Jean-Michel Basquiat, Jean-Michel Basquiat
"28. November 1986 bis 25 Januar 1987"
9 X 11 inches (23 x 28 cm)
“What’s the Energy of Your Energy Drink?" by Emily Segal
written version of a lecture originally presented at MoMA PS1’s Expo Exhibition last year
Emily Segal is a member of K-HOLE and her day job is in marketing. This talk is about the “collapsonomic” aesthetics of energy drinks and it contains some amazing paragraphs, like this one:
Another exciting feature of energy drinks is that people think they’re fatal, that they’re going to kill you, that they’re dangerous and evil. Energy drink brands align themselves with a non-righteous cultural attitude, allowing their world to be really sugary and fake and superficial, and instead of trying to balance this out or hide it they take all that to the max. More than that: energy drinks take taking it to the max in itself as the song that they’re singing as a category. In an age when the majority of big companies try to align themselves with sustainability – in a manner that feels really “personal” and folksy and non-monstrous – energy drinks are about unsustainability. They’re about just maxing it out and crashing and burning. Energy drinks are un-DIY, profoundly not homemade, and often seem like humans were only barely involved in their creation.The task of branding an energy drink is about articulating the relevance and dynamics of “energy” in a consumer market — which is vertiginously similar to branding the market itself.
She never really takes the argument to the obvious next level, though — she kind of stalls after pointing out “the lunacy of our public conversation around energy” and ends up exhorting the reader to just enjoy the craziness, which seems kind of symptomatic of the 89-plus attitude in general. I think younger people see the “critical” position as futile and uncool — they just wanna enjoy the end of the world.
agreed with T.O.S., people are afraid to be too “critical”
William Newenham Montague Orpen, View from the Old British Trenches, Looking towards La Boisselle, Courcelette on the Left, Martinpuich on the Right (1917), oil on canvas, 91.4 x 76.2 cm. Collection of Imperial War Museums, UK. Via IWM.
Stephen Colbert to Theaster Gates (3/6/14): “Here’s what worries me about your work: you’re turning things into art that I used to not have to think about.”
“The Culture of the Copy is an unprecedented attempt to make sense of the Western fascination with replicas, duplicates, and twins. In a work that is breathtaking in its synthetic and critical achievements, Hillel Schwartz charts the repercussions of our entanglement with copies of all kinds, whose presence alternately sustains and overwhelms us. Through intriguing, and at times humorous, historical analysis and case studies in contemporary culture, Schwartz investigates a stunning array of simulacra—counterfeits, decoys, mannequins, and portraits; ditto marks, genetic cloning, war games, and camouflage; instant replays, digital imaging, parrots, and photocopies; wax museums, apes, and art forgeries, not to mention the very notion of the Real McCoy. Working through a range of theories on biological, mechanical, and electronic reproduction, Schwartz questions the modern esteem for authenticity and uniqueness. The Culture of the Copy shows how the ethical dilemmas central to so many fields of endeavor have become inseparable from our pursuit of copies—of the natural world, of our own creations, indeed of our very selves.
This updated edition takes notice of recent shifts in thought with regard to such issues as biological cloning, conjoined twins, copyright, digital reproduction, and multiple personality disorder. At once abbreviated and refined, it will be of interest to anyone concerned with proglems of authenticity, identity, and originality.” [via]
First published in 1996
Publisher Zone Books, New York, 2013
ISBN 1935408453, 9781935408451