Now that you’ve heard from Alexander, it’s only fair to give his nemesis, Rinaldo, his time. But be forewarned! With Rinaldo, it’s never just about ART. He is a trickster after all.
I haven’t had a chance to say a thing yet, but it’s only fair to be permitted some time to respond. It’s true. Alex and I do go back a long way, but our differences do not arise from his winning the Turner Prize—rather, he has become far too set in both his ways and his thinking to be a worthwhile artistic companion.
In New York, I tried to get him to collaborate with me in my latest project. But it was not to be. I suppose it’s not entirely his fault. After all, not everyone can be a visionary!
Another problem! He spends much of his time criticizing and undermining my work in a very unpleasant fashion. Only ignorance can be at the root of this.
You see, I am the illegitimate grandchild [metaphorically speaking] of that famous artist—Marcel Duchamp, who was the first conceptual artist. We conceptualists challenge the notion that art must be pretty and pleasing. The aesthetics of much art criticism spring from a bourgeois mentality.
Primarily, we raise the fundamental question—what is art? For example, perhaps you’ve seen Marcel’s clever rendition of the Mona Lisa [with a moustache] or perhaps you’ve heard of Duchamp’s ready-mades—Bottle Rack.
That great artist would find an object in the world [such as the bottle drying rack] and change its context. The artist might put the object in a frame or onto a pedestal and then he would call it art. You see, once you start doing such a thing, the question of –what is art—becomes blurred. If I, as the artist, say it is art, then it is art. You can see that this would affect the entire super-structure [and commerce] of the art world. No artist need rely upon a gallery owner or a critic to enter the world of art-making. The gate-keepers fell.
So interesting! I understand from my author, my creator that, today, gate-keepers [such as publishers and agents] are falling throughout the publishing world now that access to the internet is so widespread.
Alexander is stuck in the past with painting his rivers and fields, hills and dales. The one fine aspect of his art is this—there seems to be a magical light emanating from all his paintings.
In any event, Alex is not an irredeemable soul. And that is why I want to meet with him in Venice where he will be very close to my little project. In the meantime take a look at this video about conceptual art and the artist, Marcel Duchamp. You’ll get the idea of our debate. And sad to say, Alex did in fact win the Turner Prize from the Tate Modern which is actually completely absurd.
If you’d like to learn more about our little argument, be sure to read The Drawing Lesson, by our author, Mary E. Martin. If you read Night Crossing, the third in The Trilogy of Remembrance, [to be published in 2104] you’ll learn much more about my artistic relationship with Alexander. I must say, however, that he’s a bit of a stuffed shirt.
Although I think she prefers Alexander to me, our author, Mary E. Martin, says she has attempted to find some balance. Please do let me know what you think! That is all for the moment.
What do you think Rinaldo is up to?