sign in sign up
<<
Home , Stuckism

(A CONVERSATION)

octavian es¸anu For tHe artmargins coLLective

Stuckism is an international community, founded in 1999 by and Charles Thomson. The initial group of British Stuckists began regularly to catch the attention of the media from the early 2000s, when they protested (dressed as clowns) in front of the Gallery’s annual exhibition. Over the years since, the British Stuckists have depicted themselves as defenders of the fi ne , of traditional artistic skills, particularly of—mainly fi gurative—paint- ing (one of their manifestos states that “artists who don’t paint aren’t artists”), of spirituality, authenticity, integrity, and truth in art. They have repeatedly denounced contemporary artists’ deskilling and the dematerialization of the artistic object, particularly targeting practices inspired by and the ready-made. Stuckists in Britain have also been the most outspoken critics of British art world elites, condemning the sensationalist Brit artists or YBAs (), together with their corporate and government patrons.1 Historicist ideas—albeit of a conservative tone—play an important role in the rhetoric of the Stuckists, fi nding expression in one of their key concepts: “.” The Stuckists regard themselves as “remodernists” who seek to compensate for what they regard as a

1 The word Stuckism was coined by Thomson and Childish, whom the YBA celebrity (Childish’s one-time girlfriend) once accused of being “stuck! stuck! stuck!” For an extensive bibliography on Stuckism, see www.stuckism.com.

58 © 2013 ARTMargins and the Massachusetts Institute of Technology

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021 the Stuckists’ humanism remains indefinite, revolving primarily primarily revolving indefinite, remains humanism Stuckists’ the goals, political clear have proposed some in cases and Freudo-Marxism, in grounded firmly theory political and aesthetic elaborate an lated have formu thesurrealists While differences. significant also are there But revival. of social instrument effective an as art see both and ment, establish to an opposition in themselves have positioned both artists, of communities international have mobilized Both current. ological ide astrong embraced and ideas connoted widely traditionally has that “-ism,” common have not in their is asuffix only Stuckism and alism Surre- for What, instance, drawn. be any case in movements can art ical histor- to other but parallels afew network, art global at work this in compete for the same share of the commercial cake. commercial of the share compete same for the order in to voice or resentment to “truth” and ofnotions “spirituality” undefined and deploys vague that establishment art of the child tive aconserva of Britart, image it amirror in seeing of Stuckism, critics oneharshest Group, of the been has forLondon Surrealist instance, The barricade. side of same the on the to be appear who might those but among Stuckism, ignores part most for the which establishment, world art much-loathed the within primarily critics—not its has also Internet. the with age come has of “ism” that contemporary known onlyperhaps widely the Stuckism makes cause. This promoting their in its stress importance of World the emergence growth and the Wide Web, often and Stuckists of result direct considered be the may also success of Stuckism tional interna The countries. fifty-two in 233 are there groupsof Stuckists world. Today art global of the provinces other voices many in senting dis united has Stuckism standpoint. from aconservative of ideology the critiqued movements that art revisionist 20th-century àl’ordre rappel acontemporary issues Stuckism way, this In values. humanistic and spiritual, artistic, restore genuine to and of to avoid as away profanities the such in modernism historical on or reinterpreting drawing as themselves see do indeed Stuckists the and , of contemporary akind as understood often is Remodernism postmodernism. defunct morally 2 londonsurrealistgroup.wordpress.com/2006/04/12/coming-unstuck-tract-2-april-2004/. http:// 2012, 18, July accessed 2004, April Unstuck,” Group, “Coming Surrealist London This short introduction cannot fully account for the complexities account complexities for the fully cannot introduction short This Along with its many global supporters and followers, Stuckism followers, Stuckism and supporters global many its with Along , echoing some of the , echoing 2 ------59 e s¸ anu | stuckism (a conversation) Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021

60 artmargins 2:1 Octavian Es Octavian account. into taken be should perhaps that amodel level, on aglobal cooperation feasible of artistic model a to provide managed has venues—Stuckism institutional global in solidarity and notion of multitude the around way its theorized has that artivism left-wing to the contrast in perhaps—and Most importantly art? of conceptual the and “speculations” speculation financial between relationship the be labor? Whatmight of artistic deskilling the and object artistic of the dematerialization of the impact global the What is for support? turn media on traditional focused artist an Where can artist? an or herself himself call or cannot whople, can who decides for level, exam global the On today: for artists relevant very questions of arange have raised They landmines. its so to speak, out, marking capitalism, of global late phase our in contradictions cultural central of the unveilers expert are concepts.” to “empty Stuckists of feelings” “expression to words ideas,or and the paint” prefer “sticky Stuckists most contrary, movement; on the intellectual an on being not insist Marxism. militant shared Surrealists’ the with contrasts again which base, spiritual or even of acommon political lack Stuckists’ of the result come may a as This limited. to be tends also institutions and practices art of major contemporary takeover corporate current of the critique social aconvincing mounting in interest Stuckists’ the labor; on artistic latter’simpact the and art, of archenemy, its conceptual critique thetic aes articulate not an provide does Stuckism furthermore, cases, many In or “skill,” “spirituality.” “truth,” of notions defined variously around Realists. Socialist Soviet of the me think makes often content in truthful and Your matter on emphasis subject Duchamp. precursor, their perhaps and Artists Young British sensationalist the stand you don’tready-made; the you cannot like conceptualism; oppose You or form. over technique matter of subject prevalence the to art, in figurative to the to painting, on areturn have insisted you level artistic the On art. in integrity and truth, spirituality, That said, one has to take into account the fact that Stuckism does does Stuckism that fact account into the to take one has said, That Why this sudden interest in pictorial content figuration? and pictorial in interest sudden Why this ¸ anu: anu: For many, Stuckism is known for its call to for call its known is For many, Stuckism / / / / / / / / / / / / / / / / / / / / / - - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021 the figurative in art. in figurative the and abstract combination of the the is so Stuckism abstraction, an fact in is canvas of the surface world two-dimensional on the dimensional athree- representing hand, other the world. On three-dimensional in a livephysical, we because art to abstract than rather figurative thepublic to to that easier relate is forit believe I figurative, the in G A L Ne Stuckists remind you of the Soviet Socialist Realists and I agree with with I agree and Realists Socialist Soviet you of the remind Stuckists ceptual art has never resonated beyond freak show appeal. resonated never beyond freak has art ceptual con culture, popular In mind. critical the in and governments totalitarian between linkage unfair the regimes—hence fascist by tion forcepost–World the in War unarguable an II world rejec its such was was art conceptual reason that The reasons for this. one main of the is conceptualism and less popular been never has art Visual it. realized Stuckists—have the just people—not many and backwater referential aself- art visual made has art of conceptual dominance The or will. the publicmind. the unfairlinkagebetweenrealismandfascismhasrecentlyfadedin flaws thatitisnowlegitimatelyassailablebyartgroups,andmoreover is different isthatthehucksterismofconceptualarthasshownenough albeit withmorecriticalcachetthanatanytimesincethe1930s.What rather arepresentationofthecontinuedinterestinrepresentationalart, interest infigurationandcontent(andIshouldadd,skill-basedart)but by collectors. by bought whose be works and must exhibit who can who decide alone curators, of self-interested elite an by world run is art contemporary or when the Artists), British (Young of crop YBA promote current the and Tate as support or when they Gallery, institutions key such run states today, and opposite position an when governments occupy Stuckists the that Ithink true. is reverse the case our In government. Soviet the by of supported and supportive entirely were artists latter appropriate sincethe not is very Realists Socialist Soviet the with apskin rtista Eli ( Eli rtista o vd dfr People do not flock to conceptual shows and they never have they never and shows People to conceptual do not flock o n Jam n e y Bl y g

