On The Fear of Picasso-Monsters
How To Not Weave Picasso-Moments in Unique Multithreaded Historiomes
I am not an expert in project management or anything of the sort, therefore it is impossible for me to be an expert in “project risks”. However, as an interdisciplinary artist and arts-practise-based Reflective Practitioner Researcher, my work happens to have been Project-based for 15–20 years.
That still doesn’t make me an expert in project management or in all manner of things having to do with understanding, mitigating, and otherwise managing project risks, nor does it make me an expert in “Risk” itself.
To better understand this from the perspective of an interdisciplinary art-based research practise, a.k.a. Practise Research, I began a new Project. It is tentatively called “The Risk Project”, and it’s official name will not be revealed for some time to come. It is perhaps my most ambitious interdisciplinary artistic research project to date, and I cannot afford any interference.
In short, though, the picture shown above isn’t even really a painting. Yes, it is technically a work of mixed media, a work of visual art if you will, and has my artistic signatures. But right now I am using it more as a Cardboard Sign than anything else.
For instance, if I need to REMIND myself not to do too much of something in the art studio, The Historiotheque, then I can just keep the Risk Project Sign next to that location, or on top of whatever workspace I happen to be using within the massively modular workspace known as The Historiotheque.
If it seems absurd, ridiculous, and mundane or whatnot, that’s fine. Maybe it’s even kitschy, I don’t know. All I know is that racism is a bad thing, we must end all forms of racism, bigotry, hatred and such pathogens. And for me, as a professional painter and sound designer, it starts with Pablo Ruiz Picasso and the contemporary art market (21st Century) that has its roots in the “Picasso Market” of the turn-of-the-century in Paris, France, circa 1907–1922.
First Some Theory
Some theory is unfortuately required for one to fully understand where I am coming from here. Having just realized that there is no possible shortcut I can take, I am forced to publish a series of writings I wrote circa 2002–2004 on these and related subjects. I will list them here and then reformat and edit them, publish them for your reading pleasure. Stay tuned.
- DEFRAGMENTATION
- ORIGINS UNKNOWN
- PABLO RUIZ PICASSO
- ENCLOSURES
- A NEW VISION OF THEORY
- ART HISTORY PHILOSOPHY
- IDENTITY
- ABDUCTION FROM THE SERAGLIO
- THEORY OF TECHNIQUE
- THE NEW CLOCKWORK
- A BRIEF ACCOUNT OF HISTORY
- BITING THE BULLET
- COINS
- ENTRETEMPS ET ENTRECROISEMENT
- THE REAL PICASSO NOTES
- CUBISM III
- ANAESTHETIC
- ON ART HISTORY
- THEORY AND PAINTING
- KNOWLEDGE OF CUBISM
- BETWEEN BORDEL AND DEMOISELLES
- THE INTELLIGENCE BEHIND ANTINOMIES IN PAINTING
- DIARY OF A SELFPORTRAIT
- THE NEW ORGANON
After I have published all of the above essays, the universe will finally be up-to-date on the current State of Painting in the Modern period. Then hopefully within my lifetime, people can start catching up to the 21st Century in Painting, then they can perhaps catch up to me before the foreseeable heat death of the universe. I fear that it is impossible for me to communicate what I have learned without some form of contortionism and may even have invented a theory and designed special concepts precisely to help everyone understand the slightest thing, especially those with various problems of accessibility, understanding, neurodevelopmental issues, and so on and so forth, functional illiteracy, etc. Then I will be translating it all into French, and hopefully some other languages. Then I can start painting again because I’m too far ahead of everyone else, it is making my art practise, and my life, IMPOSSIBLE. Stay tuned.
(*Nota: Basically this all can be resumed to the following: The completely false, erroneous conception of the artist, such as Picasso, as an “automaton” is leading to fears of machine intelligence replacing artists and/or leading to an existential threat to humanity of an android takeover. It is in part because of the art critics and art historians and art theorists who at the time of Picasso told mostly “anecdotal” histories of him in the Grand Style of the Lives of Painters of Vasari et al. This has also contributed to the eventual collapse of the free market for art. Now the art market is on fire, but mostly for lemons, which leads to an amateur-passing-as-professional black market, contributing in feedback re-amplification to the ambiguating function of the lemon-antilemon relation. This is the basis of the Metaphysic of Art Movements!).
(*Also known as “What It Really Means To Be A PROFESSIONAL PAINTER.”)
A.G. © 2016. All Rights Reserved.
