{"id":1829,"date":"2010-07-26T22:33:47","date_gmt":"2010-07-27T05:33:47","guid":{"rendered":"http:\/\/www.artsjournal.com\/anotherbb\/wp\/2010\/07\/bravo_-_artists_as_tools\/"},"modified":"2010-07-26T22:33:47","modified_gmt":"2010-07-27T05:33:47","slug":"bravo_-_artists_as_tools","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/anotherbb\/2010\/07\/bravo_-_artists_as_tools.html","title":{"rendered":"Reality TV: artists as female stereotypes"},"content":{"rendered":"<p>On all the reality shows remotely connected to art &#8211; Bravo&#8217;s <i><a href=\"http:\/\/www.mylifetime.com\/shows\/project-runway\">Project Runway<\/a> <\/i>and <a href=\"http:\/\/www.bravotv.com\/work-of-art\/season-1\"><i>Work of Art<\/i><\/a>,&nbsp; <i><a href=\"http:\/\/www.fox.com\/dance\/\">So You Think You Can Dance<\/a><\/i> on FOX &#8211; the judges are identified by full names, and the artists by first only. Why? The artists are the chicks, an idea reality TV did not invent. <a href=\"http:\/\/books.google.com\/books?id=rRHrAAAAMAAJ&amp;q=inauthor:%22June+Wayne%22&amp;dq=inauthor:%22June+Wayne%22&amp;hl=en&amp;ei=-H1OTL_mB5G-sQPc5LTmBw&amp;sa=X&amp;oi=book_result&amp;ct=result&amp;resnum=1&amp;ved=0CCoQ6AEwAA\">June Wayne<\/a> explored the cute-little-artist theme in a 1973 essay titled <i>Male Artist As Stereotypical Female<\/i>, unfortunately not online. <\/p>\n<p>I haven&#8217;t read it in years and don&#8217;t have a copy but remember it as conclusive. When <a href=\"http:\/\/en.wikipedia.org\/wiki\/Donald_Kuspit\">Donald Kuspit<\/a> claimed in a lecture in Seattle that artists create but need the intelligence of critics to animate that creation, he illustrated Wayne&#8217;s point exactly. Critics are male stereotypes, opening the door for the little lady. <\/p>\n<p>Not to pick on Kuspit, but he tends to wade into his own muck and root around as if he&#8217;s dining with the queen. Take, for instance, his take on glass in his 1998 tome on <a href=\"http:\/\/www.amazon.com\/Chihuly-Donald-B-Kuspit\/dp\/0810963736\">Chihuly<\/a>:<\/p>\n<blockquote><p>When it is soft, it can be identified as female, and when it is hard, as male.<\/p><\/blockquote>\n<p>The opposite, he wrote, is also true:<\/p>\n<blockquote><p>At the same time, when it is hard it is static, a trait often<br \/>\ntraditionally considered female, and when it is soft it is dynamic,<br \/>\nsupposedly a male trait.<\/p><\/blockquote>\n<p>Kuspit would be fun on <i>Work of Art<\/i>. When being fed nonsense, I prefer it to be elegant nonsense, like Kuspit&#8217;s. With the exception of the only-fleetingly-there Jerry Saltz, <i>Work of Art <\/i>judges tend to vacant. <\/p>\n<p>They seem to believe that if artists can&#8217;t (or won&#8217;t) explain their work, that work can&#8217;t be valid. It&#8217;s the reason Nao Bustamante was axed from the shock-art episode, even though her piece was the only one that came close to shocking AND even though guest artist Andres Serrano tried to save her. (Judges who don&#8217;t listen to Serrano on this subject are beyond dim.) <\/p>\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"naobusthomeless.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/naobusthomeless.jpg\" class=\"mt-image-center\" style=\"text-align: center; display: block; margin: 0pt auto 20px;\" height=\"532\" width=\"373\" \/>She sat amid her rubble like a demented street person, plucking at herself as judges discussed her. She lost the race because she could not keep so slow a pace. And because she refused to provide cue cards. As <a href=\"http:\/\/www.artsjournal.com\/anotherbb\/2010\/05\/dave-hickey---the-wreckage-spe.html\">Dave Hickey<\/a> put it: <\/p>\n<blockquote><p>I don&#8217;t care about an artist&#8217;s intentions. I care if the work looks like it might have some consequences. <\/p><\/blockquote>\n<p>Bustamante had the best line on her reluctance to explain, from the first episode and now a t-shirt available <a href=\"http:\/\/www.artfagcity.com\/2010\/04\/12\/work-of-art-t-shirts-now-available\/\">via<\/a>.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"naobusttshirt.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/naobusttshirt.jpg\" class=\"mt-image-center\" style=\"text-align: center; display: block; margin: 0pt auto 20px;\" height=\"400\" width=\"400\" \/>The judges aren&#8217;t the real problem with <i>Work of Art<\/i>. It&#8217;s a combination of weak challenges and too many weak artists. Apparently weak artists. Hard to say when given the odd glimpse of their artificially-produced output through a TV screen. Of the artists remaining, Peregrine Honig, Miles Mendenhal and Nicole Nadeau have managed to master the eccentric format. The rest are just puzzling. <\/p>\n<p>Back to Saltz for a second. His <a href=\"http:\/\/nymag.com\/daily\/entertainment\/2010\/06\/work_of_art_season_premiere_re.html\">running commentary<\/a> on the show is better than the show, although his foray into art-critic stand-up is worth watching on the screen. There&#8217;s the time he told guest artist <a href=\"http:\/\/www.willcotton.com\/\">Will Cotton<\/a> that he was a girly-man (Only girls draw unicorns in their youths.) Cotton brushed him off with dignity. And there&#8217;s the time Saltz dipped into AA for art-crit lingo: &#8220;Keep it simple, stupid.