H am o M go w ( w Á e la d d chian (Ban chian A De g ustralia): ustralia): a, a, hnavi ( hnavi S pain): pain): g Te k You state in your question that the the You that question your in state Your comparison of the Stuckists Your Stuckists of the comparison o hran, hran, k, k, T hailand): I ran): ran): Regarding our interest interest our Regarding

This isnotasudden - - 61 e s¸ anu | stuckism (a conversation) Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021

62 artmargins 2:1 committees, galleries, art institutions, and exhibition spaces. During During spaces. exhibition and institutions, art galleries, committees, grant controlvarious by over holding this did They forms. art or fine development of more the traditional hampering Republic, Czech the in away, in world) dictators became, art the in adherents their and artists (conceptual Conceptualists of totalitarianism. akind world. It became art Czech to the hold of in power aposition began conceptualism Robe spirituality. and integrity, of honesty, asense regaining is help Whatmay mess. instead of this notout us get help will art kind of this societies; corrupt our reflects art of conceptual popularity The not. it does fact when in value, higher a has or skill time, no thought, produced with “artwork” an that believe people to make atrick is conceptualism sense). For part most eral the art. conceptual against reason Iam main the is This to survive. struggling is world of the population part greater when the of money amount this about spending shocking and sick something is God of Love the obscene For morally on his £14,000,000 spent whoHirst’s, allegedly Damien for instance art, made expensively or praise not make would he or she then sufferings for anyone If empathy any had these poverty. into plunged being are jobs homes; and families their losing are they survive; to the worldarestruggling around people Many difficulties. of We economic severe atime in live experience. human the addresses work. on our exclusively to focus resources don’t or the we often Therefore, time have the studio. the and have to workuniversity outside the Stuckists Many members. family from our support of financial of alack because were at adisadvantage we college system art the went of through us When many criminations. dis age of existing because galleries by rejected have been Stuckists many Also, are not. but finances to us available be may opportunities afford—so, Icould than fee ahigher condition ofon paying the galleries prestigious approached to show my work several in personally Ihave been institutions. art contemporary the into way able to buytheir equality. when it notion comes of to the especially respects, certain you in I also dislike conceptual art because it exhibits rubbish (in the lit the (in rubbish it exhibits because art conceptual dislike I also primarily art our appropriate choice because an is Figuration of being position privileged the not are in Stuckists Most of the rt Jan rt á s ( s . Yes, his work is sensationalist, but only because there there because but only . Yes, work sensationalist, is his P ra g u e , , C z e ch ch Re pu b lic): lic): From 1990s early the - - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021 the media claim that: claim media the when No is. wonder traumatized are people about what art confused new form of totalitarianism in Czech art. Czech in of totalitarianism form new this way of preventing efficient only the to me to be seemed Stuckism painting, enemy. of figurative biggest encouragement to its Due their as painting figurative regarded conceptualists The painters. young of exhibition an impossible to organize 1990s, virtually it was the Elsa Elsa ( Guru Ella have to be only for the elites?) for only have to the be art Why elites? does not the by and just enjoyed everyone by churches in (But world why? does. obviously Wasn’t art art the traditional though that, with wrong common for Idon’t people. the anything art see make We who it. creates enjoyable and artist for population the general the to recognizable both is that art to an whyto return is we want This it’s fromnot prevented it but are popular. because to paint, like really would degrees, with artists including artists, many world. Likewise art of the state about the something says beds or to dirty of rubbish bags to more than relateto pictures can public general the ideaBut that the about So we don’t Stuckism. to my students. tutor talk anonymous an Iprefer to remain workplace, because from this separate Stuckism Ikeep art. high so-called stand cannot people ordinary that realize I hostel at the conversation about art every in and them a lot with Italk times. on hard have simply and fallen educated well are Many spent. money public way being is the up fed and with museums, in art Brit the by alienated feel They pictures. like They people. ordinary are These ahostel. in homelessstaff and people I work with • a spade by Robin Rhode is Art. is • aspadeRobin by Rhode Bold Art, Gina by is • baby bottles Art, is Boetti Alighiero by • aladder ( • achair Bin (Art bin open • an ( urinal • astandard Art, is Hirst • adead cow Damien by Art, Tracey is by Emin underpants • soiled D ax ( ax Lo Lo One and Three Chairs Three and One nd nd o o n, n, n, n, UK UK Fountain , and and , ) by is Art, is Landy Michael ) by ): ): Art has gotten away from being human. human. away from being gotten has Art P aris, aris, ) by is Art, is Duchamp Marcel ) by ) by Joseph Kosuth is Art, is Joseph) by Kosuth F ranc e ): ): The public is is public The 63 e s¸ anu | stuckism (a conversation) Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021

