NormArtists, Curators and The Public - part i
Artists and curators, knowing that their careers depend on attracting attention to themselves at almost any cost, are increasingly turning to visual gags, titilation, public scandal or platitudinous commentaries on newsworthy social issues, under the pretence of challenging public perceptions.
Knowing that their artists are increasingly themselves, curators are attracting the knowing public to their visual pretence. The curators are turning the public on to the pretence of perceptions. The knowing artists are challenging the pretence of the public themselves.
The curators, platitudinous in themselves, and turning under titilation, are under the pretence that their careers, that depend on artists, are challenging to the public. Their perceptions of themselves, the curators, are increasingly turning any artists to knowing themselves, almost.
Knowing themselves, artists, are attracting the perceptions that, at any cost, their issues are issues of visual pretence. The public, knowing that, are themselves turning to careers of commentaries on public issues of visual attention and are platitudinous to artists.
On and under artists, curators are themselves under the pretence that the public are almost of knowing perception. Under the curators, artists, attracting titilation at cost, are knowing of the platitudinous public and their attention to scandal, titilation and pretence.
Knowing that their artists are increasingly themselves, curators are attracting the knowing public to their visual pretence. The curators are turning the public on to the pretence of perceptions. The knowing artists are challenging the pretence of the public themselves.
The curators, platitudinous in themselves, and turning under titilation, are under the pretence that their careers, that depend on artists, are challenging to the public. Their perceptions of themselves, the curators, are increasingly turning any artists to knowing themselves, almost.
Knowing themselves, artists, are attracting the perceptions that, at any cost, their issues are issues of visual pretence. The public, knowing that, are themselves turning to careers of commentaries on public issues of visual attention and are platitudinous to artists.
On and under artists, curators are themselves under the pretence that the public are almost of knowing perception. Under the curators, artists, attracting titilation at cost, are knowing of the platitudinous public and their attention to scandal, titilation and pretence.