&#8221;&nbsp; Yes, he&#8217;s flailing about, and his attempts to distance himself from the <i>Work of Art<\/i> herd don&#8217;t always ring true. <\/p>\n<p>Saltz:<\/p>\n<blockquote><p>No one in the art world calls themselves a &#8220;figurative&#8221; or &#8220;abstract&#8221;<br \/>\npainter. They just say they&#8217;re an artist or a painter. It was a sign<br \/>\nthat the producers didn&#8217;t know the art-world lingo.<\/p><\/blockquote>\n<p>No one uses the terms figurative or abstract? Saltz needs to tell his wife. She used the offending language in her <a href=\"http:\/\/www.nytimes.com\/2010\/07\/25\/arts\/design\/25ohlson.html?_r=2&amp;hpw\">recent obit<\/a> on Doug Ohlson:<\/p>\n<blockquote><p>By the time Mr. Ohlson died on June 29 at 73, after a fall in front of<br \/>\nhis loft building on Bond Street in Manhattan, he had fulfilled his<br \/>\ndetermination with considerable effectiveness, making <b>abstract paintings<\/b><br \/>\nthat experimented intuitively with the color spectrum regardless of<br \/>\nfashion. <\/p><\/blockquote>\n<p>Great obit, but I&#8217;ll bet the lead was ruined by some dead-literal editor. When I read it, I did not miss working at a newspaper. Remove the first five words, and the sentence is a winner.<\/p>\n<blockquote><p>It could be said that Doug Ohlson&#8217;s determination to be a painter came out of the blue. <\/p><\/blockquote>\n<p><i>Project Runway<\/i> opens its eighth season on Thursday night. Its judges are far better than <i>Work of Art<\/i>&#8216;s, and yet a tedium hangs over the enterprise. Its much-imitated format is now old hat. More importantly, uninspiring contestants in recent years haven&#8217;t offered much of a reason to care about them. <\/p>\n<p>That leaves <i>So You Think You Can Dance<\/i>. Of the judges, Adam Shankman is both likable and savvy. The others are frequently intolerable. Nigel Lythgoe is a self-aggrandizing ass. Mia Michaels has virtues as a choreographer, but as a judge, she&#8217;s strictly from the feelings school, specializing in her own. Her praise curdles with emotional excess, and her criticisms are personal attacks. <\/p>\n<p>As the show (slowly, grudgingly) gains legitimacy in the dance community, better choreographers are widening its reach, but what makes this show compelling is the dancers. Although it&#8217;s painful to watch them be milked like production-line cows, every week they turn whatever they&#8217;re given into gold. <\/p>\n<p>About that production line: Three artists this season have been felled by injuries, including the brilliant <a href=\"http:\/\/www.youtube.com\/watch?v=TLtSfYX8tJk\">Alex Wong<\/a>, whose injury is serious enough to be career threatening. Each season dancers are asked to do more. Top cows at dairy farms are treated better. (On the link, Wong in a hip hop routine with tWitch. Below, with Allison Holker. Watch to the end and note that final step.)<\/p>\n<div>.<br \/>\n<object height=\"385\" width=\"480\"><param name=\"movie\" value=\"http:\/\/www.youtube.com\/v\/zAFYYi6Jn7g&amp;hl=en_US&amp;fs=1\" \/><param name=\"allowFullScreen\" value=\"true\" \/><param name=\"allowscriptaccess\" value=\"always\" \/><embed src=\"http:\/\/www.youtube.com\/v\/zAFYYi6Jn7g&amp;hl=en_US&amp;fs=1\" type=\"application\/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" height=\"385\" width=\"480\"><\/object>\n<\/div>\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>On all the reality shows remotely connected to art &#8211; Bravo&#8217;s Project Runway and Work of Art,&nbsp; So You Think You Can Dance on FOX &#8211; the judges are identified by full names, and the artists by first only. Why? The artists are the chicks, an idea reality TV did not invent. June Wayne explored [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-1829","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1829","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/comments?post=1829"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1829\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/media?parent=1829"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/categories?post=1829"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/tags?post=1829"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}