64 artmargins 2:1 it will be in a celebration of what makes us human. us acelebration of in what makes be it will art in spirituality a new about finding serious we are if and humanity, acul-de-sac. is feel of us many route which we avoid may postmodernist if to see and the experiment modernist the helpreinterpret us we hope, will experiment, This experiment. this of phase anew try and experiment modernist of the beginning very to the to return we wish to say is that That remodernists. as ourselves we see because such as style Stuckist no is one particular There on “Outsider.” “Naïve”or to as bordering referred be might others whilst techniques, of artistic use the in skilled Some very are of us formalism. in exercise an more is than art We that do however believe when it comes to take technique. Stuckists that stance no one singular representation contains elements of the artist in a way that conceptual conceptual that away in artist of the elements contains representation ing, the known world vanishes completely. world vanishes known the ing, paint abstract whereas in abridge, as world, acts visible of the object an is which symbol, The formless. and to abstract convey the symbols and forms of recognizable language to the to resort necessary becomes mindset. mechanistic from this us liberates that path on the content be could over form, focus the self, to the return the Therefore, psyche. to the matter link clearly and notions Cartesian physics, defy quantum and theory chaos as physics, such modern However, in recent discoveries anxiety. and man’s of modern root cause paranoia the is which unconscious, our and conscious our gap between the widened only has thinking oriented materially Our process of dehumanization. to repress the done little a paintbrush rather than a cheap idea. acheap than rather a paintbrush to use globe on the individual each to encourage is goal Our soul. the it comes from work gratuity; comes without This on canvas. feelings on expressing hand, right and my left on using on thinking, working, on based is art world to show is My the that aim tendencies. ignorant Jacqu S W h illiam illiam e h We use figurative work, I believe, because it brings us close to our close to our us it brings because believe, I work, We figurative use Since the physical realm holds the key to the unconscious, it unconscious, to the key holds the realm physical Since the As a Paris Stuckist, I am keen on counteracting these soulless and and soulless these on counteracting keen Iam Stuckist, aParis As e r e b lin an Le e wis ( wis o J

o H n ussain ( ussain UK e s ( s ): ): Po I think that it must be understood that there is is there that understood it be must that I think rth, uk): uk): rth, K arachi, arachi, Personally I believe that figurative figurative that Ibelieve Personally P akistan): akistan): Formalism in art has has art in Formalism - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021 have the same kinds of problems—a bigoted establishment that has has that establishment bigoted of problems—a kinds same have the necessarily consulting one another about it one first. another consulting necessarily without simultaneously, things adopt of way anew doing system social mass critical called phenomenon, is The Ibelieve, have become my friends. some of group of whom peers, inspirational and asupportive in myself show,a radio later, 10 Iwasn’t years Ifind More alone. Irealized than on heard of whenStuckism Ifirst and drawing, and painting preferred always have I significance. artistic its explaining piece of text a lengthy with together wall gallery on the underpants their someone pin could which in situation art”—a “underpants of what proliferation Icall the Stuckism. reasons for joining own have their had painters American that other groupsure am the I since with affiliation political levels. political and spiritual, social, on the equally times, current of our mood the in reflected is This once people again. with to engage beginning is art that Ithink concept in art. adetachment is There not. does art R Te Es Octavian F someone in the US to join the Stuckist movement? US Stuckist someone to join the the in prompt might phenomenon of or things state cultural prominent United States? What the in mean Stuckism Whatdoes Britart. and a taint of it, so I think that point is ridiculous. is point that of so Ithink it, a taint were there if Stuckism to do with have nothing would and Realism, Socialist Ifor one Soviet have in no interest subjects. abstract even including matter, some of be subject form should there ornique form; tech than not is more important matter Subject Duchamps. fake are or what Whatwe dodespise, not admire, him. admire actually of us bad things? Integrity and Truth, l ichard Bl ichard o rry rry yd yd Art world fashions from the end of the 20th century haveto led century 20th end of world the from the fashions Art I don’t think that most of us have a problem with Duchamp, most most Duchamp, have of most aproblem us with that I don’t think . This term describes a situation when enough individuals in a in individuals when enough asituation describes term . This M A ls arks ( arks b e ach ( ach ¸ ds anu: anu: Ne oe M w w ( In the UK, Stuckism has stood against YBA YBA against stood has Stuckism UK, the In arshall, arshall, P Yo h oe / / / / / / / / / / / / / / / / / / / / / rk rk nix, nix, C ity, ity, M A riz iss USA o o ): ): uri, uri, na, na, I can only speak of my own of my own speak only I can USA USA ): ): ): ): In the USA, we the In Are Spirituality, Spirituality, Are - 65 e s¸ anu | stuckism (a conversation) Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021

