Conceptual Art is Money

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Contemporary art favours conceptual art because it is only money.

Conceptual arts values are those of money. How its value is decided, and goes up and down. The irrelevance of its form. Its beauty and purpose. Value can be entirely controlled by the name attached to it. People won’t start preferring unmade beds to pickled sharks, as they may a Miro to a Pugmire. For conceptual art to remain the ideal universal currency, it must have no artistic, intrinsic or independent value.

Alleged concepts seamlessly interchange between artworks. Whatever concept sheep shit stuck on sticks balanced on a bird table is supposed to illustrate, could be applied to a collection of metronomes, and vice versa. The alleged concepts for each work will hardly be mentioned by contemporary art personnel, and any weakness will be dismissed as lower intelligence.

Spin doctors, media manipulators, ad men, and abusers of public sector apathy and unaccountability are given senior positions in contemporary art.

Contemporary art is contemporary finance.

Contemporary art doesn’t need art, it needs a blank product template. Art just muddies the water. Art colleges have therefore been castrated.

Art critics have been informed of their new role, and been issued Criteria Sheets.

In order to whitewash independent and emotional values from art, such art works must be radically unseated from their position of king and queen of art.

All roles in contemporary art, that once required an emotional element, are now filled by personnel with none. The new cynicism, greed, relentless consistency, bleached white office death, career obsessed self-interest and anal administration have been adopted from the 80′s yuppie society.

Resistors are to be publicly branded fascists, although will be referred to internally as ‘degenerates’.

Contemporary art must be alienating and vacuous, to ensure general public apathy towards it. Otherwise politicians might sense it as a vote winner and change arts status from being the last of the unregulated markets. Contemporary art is protected by conceptual arts lack of quality. History has shown figurative painting with ideas to provoke public uproar and, even more dangerously radical, passing interest.

Edgeworth Johnstone of The Other Muswell Hill Stuckists

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