Found this really witty magazine article today; I loved just a lil’ bit. I hope you digg it as much as I do.
. I can imagine how the planning session might have gone for the “Whitney Biennial 2006: Day for Night.”
Director: Well, it’s that time . . .
Old Curator: It’s always that goddamn time.
Director: Any ideas?
Old Curator: I forget what we actually did last time. Was it vomit, body parts, and chocolate?
Director: That was years ago.
Young Curator: Would it be wrong to suggest that controversy is useful? Our audience welcomes being challenged.
Director: We could emphasize painting—
Old Curator: You can only do “The Return of Painting” shtick once a generation.
Young Curator: It seems to me that America’s becoming a land of shadowy definitions, of complicated relationships between the authentic and the ersatz. Some people here are arguing for a show organized around “The American Simulacrum.”
Old Curator: Isn’t “simulacrum” a sleeping pill?
Young Curator: And your idea is?
Old Curator: I’m too old for ideas. I just like pictures.
Director: Where’s the margin today? What are we excited about that we can’t admit?
Old Curator: Okay, come on. There’s no boo left in taboo.
Young Curator: Are you drunk?
Old Curator: I wish. Could we make the Biennial a quadrennial?
Director: For 2006, perhaps we should try a theme. What’s happening in America?
Young Curator: Let’s give the entire building to a collective from Los Angeles. They could call it “Fortress America.”
Director: Or break down the walls of the fortress . . . America’s relationship to the rest of the world, with expat art, immigrant art, art that isn’t specifically American or not American. Now that would be—
Old Curator: We can become the Whitney Museum of Mostly American Art.