66 artmargins 2:1 we should think, but also whatfeel. we should but also think, we should not what us only to tell who wish those by supported heavily are they but different to be appear world; they the USA in elsewhere the and in operates that machine same of the part are UK the in establishment : Guru: Ella Es Octavian W institutions. our to destroy tried that elitists of the rid to get starting we are times; of these spirit the is Stuckism of way life. to our element hostile atreacherous nurturing been For longwe have too productive. and self-reliant are inventors; they and explorers as working are people ordinary character: American the habitat. natural our is frontier strength—the aunique has But America population. disengaged and unwilling on an culture debased and adreary imposed countries join the Stuckist movement? Stuckist join the countries one in of these someone living Why might Western” countries? levels. governmental and on corporate structure or promotional investments, infrastructures, powerful same not it have does the UK; West the role the in in and it as does cultural a prominent as world not occupy yet does art contemporary driven market- the non-Western countries, so-called of many In them). lack (or to the ideals maybe mores aesthetic and to dominant opposition in itself who promote those and them), positioning artists the world (on side of both the art mainstream the in deviations exposes but also depicting human images that are forbiddenoppressive are the by that images human depicting but also world, art the conceptual of grain the against fighting not are only world. They the in painters Stuckist my some best opinion in of the are Tehran Stuckists The art. conceptual Western-style teaching are they colleges, and art are oppressive there an regime, such under Tehran, even in fact, but in “Why?” Tehran, Ithought, in Stuckists were there When Iheard that particular. in Pakistan and from Iran illiam illiam Stuckism and remodernism can be seen as the latest iteration of latest the as seen be can remodernism and Stuckism What do you see as the main goal of Stuckism in these “non- these in of Stuckism goal main the What do as you see Le wis: wis: This is a fascinating question. I hope you get answers Ihope you answers get question. afascinating is This ¸ anu: anu: The critics who supported the YBAs and the art art the and YBAs the who supported critics The In the West, and in the UK in particular, Stuckism Stuckism particular, in UK the West, in and the In / / / / / / / / / / / / / / / / / / / / / Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021 of the decisions regarding the position of the director of the National National of the director of the position the regarding decisions of the Most offices. from their galleries municipal and of state directors ing and remov opinions their influencing state, presidents of the the with or even top politicians with contacts have close had artists ceptual con- Leading followers. and adherents his and him works by made purchasing by for collection acquisitions made its Gallery National the period, this During artist. conceptual aprominent by years tive held for consecu was 12 Prague in Gallery National of the director the of position The committees. grant various ones who chair the also are they newspapers; and channels TV of local sections cultural the galleries, nonprivate art and who municipal, control state, of most the infrastructure. nongovernmental and governmental powerful existing West, at the when least it in comes to moremuch than prominent world some in respects is art role contemporary the of the instance, for Republic, Czech West. the In the in it as does Western countries non- so-called role the in cultural aprominent such not occupy yet interview. for Ido hope you and some this get from them replies painters, well-trained all are They classes. drawing life hold secret They regime. Robe L real nightmare. real is a of Western influences copy pasting and but the boring, are made ready- the and art Conceptual Iran. in art Western conceptual paste to copy and who try artists fake those against to be it means also And art. to censor you your and try they while authentic to be itand means or beliefs, money but for own forIt your not authority to paint means art. governmental against to be means Iran in Stuckism Stuckist. it’s movement. art international an It’s not of a art. model it’sFrenchmovement; aholistic orart Italian public.” and It’s private notor West, about East material, and spiritual emotion, and thought unconscious, and conscious of the It ameeting is holistic. is which of art amodel proposes “Stuckism says, point third The issue. auniversal is for quest authenticity.”authenticity the is And is: “Stuckism manifesto the point Stuckist of first The art. conceptual apskin There is a group of conceptual artists, art critics, and art promoters art and critics, art artists, agroup is of conceptual There I’d rather talk about Stuckism in Iran since I’m an Iranian sinceI’m Iran Iranian in an aboutI’d Stuckism talk rather rt Jan rt g

H am á s: s: e I do not agree that the “ world” does “contemporary art the that I do not agree d d De hnavi: hnavi: Stuckism is not just about opposing not about is just opposing Stuckism

- - 67 e s¸ anu | stuckism (a conversation) Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021

68 artmargins 2:1 Japan): Japan): Octavian Es Octavian Y J S world. art contemporary Czech of the circle restricted the within only made have been Gallery ernism.” As far as I understand it (and I may be oversimplifying it oversimplifying (and be Imay Iunderstand as far As ernism.” integrity—this is how Stuckism becomes relevant to our context. to our relevant becomes how is Stuckism integrity—this to compromise problemsartistic who of our forus refuse poses those This at apiece from them. home wants it abroad, make everybody they Once niches. narrow curators’ these into fit would that of art a kind to make desperately trying are so many agendas; pre-established with who come, Western curators and rare the by selected hope to get artists Alot of Pakistan. in artist an being continue you can that amiracle by It only is galleries. of doors these the problem foot in set how is you can only The artists. showcasemost that galleries commercial the it only is funds, or state museums any hardly are sincethere and activity, elitist alargely still is however, art that, said Having of society. strata from all artists of practicing number large afairly are there artists, support to infrastructure other any matter, or for that infrastructure, funded we have seen here.we have seen that power of corporate effects avoidthem some less beneficial of the to help is to them relation in away. goal in Our lucky are countries things should be free to join the Stuckism movement worldwide. Stuckism to join the free be should things who people Therefore, do not approve of these art. conceptual through but “fine” not is through this express they way the and arts, traditional of generation their young the by a rejection is or still was Japan there in promoted. Maybe heavily are they and considered are gods Some artists galleries. European of what in you see mirror Japanized and a reversed see here you can completely is different; Tokyo, picture the for example, in galleries Japanese Butbig you styles). go if to the traditional the and Western the in (both old whose people hobbyso many painting was o h uri uri hn B hn e h e F r i g o b In Japan I lived in a small village where I was surprised to see to see surprised where Iwas village asmall in JapanIn Ilived ini (E ini an urn o ¸ anu: anu: e

YF H ( ussain: ussain: W - A r rt) (B rt) One of your central categories is that of “remod- that is categories central ofOne your e xham, uk): uk): xham, / / / / / / / / / / / / / / / / / / / / / While it is true that we do not have astate- that it true is While e rlin, G rlin, I frankly believe that artists in these these in artists that believe I frankly e rmany; f rmany; o rm e rly B rly e ppu, ppu, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021 exclusive preserve of the Stuckists. of the preserve exclusive the no by is means which truth, aholistic toward approach, viable amore into “truths” little these work to unify Stuckists say the I would reclaimed. be can and lost been what by has guided often is but that on now, way. is what emphasis we need adifferent The development in for time of aparticular possibilities the utilizing as so much time, how do Stuckists position themselves politically? themselves position how do Stuckists Truth” when it? you see Stuckist “One How do that you know “truths”? little scattered to the of fragments series not another add just you will How do that Truth. you know Stuckist One into “truths” little these all Victorian Punk Stuckists: The book in your this find (I “isms” into fragments, scattered tiny into Truth of fragmentation to the contributed modernists the You that believe unity. to restore is holistic of remodernism aims main of One the path. took awrong before modernism to atime it here), to return you want R C culture industry. This specialist mindset treats life like alaboratory, like life treats mindset specialist This industry. culture the and academia in thrive formalism and conceptualism with Works concerned obscurity. and on opacity who thrive specialists for aneed experts, created concerns or conceptual formal by dominated Works critics. leftist agenda-driven by dogma into made and co-opted was energy this But then vision. aunique to pursue freed one was Every- technologies. new cultures, to new exposed were being they aristocracy; and state, church, of the service from the were freed artists left wing, but I think more biased toward the latter. the more toward biased but Ithink wing, left and right between span Stuckists affiliation. Idon’tmerit. have arigid one’s truth. It’s Truth. simply every Truth” isn’t aStuckist “Stuckist The cerned. con are experiences related and person inner the as far as skills great not foster does culture you develop. Our on It what skills depends tell. able not be it’s as to you might known), (or drunk, perception blind of when it’sand lesser astate or in corked? you’re If inexperienced How it. do what’s you know wine agood experiencing by is thing ichard Bl ichard harl “One Stuckist Truth” is a bit of a piss take. You abit Truth” is of take. apiss what some know Stuckist “One Or, to put this question about Truth in a slightly different way: way: different aslightly in about question Truth Or, to put this I would position myself politically as judging issues on their own own on their issues judging as politically myself position I would e s s T h e o ds ms oe o : : n ( n Originally was an adventure, as as adventure, an was art modern Originally Lo nd o n, n, UK ). The Stuckists will work to unify work to unify will Stuckists ). The ): ): It’s not returning to a particular to aparticular It’s not returning - - - 69 e s¸ anu | stuckism (a conversation) Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021

