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Title : "Trump is a lightning rod, and has been for some time. It is fashionable and easy to hate his work. In certain quarters, it seems to be required..."
link : "Trump is a lightning rod, and has been for some time. It is fashionable and easy to hate his work. In certain quarters, it seems to be required..."
"Trump is a lightning rod, and has been for some time. It is fashionable and easy to hate his work. In certain quarters, it seems to be required..."
"His badness is a foregone conclusion, but so was that of George W. Bush a decade or two ago, when many people saw his work as lightweight, and Reagan was also viewed with disdain.... The hate is more vehement these days because there is so much hate all around us, so many problems to assign blame for and so much pain and desperation."I'm reading "Stop Hating Jeff Koons/Why 'Rabbit,' the perfect art for the roaring mid-80s, continues to speak to us" by Roberta Smith in the NYT and playing with the text, which actually reads:
Mr. Koons is a lightning rod, and has been for some time. It is fashionable and easy to hate his work. In certain quarters of the art world it seems to be required — collectors, many dealers and museum curators excepted. Its badness is a foregone conclusion, but so was that of David Hockney a decade or two ago, when many people saw his work as lightweight, and the late work of Picasso was also viewed with disdain. (It’s fashionable for the art world young to dismiss Picasso entirely, which, if you want to be an artist, is sort of like cutting off one of your legs and not admitting what the other one is standing on.) The hate is more vehement these days because there is so much hate all around us, so many problems to assign blame for and so much pain and desperation.I'm interested in the idea that there is so much hate all around us and a particular person is "easy to hate." And then what? Do the sophisticated people examine their own tendency to hate and get especially hard on themselves when their hate settles on someone who's easy to hate? Is the idea that you will hate, but it's lowly to hate what is easy to hate. Show some discernment, and stop and look at yourself if what you are hating is what is fashionable to hate and you're acting like you're following a requirement to hate this particular target, accepting a foregone conclusion.
I have this theory that it's not enough to be likable, not enough to make it very big — having your artwork sell for the highest price for any living artist, getting elected President of the United States. You've got to also be hateable.
Here's something I wrote a couple weeks ago (prompted by a NYT piece about likability (and the disparate impact of likability on females):
[I]f you're going to study "likability," you ought to also study hateability. It seems to me, the guys who've been winning the Presidency also have hateability. Speaking of trying too hard, maybe female politicians try too hard to expunge or hide any hateability, and that's what makes them seem to lack qualities — [like] "intelligence, expertise and toughness" — that we sense are crucial in the Leader of the Free World. We're not electing a Friend. We're electing a Protector.The NYT headline about Koons tells us to stop hating him. I'd put it a different way: Understand how hating Jeff Koons is why he really is better than the artists you like.
The art critic writes:
The various curved forms of the “Rabbit” — head, torso and legs — function as a cascade of concave mirrors. Often compared to an astronaut, the creature is at once alien and cute, weirdly sinister and innocent, weightless and yet armored. The idea that something is inside, or nothing is, is equally disturbing. “Rabbit” is intractable, a little warrior, yet it also vanishes into its reflections, which are full of us looking at it.And, indeed, the various curved forms of Trump — head, torso and tiny hands — function as a cascade of concave mirrors. Often compared to a Cheeto, the creature is at once alien and cute, weirdly sinister and innocent, weightless and yet armored. The idea that something is inside, or nothing is, is equally disturbing. Trump is intractable, a little warrior, yet he also vanishes into his reflections, which are full of us looking at him.
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"His badness is a foregone conclusion, but so was that of George W. Bush a decade or two ago, when many people saw his work as lightweight, and Reagan was also viewed with disdain.... The hate is more vehement these days because there is so much hate all around us, so many problems to assign blame for and so much pain and desperation."
I'm reading "Stop Hating Jeff Koons/Why 'Rabbit,' the perfect art for the roaring mid-80s, continues to speak to us" by Roberta Smith in the NYT and playing with the text, which actually reads:
I have this theory that it's not enough to be likable, not enough to make it very big — having your artwork sell for the highest price for any living artist, getting elected President of the United States. You've got to also be hateable.
Here's something I wrote a couple weeks ago (prompted by a NYT piece about likability (and the disparate impact of likability on females):
The art critic writes:
I'm reading "Stop Hating Jeff Koons/Why 'Rabbit,' the perfect art for the roaring mid-80s, continues to speak to us" by Roberta Smith in the NYT and playing with the text, which actually reads:
Mr. Koons is a lightning rod, and has been for some time. It is fashionable and easy to hate his work. In certain quarters of the art world it seems to be required — collectors, many dealers and museum curators excepted. Its badness is a foregone conclusion, but so was that of David Hockney a decade or two ago, when many people saw his work as lightweight, and the late work of Picasso was also viewed with disdain. (It’s fashionable for the art world young to dismiss Picasso entirely, which, if you want to be an artist, is sort of like cutting off one of your legs and not admitting what the other one is standing on.) The hate is more vehement these days because there is so much hate all around us, so many problems to assign blame for and so much pain and desperation.I'm interested in the idea that there is so much hate all around us and a particular person is "easy to hate." And then what? Do the sophisticated people examine their own tendency to hate and get especially hard on themselves when their hate settles on someone who's easy to hate? Is the idea that you will hate, but it's lowly to hate what is easy to hate. Show some discernment, and stop and look at yourself if what you are hating is what is fashionable to hate and you're acting like you're following a requirement to hate this particular target, accepting a foregone conclusion.
I have this theory that it's not enough to be likable, not enough to make it very big — having your artwork sell for the highest price for any living artist, getting elected President of the United States. You've got to also be hateable.
Here's something I wrote a couple weeks ago (prompted by a NYT piece about likability (and the disparate impact of likability on females):
[I]f you're going to study "likability," you ought to also study hateability. It seems to me, the guys who've been winning the Presidency also have hateability. Speaking of trying too hard, maybe female politicians try too hard to expunge or hide any hateability, and that's what makes them seem to lack qualities — [like] "intelligence, expertise and toughness" — that we sense are crucial in the Leader of the Free World. We're not electing a Friend. We're electing a Protector.The NYT headline about Koons tells us to stop hating him. I'd put it a different way: Understand how hating Jeff Koons is why he really is better than the artists you like.
The art critic writes:
The various curved forms of the “Rabbit” — head, torso and legs — function as a cascade of concave mirrors. Often compared to an astronaut, the creature is at once alien and cute, weirdly sinister and innocent, weightless and yet armored. The idea that something is inside, or nothing is, is equally disturbing. “Rabbit” is intractable, a little warrior, yet it also vanishes into its reflections, which are full of us looking at it.And, indeed, the various curved forms of Trump — head, torso and tiny hands — function as a cascade of concave mirrors. Often compared to a Cheeto, the creature is at once alien and cute, weirdly sinister and innocent, weightless and yet armored. The idea that something is inside, or nothing is, is equally disturbing. Trump is intractable, a little warrior, yet he also vanishes into his reflections, which are full of us looking at him.
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