Pranking the Artworld

This a delightful little video (brought to my attention via Laughing Squid).  I recommend that you watch it and then read the following essays on Roger Corman’s A Bucket of Blood, a film that sends up the artworld in much the same way as the above video:

What Doug and Mikael  do in their “gallery hijack,” and what Roger Corman and screenwriter Charles B. Griffith do in A Bucket of Blood, is simply demonstrate the absurdity in how the artworld operates in practice.  But I’ll let the works speak for themselves.  For a broader look at this topic, I also recommend Exit Through the Gift Shop (Banksy) and F for Fake (Orson Welles).

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4 thoughts on “Pranking the Artworld

  1. Question: Is it possible to have art without critics? What would be the result of a hypothetical “live and let live” world where everyone approached works of art without first being spoonfed (or forcefed) someone else’s judgments? If you were forbidden from raving or ranting to your friends about the film you just saw, would you love or loathe it less? What would happen if our access to art was completely blind and arbitrary, if there was no such marketing tool as “public taste” (fallacious as we may already know it to be)?

    • I do not think it is possible to experience art independent of critical opinion. Even if we were to experience a work without knowing the general opinion of critics regarding the work, we still would have picked up and began to utilize certain critical habits just by nature of being alive among other people. And in the rare instance when a person is faced with a new art form, or in the instance when an infant experiences art for the first time, a critical judgment will still be made on the object in question, even if it has nothing to do with aesthetics. In other words, we would still make an effort (perhaps unconsciously) to define the object in relation to ourselves, and we would use whatever database of experiences we have built up to that point to make the judgment. Does that make sense?

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