Art causes even more problems than it solves, when it questions foregone conclusions and assumptions. And unlike assembling a chair, there isn't one way to do it right and you can't know what it's going to look like by studying the box.
As writers, we need to be aware of the ways in which our work can be read; weeding out the useful from the non-useful is an important skill, as is reading closely for what might be improved. But it can be a slippery slope.
Summertime used to mean that the galleries and museums would take it easy, presenting lackluster group shows and few, if any, challenging solo exhibitions. Not any more. Economy be damned, the Los Angeles art scene is now sizzling year round.
In the Thesis Exhibit of the MFA program at Columbia, I saw diverse responses to the world we live in, all firmly rooted in the present. Yet, in many installations, I could see a connection to a distant past -- to Old Master art.
A degree is not something I look for when selecting artists for Offramp Gallery. The bottom line is always the work. I look for work that's honest, creative, original, skillfully executed and intensely visual.