“The reason the art world doesn't respond to Kinkade is because none - not one - of his ideas about subject-matter, surface, color, composition, touch, scale, form, or skill is remotely original. They're all cliche and already told.”
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I'm noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum's 'Younger Than Jesus' last year and ran through the Whitney Biennial, and I'm seeing it blossom and bear fruit at 'Greater New York, ' MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent.
The art world is an all-volunteer force. No one has to be here if he or she doesn't want to be, and we should be associating with anyone we want to.
To engage with art, we have to be willing to be wrong, venture outside our psychic comfort zones, suspend disbelief, and remember that art explores and alters consciousness simultaneously.
Too many younger artists, critics, and curators are fetishizing the sixties, transforming the period into a deformed cult, a fantasy religion, a hip brand, and a crippling disease.
