"I feel ambiguous about some of this, but the main point is that most of the contemporary art around in 2000 is not immediately difficult or chilly. The artists themselves are breaking down the barriers. The Chapman brothers' 'Hell', swastika-set of eight glass boxes inside which 5,000 tiny Nazi models do unspeakable, Bruegel-like things to one another, is something which, once seen, will stay with you for life whether you think you are an art intellectual or not. That is in 'Apocalypse'. Susan Hiller's work 'Witness', in which hundreds of earphones dangle from a darkened room, while recorded witness statements from people across the world who have claimed to see UFOs or aliens whisper in scores of languages around you, like fingers brushing your ears as you walk through - well, just amazing, simple and beautiful. That was in 'Intelligence' at Tate Britain. And there are literary hundreds of other examples."
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Re: the dorks and the poonanies
Date: 2005-08-26 02:26 pm (UTC)"I feel ambiguous about some of this, but the main point is that most of the contemporary art around in 2000 is not immediately difficult or chilly. The artists themselves are breaking down the barriers. The Chapman brothers' 'Hell', swastika-set of eight glass boxes inside which 5,000 tiny Nazi models do unspeakable, Bruegel-like things to one another, is something which, once seen, will stay with you for life whether you think you are an art intellectual or not. That is in 'Apocalypse'. Susan Hiller's work 'Witness', in which hundreds of earphones dangle from a darkened room, while recorded witness statements from people across the world who have claimed to see UFOs or aliens whisper in scores of languages around you, like fingers brushing your ears as you walk through - well, just amazing, simple and beautiful. That was in 'Intelligence' at Tate Britain. And there are literary hundreds of other examples."