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Stillness in the Storm Editor: Why did we post this?
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I can vouch for the dark art vibe in this trafficking video. I had only my intuition to protect me from those circles until I began to read articles hinting at trafficking, embassies and international political favors, billionaires, coverups and container ships that actually might have appeared in the New York Times in the 1980s or early 1990s, before the digital age. That info may be inaccessible now. The scenario seems little different than what has been emerging from the LA swamp for decades, or maybe since that cancer metastasized to LA film and political culture from New York before 1920.
In the 1980s I applied to be part of the Art in Embassies through adverts in the New York State Foundation for the Arts snail mail newsletter and other artist newsletters. Having carefully observed the chilling, amoral MadMen culture in Manhattan just a few miles from me in early childhood just a few years prior, I did not follow through, sensing something I now identify as cultic about certain of the closed circle of very wealthy artists and patrons in Manhattan. Not all were corrupt, of course, but almost no one was noticing the self-obsessed depravity back then except people like cultural critic Tom Woolf and Stanley Kubrick and friends.
Abramovic was a media darling even then. Was “revolutionary” poet Ginsberg a known pedo promoter back then? Are people who prey on the innocent even deserving of the title Artist? A good friend from college’s mother was an impoverished den mother at the Chelsea for Ginsberg/Corso and many of the rising art and rock glitterati; pedo stuff seemed to be unnoticed or maybe just part of the normand better known only recently. There was plenty of other drama: Earth Artist Ana Mendieta from Miami fell from a window, suicided; many still suspect her powerful husband, artist Carl Andre. That case fell through the cracks, as so many of the victimized can attest.
I became aware of art and many artists as propaganda tools and a type of speculative real estate; became aware of certain uber-wealthy glossy magazine names in those circles that kept popping up; became aware of artists as willing slaves to trendiness, Wall Street money and commodification; and eventually the goals of the Tavistock Institute. That Koons/Cicciolina and others of that stripe were so celebrated scared me. Low-Self-edginess, dark occultism or artsploitation was celebrated as the real thing; instead of embodying healing value, art followed much of academe into New Age narcissism and spiritual bypassing from the Sixties through now. Knowing that the fit was bad, and the dark too often celebrated, it was good for me to avoid art circles where mention of true spiritual value of art could get you banned from all the right parties on the East Coast.
Viewing the above video was heartening. I pray that all the kids of brand name artists who were passed around like candy at all yesterday’s parties, or those randomly trafficked to the wealthy cultural traif: Let those ravaged kids who are now drug addicted, crazy and selling their own art out of crack and meth neighborhoods here for twenty dollars apiece, be some of the first to find their way onto medbeds or whatever healing miracles can save them.
What a brave and wonderful addition to this editor’s posting. Thankyou for a great synopsis of observations and insight that spanned relevant time periods, institutions, and cult(ture) in America. Living history.
What a brave and wonderful addition to this editor’s posting. Thankyou for a great synopsis of observations and insight that spanned relevant time periods, institutions, and cult(ture) in America. Living history.