The Object is the Mirror (Part II) Curated by Max Henry
All fiction and entertainment is propaganda (Jacques Ellul)
A bad poet imitates, a good poet steals (T.S. Eliot)
The social condition of the present day is one of a mistrust of familiar icons (circa 2008) as we transition between two ages; the analog past and the virtual, digitized now. In contemporary art, artists are the new high priests teaching the blind (mainstream) to see that cultural memory is overloaded with doses of trivia and superfluous data.
Sifting through the rubbish of reality TV, social networking, and Youtube, the artistic positions of the present day often contaminate and usurp the given authenticity of various categories of art historical works. The recent strategies for reinterpretations are doubling up the notion of provenance in the visual field. Original meaning (the creation myth) gets shaken and stirred into ambiguous zones of contextual mirrors.
Through networks of digital media and disseminated printed sources a Chinese box effect has led to information doppelgangers. A new iconography clones the old ones, remixing the signposts of yesterday. Such visual mash-ups run roughshod over the discourse, even while owing to its semantics. The repetition and seriality of surveillance, the copy versus imitation, authorship, recycling and (re)-appropriation, recombine the innovative gestures of important art iconography while sending out a reflection of them. The Object is the Mirror embraces a broad range of conceptual approaches and methodologies, including painting, sculpture, drawing, text, photography, and video.
