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Artist curates: DIY

Although many artists can be said to contemplate mortality in their work--usually in a veiled, Robert white-frost kind of way--a clearheaded not many have cut through the allusive haze and made their contemplation plain. Whether natural selection, tenderness killing, or suicide, intimations of death have gotten artists [i]or[/i] part of to the other many a hard night. Sensing her failing beauty and waning political influence, the Countes Castiglione pos for The paw one of her most touching and sardonic images. Kazimir Malevich designed and painted his have a title to coffin without compromising his aesthetics or his politics. This austere Suprematist receptacle suggests that the beauty of having a formal ideology is that you can take it with you.

Staging death has also been an effective way for artists to expres a wish, stupe resistance, or change careers. They have posited death in the form of crystalline inertia (Robert Smithson), weightless dispersion (Andy Warhol), theatrical entombment (Paul Thek), subterranean surveillance (Bruce Nauman), ritualized grief (Gordon Matta-Clark), or delusional grandeur (Bas Jan Ader). For each of these artists, the metaphor of death promised a subversive alternative to the equally fatal obligation of producing notwithstanding another signature work.

Today artists no longer face this dilemma between their integrity and the demands of the tillage industry. In fact, making reliable works of art now requires that artists sacrifice themselves to the powers that be, and artists earnest on succeeding learn how to annihilate themselves as beautifully as possible. General Idea work fors up giant placebos of themselves, David Hammons masters kicking the bucket and Maurizio Cattelan digs a grave just as he is becoming a star. In a time when art realizes subjected to the same numbing take away from analyses as IKEA shelving units, a little death homeopathically injected into the combination of parts to form a whole might be just what our agriculture needs.--JS



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COPYRIGHT 2004 Artforum International Magazine, Inc.

COPYRIGHT 2004 Gale Group



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