The exhibit was hated in Chicago, in many levels of course, but now that it is in Miami I wonder how it will be received over there.

One bridge that I do think it is important to mention is literature, in terms of punk and rock and the legacy of William S. Burroughs on artists and musicians. Burroughs “cut up” writing style seems to influence both the visual and the sonic. The exhibition, Double Album: Daniel Guzmán and Steven Shearer, alludes to Burroughs, but does not develop this idea conceptually. If it did, perhaps the curators might see that Dennis Cooper already dealt with a lot of these conventions through his post-modern novels.

I just had a talk with a painter friend of mine (he’s in his twenties) and we were kicking around the idea that contemporary painting is impossible to understand without understanding contemporary music scene. I am not talking about the latest top 40 offerings, or a historic nod to Sex Pistols or Stones… and yes, of course Pettibon. I am talking about the bands that we the artists actually listen to on regular bases in our studios:)

For example, everyone who has listened to the “indy” scene in the last 10-15 years knows that shredding is a big no no. You don’t stop the song to show of how good (read fast) of a guitar player you are. Technical finesse is shown through crazy time signatures (math-rock), odd chords, or insanely complicated technique that’s masked by layers of distortion. Appearance of technique is VERY self-conscious. It’s main goal is to complicate listener experience not to show of performer’s abilities. Looking at the painters in their 20’s and 30’s today, I see a 100% parallel trend.

Luc Tuymans (OK, 40’s but he’s idolized by all the 20 year old) and company are very Polvo in their aesthetic. Dana Schutz sneaks in complicated color games, making the actually process of viewing much more nuanced. One can make a slightly strained suggestion that highly technically proficient artist like her have their musical analog in bands like Don Caballero. Tons and tons of contemporary painters are playing all sorts of games with perspective, from Early Renaissance-type spaces to deliberate mix of flat abstraction with modeled figuration. I could probably make some other direct musical reference here, but I’ll abstain The more powerful parallel, and perhaps the core of what I am trying to point to, is the fact the technical and compositional innovation in contemporary art and music serve to complicate, slow down, and even sabotage the experience of AUDIENCE MEMBERS.

It’s a complicated game in which the tritone replaces the fifth and the audience comes to expect a challenge.

Sorry for such a long-winded comment, it’s just something I’ve been thinking about for a while.