70 artmargins 2:1 sense; it is not a new little “truth.” It is an attempt to resist the the to resist Itattempt an is “truth.” it not is sense; little anew not is “ism” acommon anew in Stuckism of conceptualism. paradigm the erode can that styles of art multitude and It aplurality only is human relations on a larger social scale. social on alarger relations human development and affects awareness of spiritual level individual’s the of aperson’s because aspect life important most development the is industry. art conceptual of governors the mainstream to the opposed politically is movement that art social a grassroots Tories as such We or Labour. are parties, to governing relation in whole group. the in Catholic conservative politically only the Iam Iknow as far as Robe G F Guru: Ella A it. to kill is something But to dissect examined. and diced and sliced and isolated get where can elements environment a controlled others say.others . organization. to areligious allegiance an more any than to Stuckism attached be can allegiance apolitical Idon’t pagans. think are others while forth) so and Buddhist, Christian, (Jewish, religions ofmembers organized some and active are belief, have aspiritual Most Stuckists to faiths. allegiances their as diverse as are Stuckists of the beliefs political semblance ofsemblance truth. some has quo that and status the force challenges that political the Movement for Occupy is, me, The praise. money,of prizes, critical and thought the by uncorrupted vision artist’s the also is Truth integrity. to artistic connected is Ibelieve, Truth, different. totally is This for inspiration. modernists early of the example the taking but is past l nni o o dfr yd yd As far as the Stuckist Truth is concerned, I can say that spiritual spiritual say that Ican concerned, is Truth Stuckist the as far As Even the idea of One Stuckist Truth seems absurd. Let’s see what see Let’s absurd. seems Truth idea ofStuckist One Even the e rt Jan rt

Z e A am y Bl y ls b e ach: ach: á I cannot answer this question. I can only say that the the say that only Ican question. this answer I cannot o r s: s: o w: w: ( I think the crucial point of Stuckism is plurality. plurality. is of point Stuckism crucial the I think Lo My belief is that remodernism is not a return to the to the not is areturn remodernism that is My belief We are artists first. Our politics are all over the map,the over all are politics Our first. We artists are nd o n, n, UK ): ): Politically we are not positioned not we are positioned Politically Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021 pictures. as the Western sympathizers of the left-wing parties. left-wing of the Western sympathizers the as justice for and desire freedom same comes from the attitude political my Ithink time same At the to monarchism. close feel I personally worst form. its in totalitarianism is For me Communism mines. nium ura employed state in prisoners political and executions, mass camps, concentration its with practice, in Communism with experiences bitter many had Europe People for from Eastern communism. sympathies with sometimes left-oriented, is Western intellectual Atypical Europe. Eastern in way adifferent in answered be must close?” feel Stuckists media.” new conceptsand foundin to be is art contemporary real only the and dead, is “painting that today claims which paradigm conceptual L Es Octavian Te eage, or are you taking a different path? adifferent or youeage, are taking lin cultural of this part as seen being Would with comfortable you be deviations. cultural to be perceived order in what to resist they or naturalism Catholicism, traditionalism, of forms on various back fell who also àl’ordre rappel artists century 20th- or of various theories, about Johnmoral; Ruskin’s neo-gothic sincere, and supposedly, more was, truthful, whenbefore art Raphael atime idealized who also for instance, pre-Raphaelites, about the history, Western art movements in artistic of similar thinking I keep art, in for and beginning anew renaissance, for remodernism, call Academy. Royal mainstream the once against stood pre-Raphaelites the as way same the in Artists Young the British now against stand Stuckists The deceitful. and meaningless to the opposed as sincere art, the in and about serious the to bring striving havepre-Raphaelites been apskin rry rry The question “is there a political theory or movement to which the or the movement to which theory apolitical there “is question The How do you see Stuckism with regard to these historical currents? currents? historical regard to these with How do Stuckism you see M g arks: arks:

H am ¸ anu: anu: I don’t pledge allegiance to anything. I just make make Ijust to anything. I don’t allegiance pledge e d d De Reading your online manifestoes, in which you which in manifestoes, online your Reading hnavi: hnavi: / / / / / / / / / / / / / / / / / / / / / I think that both the Stuckists and the and the Stuckists the both that I think - - 71 71 e s¸ anu | stuckism (a conversation) Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021

72 artmargins 2:1 regard to whether or not they called for change. called or not they regard to whether with else or anything Pre-Raphaelites, the and Stuckism between so Idon’t similarity for relevant any promotion its see art, of good Stuckism Ivalue regardless. art good make will artists good because difference, any make this like things that Idon’t think beginning. new so Idon’t for need a around, the see been always has painting good ment Rex. Establish- Postmodern/Contemporary/Conceptual of the artists the do as to think, what told we and are to opposed feel as think, and feel what you actually you paint that is we ask welcomed to join all us; or at ability, level is any artist, Any paths. own our to make chosen havewho of misfits We collection alarge are period. artistic historic F at cost. any famous and rich to become is aim “artistic” genuine only when the today encounter one can that demagoguery and of unscrupulousness level to the not have to lower even to did themselves referring you have been that movements historical Perhaps the media. mainstream the by staged shows reality possible in as often as to appear is concern main Their showmen. by run market oppression art an an by with we deal case our in oppression, that from an only born was “isms,” Stuckism other Like currents. these with honoredPersonally, feel associated Iwould to be C Ed S predominated in Western philosophy. in predominated that thought of dualistic foundations the laid that school Eleatic the of formation ago, 2,500before the years almost Greeks, early of the philosophies mystical to the back way the all traced be say can I would which origin to an back or going probably beginning, anew they mean Renaissance term the use when Stuckists that Ithink Church. Catholic of the stance rigid to the opposition in mostly impulses, mystical and intuitive completely rejected almost of Renaissance age of the ideology The causality. and of laws mechanics the logical, and rational the glorified latter sincethe list, to this Renaissance the about adding sure movements. However, not so Iam art reformist most with Stuckists l h ésar ésar o ge e h yd yd w e r Ag A o b ls an rth J rth uilar Gazqu uilar b o ach: ach:

