe on the civil rights of individuals because of a bunch of ghost stories in a book written millennia ago? Sure. They can’t compromise because their truth is not based in reason, but in the supernatural, right? Sometimes.

But then again, I felt something like sacrilege eating a piece of candy that was only ever meant to be a metaphor. And it occurred inside the hallowed temple walls of an institution that kind of chooses to keep those metaphors hidden, and in turn, keeps their congregations beguiled and charmed, perpetuating the aura of the object. That institution has priests who anoint objects with quasi-spiritual value. They have groups that help to canonize object makers. Not as metaphor-makers but as spirits. They have rituals, liturgies and taboos. They have saints and they have sinners. They all contribute to creating cultural relics that are sold at auction for prices that dwarf that of the most sought after religious relics on earth.

Richard Tuttle, "44th Wire Piece"

Richard Tuttle, “44th Wire Piece”

 

So if it walks like a duck…

Felix Gonzales Torres might be my favorite artist in the world. And God or god or Donald Judd rest his soul, I don’t think Mr. Torres ever wished for me to be spellbound by the aura of his art, only moved by the poetic truth it could impart by being an achingly wonderful metaphor for the sadness and confusion we all share in a world that overwhelms us.

So right now I will eat Felix Gonzalez Torres’s candy as a metaphorical gesture recognizing the power of art over the supernatural and all that mystical plasma that charms us into thinking we have an answer of a higher power.

28 episodes of The Cultural Divide reduced to one wafer of truth.

Amen (ahem.)