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The highly attenuated selection of objects allows viewers to locate themselves within the contradictions and social inequities caused by the ideological forces dominating our urban culture.Society is plagued by an ever-widening class stratification, the spectre of the military-industrial prison complex, the futile and costly war on drugs, all symptoms of the dysfunctional modern global capitalist reality.
Upon entering the installation, the viewer is greeted with the comfort of a minimally appointed salon, featuring a small selection of art objects.
Further inspection of the installation reveals a second room (of a decidedly different “character”) outfitted with traces of an alternate reality.
When these differences arent that much studied in an expression which centers around the abandoning the use of ornaments, this expression is weakened.
The title of the work is based on an essay, “Ornament and Crime” written in 1908 by the influential "modern" Austrian architect Adolf Loos.
For those who ornament their bodies with tattoos, he declares, “The modern man who tattoos himself is a criminal or a degenerate.
There are prisons where 80 percent of the inmates bear tattoos.Specifically, Loos viewed superfluous ornament as an epidemic, one that contributed to the obsolescence of objects.He advocated for simplicity, because simple objects never go out of style and therefore would be treasured for all time.” In 1908, the Austrian architect, designer, and theorist Adolf Loos published an incendiary treatise entitled “Ornament and Crime.” The essay equated the use of ornamentation in late nineteenth and early twentieth century architecture and design with the destruction of culture and society.Loos felt strongly that ornament had no meaning or place within contemporary culture, even going so far as to argue that ornament actually hindered society’s progress.Those who are tattooed but not are not imprisoned are latent criminals or degenerate aristocrats” (or post-collegiate hipsters).Of those who like to dress up, he wonders how they can stand to “walk about in red velvet trousers with gold braids like monkeys at a fair.” Of the impulse to paint, he explains that “Erotic excess” drives painters to make their marks on canvas, the way caveman marked walls and vandals graffiti lavatories.I wake up facing a ‘Bazinga’ poster on my wall every morning, before drifting towards the kitchen, which is stripped bare of any formal or spatial indulgences except a horizontal work surface. It took us nearly a month to transform it into a familiar space.In a few months, my collection of knick-knacks, figurines, Hello Kitty merchandise and the like, invaded the house.The work presents a platform to satirize, demystify, and resist these forces by revealing them as constructed realities or at the very least, acknowledging their shadowy presence.'But art has nothing to do with forgery, with lies.