“Outsider Art”

My immediate reaction to this scene was to recall the duct motif in one of my favorite films, Terry Gilliam’s dystopian satire “Brazil” (1985). His absurdist Orwellian nightmare only seems to gain in relevance as the decades pass: the insinuating tendrils of corporate and state surveillance encroach; the molder of our infrastructure deepens; the stain of consumerist materialism expands; the need for romantic escape from reality (ironically through “reality TV” and life-like video-games) grows ever more dire. And this image, taken outside the Contemporary Arts Center in New Orleans, also makes a comment on our bloated art market. Objects of wonder reduced purely to their monetary value with barely a mention of historical context, aesthetic appeal, technique, or emotional impact. They are selling Banksy, but they aren’t reading him. And so these ducts might have conveyed the detritus of soulless works by a Damien Hirst or Jeff Koons, who were no doubt commenting — opportunistically — on these very same commercial sensibilities. But in the end, we get progressive dilution. All shock, no awe. And in so doing they cynically fuel that market churn, as Warhol did more artfully before them (Duchamp, in contrast, remains elevated as the skewering iconoclast. Instead of selling out, he opted for chess), until the overly borrowed becomes the ever banal.

How much do you think I can get for that photo?…….