H o ussain: ussain: hnst I don’t think we as a group idealize a time or a atime agroup we as idealize I don’t think o n e I think it would be appropriate to ally the the appropriate to ally be it would I think e z ( z ( M C atal usw o e ll ll nia/Barc H ill/ Lo e nd l o o na, na, n, n, S UK pain): pain): ): ): I think I think , Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021 G C Es Octavian P digital media, and what is the relevance of painting today? of painting relevance whatthe is and media, digital with parallel in coexist painting genres? Can and media old artistic and new between How relationship do the you see thoughts. works and new your sharing while painting?” a finish or to start to difficult, most the is or “What hands?” your in cracks out of the paint do you the get “How as questions such Facebook discuss members your your On page movement. craft-based or arts” a is “fine Stuckism notartist. is an paint one (actually several) and by this Idon’t spots aload this mean by of and painted several) one (actually files. from digital straight do prints artists Other references. as drawing observational combines photography with Guru Ella canvas. on again it Photoshop in modified for he him and then one composition I designed fact In further). modified are (where they to canvas transfers he then which it, with composes “” images Harvey out Paul ideas. new try to quickly Photoshop asketchbook like using I’ve been don’t this. to have aproblem seem with Stuckists two. the between relationship so; it does whatthe “how” is is question only The areality. is That it. alongside exist does media—it digital alongside exist painting Not can only techniques. and news sharing for ideal but are discussions, deeper venues and for more personal to be less likely are forums Public end. to an ameans is craft The movement. or value-based movement. Itbased aphilosophically is not is acraft- Stuckism wish. they if it such as welcomeare to interpret people you “If as don’t same not you’re the though paint artist,” not an is and contradiction logical aprovocative is manifesto) Stuckists’ the in on Duchamp and . and on Duchamp particularly past, of the art on it the relies because approach, traditional amore is art conceptual my In view future. but aleap the into values to traditional back It not is afall integrity. has and vital is that art new a create and to re-energize attempt an but rather past of the art to the av harl o dfr e What is the relevance of painting today?—Every home have should today?—Every of painting relevance the What is l l Le e e s s y Bl y ft T h e r o ¸ o anu: anu: o ms w: w: v ( v o I believe that remodernism is not a wish to return to return not is awish remodernism that I believe So n: n: Your movement has it that an artist who cannot who cannot Your artist an movement it that has fia, Bul fia, “Artists who don’t paint aren’t artists” (as stated (as stated who don’t aren’t“Artists paint artists” / / / / / / / / / / / / / / / / / / / / / g aria): aria): A highway has several lanes. several has A highway

73 e s¸ anu | stuckism (a conversation) Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021

74 artmargins 2:1 contrasting a painting with a print of the same painting. same of the aprint with apainting contrasting by clearly seen be can as aprint, and apainting between difference experiential and aqualitative is There something. means that thing M J D L ( painting is the medium of all centuries. of all medium the is painting show that will future but the of yesterday” medium the is “painting Yes, who some one out are say in night? idiots die there it suddenly now why should century, 21st up ago to the years from 32,000 media different many with coexisting been has Painting media. digital with has always been, the most important artistic medium, and will always always will and medium, artistic important most the been, always has and is, world. Painting art of the part same the do not inhabit they as of the software and its user, who is pathetically conditionedit. by user, its and who pathetically is software of the speaks art or agent Digital maker. for and causative its for itself speaks painting A afingerprint. or with impressed not signed, signed, be can hand, other on the , software. this who used human of the signed withthenameofsoftware thatproducedit,alongside no DNA profile. Blood without DNA is not blood. Digital art must be digital media do not offer an original, painting does. Digital media have with digitalmedia,butonemustmakeadistinction,namelythat while Royal Academy show had been executed by himself. by executed show Academy been had Royal apparatus. no technological requiring basic, are dancing and singing as just abrush, without even paint who can artist, to the possible as it close as makes paint of real nature basic The for example. Man/Woman, forit Paleolithic simple asimpler is technology, enough that is paint of real advantage The art. communicate and lot to display computers Iuse a though even of paint, kind sticky prefer the I myself media. some digital with coexist can painting Academy, so Ithink Royal at the iPad paintings Hockney’s David by impressed quite I was sculpture. or figurative glass stained who make those denounce never would Stuckists although me to Stuckism, attracted first artists Spot Paintings series Spot Hirst’s Paintings Damien to areference ed.: o apskin avid avid ark ark hn B hn I was pleased with Hockney for stating that all the work in his work his in the all that for stating Hockney with pleased I was D W o . ( . g . . urn

No W H am ils ttin e : : o e The statement that artists who don’t aren’t paint artists that statement The d d n ( n g De ham, ham, W hnavi: hnavi: hit e UK

Ro ): ): Of course painting can coexist in parallel parallel in coexist can painting course Of ck, B ck, Painting can coexist with digital media media digital with coexist can Painting C , , C anada): anada): coexist does Painting ). some Imean - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021 piece of art. work. conceptual of his parts intensive labor- the to do all where he ground employssoon to asafer assistants no doubt go back do, he and will Stuckists the as reaction critical same he the encountered this, he soon as did work. As conceptual own of his soullessness of the when he got tired to gone painting has back Hirst Even Damien art. conceptual in or no beauty little often is so. There be Ella Guru: Guru: Ella S individuality and human imperfection. human and individuality room for has and artist of the mark the bears that anything painting; to complementary is or collage, printmaking it drawing, is whether process, manual any Ithink lives. homogenous cookie-cutter and from our asalvation melodramatic, slightly of sounding risk at the and, humanity to our areturn is epoch—it current the in essential dismiss the modern world. modern the dismiss mind. comeswhatever to find to easy it so and is to paint we want idea that to the move quickly we can that and progress, is this that Ifeel of abutton. push at the available is this Now images. and information to find hours took many which a library, reference. Web, Before the pictorial and one have to go would to torical for and for his research time the computer the all use I, for instance, painting— alongside exists that but something for painting substitute where It tool. point acomputer not is evolved to a the another has is groups. own their formed world and overPeople touch the got in from all 1999 in began when World the Wide new.relatively Web still was Stuckism Internet. the world movement the spread via to be around art international first the was Stuckism of fixative. brands best the and tels of pas layering about the talk Facebook also people page Stuckist the answer. Ishould that question the h e h will always be worth more than any conceptual conceptual any more than worth be always will Lisa Mona The Drawing from life is also still important, but one not have does to important, still also is from life Drawing It painting. alongside media digital using people also are There On techniques. old and genres to discuss We media new use can e r b an o Those were my questions (on Facebook) so perhaps this is (on is were my questions Facebook)Those this so perhaps

