rather be dead than cool

Fashion is like most other arts: fleeting, really wonderful when done right, and exceptionally satisfying when ahead of the mainstream. Of course, in mimicking fashion, art can also be a trigger for saturation, or a point of discovery, a social collectability. We hope for the latter, but more than not receive the former. In art scenes, the trials of vulnerability, not originality, are of essence to an art with consciousness, (that being an art derived from an inherent place of self, a place where vulnerability can seek refuge in expression without paying homage to current trend). This place of course is not easily found, understood, or managed by most. In art scenes we don't experience good or bad as much as we experience a desperation to connect on a level of idealization, of what we're seeing, of its meaning, of where we are in terms of place, geography.

The emphasis of activity is more valuable than even the art in art scenes. You can find art, good/bad/mediocre, in coffee shops, libraries, clothing stores, salons, galleries, et al, but the desire for more art to fill spaces to connect in has brought the art world an inquiry beyond the simple and regular commodity question: what do we expect from art now? Fast, instantaneous connection, social responsibility, background conversation, a safe familiarity that breaks slightly with traditions. What ever it is we want as viewers is what is developed by artists to a large degree. Has contemporary art become more and more conservative due to the safeguard of activity and safe social connection? I would argue this point. As the world becomes a more globalised place, methods become quicker, flash-communication expands, divides in wealth distribution and educational barriers widen, and time becomes more of a specialized tool. Political or social messages, especially controversial ones, become extremist by default. Art with these attributes become either maketably fashionable (diluted) or so marginalized they seem insane (obsolete).

Grunge is fashion again right now. 1990 is 2008, an eighteen year turn around. What's incredible is living a rebirthed trend that you experienced the first time around. Its a sensation unlike other trends that you maybe did not live the first time around, its old-new to you. Art, like fashion, has its story and reasons for origination or revival. Its a second or third look into a sensation. The first time was new, controversial, hated or loved, nonetheless experienced. The redo seeks the height of extremes of the original(s). In contemporary art scenes any sense of revivalism is almost dead. Our contemporarily deemed 'art stars' deliver us an experience of an experience, and in actuality, based on our art scenes, maybe that's all that we're asking for from art: a reflection and connection. We want a band to play at the opening more than we care about what the art is doing, we concern ourselves with ease of transportation rather than what we're being visually provided, we care about the curator's name on the announcement as that signifies the shows worth like a brand.

With change comes controversy, with controversy comes entropy, with entropy comes resignation, and finally familiarity. Art is in this cycle as well. We're currently living in a world of uncertainty, grave consequences, extreme polarities in terms of almost every possible variable, and with very limited resources. It makes sense that people look to art for social collectability, to feel like a part of something larger when solidarity is a scary prospect. Art is mimicking our desires: its passive and in bulk, design friendly, and interactive. We are looking to art to be both connected and shielded from controversy, but controversy is not the violation of our happiness that it has been levied with. Adding a number of live distractions to an opening does not create intensity. Curators acting as dual social informers (educators, instigators, couriers) and cultural investigators, creates intensity. Artists being conscious of their important role and work instead of becoming mere factories creates intensity. Viewers being inquisitive and critical about their experience creates intensity. Most desperately needed in the world is vulnerability on everyone's part in order to create change and to kill the current conservatism in art.