“Outside the white box the most innovative, essential sculpture is testing all the limits. We are no longer solely reliant on exhibitions in real time or dealer galleries for that matter the virtual world is our new market place.īut to be marketable, to get the word out, do artists need one defining style? Do they have to put their work in a box? Well apparently not, as Flood goes on to explain: Self-promotion of your name, thoughts and work is an integral part toward a fully functioning artistic practice. However, this does beg the question: as artists are we also now privy to play the role of self-promoter on a global scale? An occurrence that is easily obtainable today through the Glocal (global, local) mentality, as we now communicate across space and time in an instant via the internet. But, really, the appellation has replaced the reality” (Flood, 2007, p. Well, maybe it helps if there is a carefully choreographed auction where a manipulated record is set and an art world riff on bad history commences as dollars, euros, yen and rupees confirm the status of a masterpiece. “Some blowhard just pronounces it so, and that’s that. It also suggests that if a master piece is formed in the eyes of its audience, then more often than not it is an occurrence that has been made possible through clever manipulation via media promotion that supersedes the reality of the actual work itself: ‘Our time demands the anti-master piece’ (Flood, 2007, p.12). In contrast, Flood’s essay questions the value of a masterpiece. Miller continues by describing how art too works in a similar way as its value only gains through the agreement of others, and that its status grows through the amount of times it exchanges hands. She went on to describe how the $100 bill, a bit of paper, gains value through agreement of trade. These questions have me recall a seminar with Judy Millar, where she began her talk by flaunting a $100 bill. So what does this do to art today? As we live in a world that has everything instantly at its finger tips? How does art gain value in a fast-paced, consumerist, throwaway society? People want their distractions instantly and use their ears and mouths as sockets” (Flood, 2007, p.11). Others sit in restaurants alone with their mobiles or stalk the Web in search of meaning. “People lunge heedlessly into traffic with the Survivor soundtrack playing on their iPod. Like an intravenous injection we hook up to its persuasions everyday as our addiction and consumption of it makes its way into our brain via our ears and mouths: Today it is not religion that rules the masses rather, it is the media that is king. This can be attributed to the internet, as my essay Corporate and Avatar Identity via the Internet explains:ĭeliberately manipulating marketing toward a symbol or representation of individual or group identity, corporations infiltrate themselves into the very fabric that forms communities by making mass generalisations based on an individual’s or demographics internet usage in the form of advertising online.įlood’s essay goes on to describe how today we are being seduced by a very addictive drug that is so powerful it reduces our ability to separate the lives we are living from the mediated life that is broadcast to us as audience members. ‘Reality is a collage composed of whatever grabs our attention’ (Flood, 2007,p. In reading the essay ‘Not About Mel Gibson’ by Richard Flood on page 10, a number of things sparked my attention such as the mediated life we live. Part One: an analysis of the first essay ‘Not about Mel Gibson’ by Richard Flood. Thoughts on the book ‘Unmonumental’, The Object in the 21st Century. Thoughts on the book ‘Unmonumental’, The Object in the 21st Century: Part one.
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