H ussain: ussain: / / / / / / / / / / / / / / / / / / / / / I think painting is extremely relevant and and relevant extremely is painting I think - - 75 e s¸ anu | stuckism (a conversation) Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021

76 artmargins 2:1 C Elsa Guru: Ella R P Ne Es Octavian depiction of something? depiction or “human” “natural” accurate to have an possible today it still is think Do you nature. had replaced culture that not to feel It difficult was Twin and from Terminator Peaks stills like screens, TV looked like York where paintings of most the New in students school art by exhibition an visited Irecently objects. or truthful beautiful tangible making in and sculpting, painting, nature. to untamed according there of be what would alterations man-made much as just reality in are centers, but they to concrete city contrast in “natural” Fieldsare context. arelative in on meaning takes only the world today.the in we live of images making people It to see good is something. aboutis making art phones. For It on people their aStuckist is not is art. it “art” calling and mobiles phones agallery into at their of looking people a bunch Putting art. is world This progress. is modern the to portray techniques mobile phones. traditional Using from their came lighting where the of people portraits painted saw some Irecently brilliantly past. the merely we copying are to do. Otherwise thing avalid is life modern human, natural, and above all spiritual through our paintings. our through spiritual above and all natural, human, across: to remain message who put this optimists let’s and be enemies, these by depressed too not be Let’s of Art. enemies the are they artists, not are They artists. so-called these by continuously“stained” and fully disgrace- is word “art” The students.” school but “digital by students, school York New in art by be you visited cannot exhibition This objects. or truthful beautiful tangible making and sculpting, painting, av ichard Bl ichard harl vd e l l D o Le e ax: ax: n Jam n s s ft T h We indeed believe in the fine arts, in the tradition of tradition the in arts, fine the in We believe indeed e e r o Of course it is. But to see people painting pictures of pictures it But painting people is. course to see Of ¸ ds anu: anu: o go ms v: v: oe chian: chian: o No. : : n: n: You believe in the fine arts, in the tradition of tradition the in arts, fine You the in believe Yes. “Natural” is a much abused word, which really really word, abused which amuch is “Natural” Yes. , from CNN and ESPN, and so forth. ESPN, and , from CNN so forth. and Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021 narrower. gap get may this advances, Maybe when technology technology. with lacking is feel Ipersonally which emotions, and ideas of expressing way intimate and adirect offers some in way. them Painting express to to want going we are we have longas these, As have emotions. and human we are that fact the change never work), but we will art our and selves physical of our terms (in ofevolve cyborg some into kind feelings?” has robot which produce acomputer/ we can you think “Do and replaceever humans?” computers about Asimov, Isaac say by “Will which written those and existence and touch upon something higher. That is the essence of the is That higher. upon something touch and existence beyond their to paint one great has truly but to be life, everyday their someone forpainting criticize to else). It abit is difficult something be it will years two (in YouTube,around stuff similar Facebook, other and revolving as perceive may life undergraduate art eighteen-year-old an Likewise it. behind will creative the and art of the subject the be would .that fires lights and mammoths one hunts motif) painting cave to the back (going If surroundings. of our nature ever-changing nature? That depends on what is being transmitted. on whatbeing is depends That also. screen TV of the medium the possible to have it via it’s perfectly you And mention. depiction or “human” “natural” possible to have the it’s course Of technology. by imposed alienation to an opposed ness, as or whole satisfaction a deeper feel us makes and of things sense makes that or meaning words of about your is implication some experience The at. not what obviously you is getting are but that humans, by made D A A devours itself. devours it until continually replicated not viewer, culture the with empathy dead already. be all we would were true this l rtista Eli: Eli: rtista arr e xis xis We can progress in terms of technology and we will possibly we will and of technology terms We in progress can I purposely believe that nature is culture and culture reflects the reflects culture and culture is nature that believe I purposely The TV screens are “human” depictions, in as much as they are are they as much as in depictions, “human” are screens TV The Stuckists believe in the expression of the human condition and condition and human of the expression the in believe Stuckists e n ( n H unt De v) v) This question reminds me of ideas in science, robotics, robotics, me science, of in ideas reminds question This e r ( r U daiyan ( daiyan Lo nd o n, n, C am UK ): ): b rid “Culture had replaced nature”—if replaced nature”—if had “Culture ge , , UK ): ): Has culture replaced culture Has - 77 e s¸ anu | stuckism (a conversation) Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021

