Words like controversial and outspoken are the first words you meet in conjunction with Brian Sewell, dig a little deeper and you come across other words, words like scurrilous, bitchy, contemptuous, acerbic, disdainful, and just plain rude.
Is it possible that there is someone out there, in the admittedly rather limited demographic of folk who read this and other art related material, who hasn’t heard of Paul McCarthy’s forceful insertion of a thirty-foot high inflatable replica Butt Plug into one of Paris’ most desirable addresses?
This month’s theme made me wonder why the art world so much enjoys the conjunction ‘as’. It seems a funny construct, one thing as another thing. It contains within it both the idea of transformation, and also deception, and fails to decide or state which side of the fence the utterance wants to come down on. There’s also a strange utility within the phrase, the using of one thing as another as though there were a lack or necessity for makeshift solutions.
In previous articles I’ve complained about certain aspects of the Parisian art scene, one of which being that it lacks the spark and energy of new things. It’s difficult in a conservative country that holds fine art and culture so close to its sense of identity.
James Loks is a Paris based staff writer for ArtSlant. On the occasion of Paris Photo he thought it would be worth taking the time to ask himself some questions concerning the nature of art fairs, photography, and lack of real world Lynchian characters.
Listen, there is no way around it. In the article that follows I’m going to be forced to wield sweeping generalisations, peddle the occasional racial stereotype, and generally piss off the people of my adopted home. However. It needs to be done. It’s like one of those difficult talks that normally take place in the kitchen and are basically painful for one party.