78 artmargins 2:1 started there. started up athread pick and past to look the into backward to be need We don’t culture. of contemporary part are smartphones and iPads, high, stories three massive screens on film 3-D billboards, moving Internet, the television, media, it or mass not, Like beautiful. be also can city crazy this I think here,And elsewhere. as “nature” human of plenty also is for me. There what natural is are concrete caverns York upNew in Igrew City. These wilderness. and birds and trees you mean like it sounds When progress! you say “natural,” exhibition; is in New York, what can they expect? York, New in is they what can out there, which is why some decades ago I chose to live in a rural area. arural in to live why Ichose is ago some decades which out there, information visual manufactured much too just is There artists. many problem of the for part is acity in living today.works out there Ithink Y M Te D F us. around culture the reinterpreting and challenging and boundaries, breaking painting, .extreme Stuckism around more instead of spending time in front of in acomputer time screen. more of spending around instead to walk one needs However, that us. around Ido believe still are nature of depictions and subjective, very For me good. it all is also be could this then ability) technical acertain with mean appropriate (I way an in stills TV these painted students these If criteria. arts” “fine certain references, and to but according made subjects any use for me can Fine arts inspiration). an been always has for TV me the that to admit career path these days. these path career ameaningful as school art consider the will artist No true to paint. how not students more to teach and art teachers to become art trained are they how exams; to pass taught are students Today school art l uri uri avid avid ark ark o rry rry yd yd You show order art. in to see shouldn’t go to acollege art F i D M W g A .: .: ls ini: ini: arks: arks: . . Of course—to suggest anything to the contrary is nonsense. nonsense. is contrary to the anything suggest course—to Of W b ach: ach: ils Sure, not everybody paints from a TV screen (but Ihave screen from aTV paints Sure, not everybody o Hey, at least you saw paintings of people at the of at people Hey, the at you least saw paintings n: n: I have the same problem with a great deal of art of art deal agreat problem same with I have the People may take a walk in the woods. If their walk walk their If woods. the in awalk People take may / / / / / / / / / / / / / / / / / / / / / Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021 to conflict. Sometimes this might lead to a form of cynicism. leadof to a might form this Sometimes to conflict. maythat lead subjects difficult when we discuss of humor, especially asense to preserve it important is that think Ialso hand, other the On us. with who communicating are of those to that similar language a using to be andmayavoid we it, difficult it very is then reasoning” Octavian Es Octavian D A C claimed by postmodern philosophers? postmodern by claimed reason” pro “cynical the in notit impossibleto share not ironic, is to be now that and gone far already too has culture “Western” contemporary that suggest done May this deliberately? Is this of irony cynicism. and gestures same the use often to theirs—you similar language pictorial to a resort you frequently that Isee or Britart, Sensation, Saatchi, YBA, of criticism your in For of instance, resistance. strategies two paring when it comes to com especially differences, certain also are but there truth. and beauty of classical ideals the and arts of fine tradition to the for areturn calling manifestoes issuing been ready-made. group has late the 1980s Since the and the of conceptualism dictates the parody, and with pastiche postmodernist with disillusioned became also artists These Neo-Academists. themselves who call Russia, Petersburg, from Saint of artists motifs, and artistic or linguistic paradigms that your opponent your and that paradigms or linguistic artistic and motifs, symbols, the employing by appropriate act; an it quite is to attack of conceptualism language the employed. Using be can that theorems and philosophies, angles, directions, multiple are There mountain. metaphysical up to the path not is one single There multifaceted. simply takes that as a (minor) aspect of the whole. of the a(minor) aspect as that simply takes reason,” but “cynical the not share does certainly Stuckism truth. the is value primary The value. primary but not the as addressed, to be needs that then irony (or it If cynicism) contains be. even might that whatever truth, the simply addresses Stuckism answer. real the provide not does that ideal an into way other the it swung and against reacted have they Ithink Stuckists. the as sickness of the diagnosis same the rtista Eli: Eli: rtista harl arr Stuckism has something in common with these Neo-Academists; Neo-Academists; these common in with something has Stuckism e n ( n e s s De T h v) v) o ¸ I think that if we inhabit a society governed by “cynical “cynical by governed asociety we inhabit if that I think anu: anu: ms U daiyan: daiyan: o n: n: Sometimes Stuckism reminds me of agroup reminds Stuckism Sometimes The Neo-Academists have arrived at exactly at exactly have arrived Neo-Academists The Strategies of resistance may vary and be be and vary may of resistance Strategies - - 79 e s¸ anu | stuckism (a conversation) Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021

80 artmargins 2:1 one else! condemnation. warrant insincerity and foolishness that suggest may they because fruit little have nonsense borne at abrogating efforts Stuckists’ of evaluation. even unworthy things on destroying spent is alot and of time dereliction in bring may derelict the sincecondemning truth, and of beauty ideals divorced own is from its which atrap in caught it be may opposes, simply to. When Stuckism objected to whatbeing is similar be at times may objection of this character the inevitably then someone else’s “art” R J D fire. . with fire fighting is say absorb, that and one almost could digest, understand, critics achievement. Irony poisonous. is achievement. without superior to feel It shows contempt effort an for others, elite. aself-appointed to show in membership aimed a shibboleth sophistication, bid at so-called adesperate is approachironic to art to explore. for artists opportunities many still are there that Ithink contrary, the on outlook; to amore frank sincere and it incapable is of returning that no solution, no hope! offering in to delight seem They irony cynicism. and their in cheerless alittle of some paintings, notable of exception his the with art, Hirst’s Mr. Ifind aware. Iam as far as do not for go in irony or cynicism, Ipersonally alittle. them to tease medicine, own of their taste a little Conceptualists the to probablygive is designed art our in or cynicism irony Any art. are demonstrations these that we do not claim that being difference only the art, to performance similar are outside demonstrations of dose humor.Stuckists’ ahealthy The comes with notably Ella Guru. notably Ella approaches— have different notmay employ Stuckists irony but other of or Imay it. sake for the beliefs conceptualists’ the not to attack tion, o ichard Bl ichard avid avid hn B hn Crap does not need to be painted brown by the Stuckists or any by Stuckists the by brown painted to be not need does Crap The whole point (or final destination) is to change people’s percepchange is to destination) whole (or point The final I certainly don’t think that Western culture has gone too far and and gone far has too Western culture that don’t think I certainly W o . . urn W e ils ds e : : o oe Any irony or cynicism on the part of the Stuckists Stuckists of the part on the irony orAny cynicism n: n: : : If a Stuckist is bent on resisting or denying or denying on bent resisting is aStuckist If Irony achoice. is Even worse, An it apose. is - - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00033 by guest on 03 October 2021 contents of their sock drawer in a glass case, or pickled agiraffe. or pickled case, aglass in drawer sock contents of their the simply rearranged than rather something, made actually who has artist of an product the to be art to me. Iprefer visual uninteresting is fashionable “art” why some currently to do with anything has viewpoint this for reference. or Mel Brooks I film don’tthink Allen Woody US. any See to the immigrated when they them with brought my world ancestors at the that of looking ways up with catching be now may Western culture Contemporary heritage. Jewish European Te Y If a piece of art makes me laugh (and think)—I like it. like (and think)—I me laugh makes apieceIf of art weapon. agreat be could parody that feel Istrongly hand other the On to it. some be truth must there then art,” contemporary “mainstream whatcalled way is same the almost in criticizing planet the around uri uri rry rry F i M g ini: ini: arks: arks: Well, I would say that if there are different movements different are there if sayWell, that Iwould Irony? Cynicism? I’mIrony? Yorker aNew Cynicism? of Eastern 81 e s¸ anu | stuckism (a conversation)