Ticket for a Gallery Exhibition - cherished prize in the art world

Collection of postmodern short stories from the 1960s and 1970s penned by that master of the genre, American author Donald Barthelme. Some short non-fiction satire is also included. Of course, I enjoyed a number of pieces more than others but one short zapper really hit home for me, most likely since I have been interested in art and aesthetics for a number of years. Reading Letters To The Editor I imagine myself sitting in a whaling boat watching lampoon-harpooner Daggoo-Barthelme hurling lampoon-harpoons at the whales of the art world. Ready, aim, let her soar, Daggoo-Donald! Here is a list of needle-sharp zingers from the hand on our intrepid harpooning author:

LETTERS TO THE EDITOR
The Controversy: Nicolai Pont, editor of Shock Art magazine admits a raw, tender nerve has been hit when his international art journal published an article on an exhibit by American artist Doug LeDuff featuring an original series of asterisks. Editor Pont announces Stock Art will accept only one more letter on the controversy before the subject is closed forever. Shock Art - love that name for the magazine and the mindset of the people who run it, being shocked when an article they print about art actually shocks.

Art Theft: Bernardo Brown of Galerie Z accuses LaDuff of shamelessly copying the asterisks of Gianbello Bruno, a fellow Italian, an artist his Galerie Z represents. Bernardo points to a 1978 Paris exposition where artist Bruno incorporated a series of asterisks into his work. Sure, the American claims he has been painting asterisks since 1975 but, Bernando Brown asks: Where are these asterisks? Where is the proof? One of my favorite Barthelme lampoons here is the name of the American Artist Doug LeDuff. Doug is a common enough American name, but what about that LeDuff? Sounds like the artist or his agent committed some genuine art theft to conquer the European art market, combining the names of two famous, influential French artists – Le Corbusier and Jean Dubuffet.

Gallery Opening - Where art and party time come together

A Proud Heritage: Galerie Z is in Milan and Bernardo plays his trump card, since, after all, he is from the land that graced us with the Italian Renaissance and all those great Italian masters, the greatest artists the world has ever seen. “Of course the fully American attitude of the partisans of LeDuff, that there is nothing except America, is evident here in the apparently fair evaluation of the protagonists which is in fact deeply biased in the direction of their native land.” Bernardo curtly dismisses the evidence LeDuff painted six pointed asterisks as opposed to the five pointed ones of Bruno; he also dismisses the fact that LeDuff predated Bruno in superimposing one asterisk on another. Bruno’s tacit accusation: Americans are untalented, moneygrubbing bunglers, coarse hicks incapable of the barest shred of artistic originality, forever crudely copying and mimicking refined, highly accomplished European artists. (Of course, Bruno might be correct on this point, at least generally, but there is always that rare exception!)

Rome Chimes In: Pino Vitt smiles at the entire LeDufff-Galerie Z controversy asking: What do these bloody Americans really want after they come to Europe, are installed in the most sumptuous hotels yet still find reasons to complain about everything? Those childish, no talent Yanks made rich by our stupid bourgeois fly back home to figure out more ways to dupe and despoil our gullible bourgeois. “Doug LeDuff is a pig and a child, but so are his enemies.” What is so great about this letter is Pino adds nothing to the subject at hand but rather takes the opportunity to slam the whole art scene – artist, supporters, detractors; if you are out there as part of the art scene, you’re fodder for Pino’s slam. Maybe Pino Vitt is still smarting from the humiliating loss Rome suffered at the hands of Milan in the latest soccer match. Or, perhaps, he envisions himself as a great Roman general put in the position of being required to put down the barbarians on Rome’s borders. Or, perhaps Pino is an unrecognized artist producing paintings or sculptures or installations unacceptable to the art world.

Düsseldorf Chimes In: Hugo Timme points out to the faculty of the LeDuff-Galerie Z debate that LeDuff’s art is so much bad wallpaper but Shock Art Magazine was irresponsible accepting for publication a Galerie Z ad defaming LeDuff. Hugo goes on to enlighten all by proclaiming that LeDuff and Bruno have both impersonated the accomplishments of the 1938 Magdeburg Handwerker. Ah, a German historian to the rescue. And love his referring to those contributors to the debate as “faculty” then skewering their ideas.

Artists Chime In: The members of an artist’s group in Basel, Switzerland let it be known they are unfaltering supporters of the immense American master, Doug LeDuff. This is an international crowd with first names of Gianni, Michel, Zin and Erik. And it isn’t an accident they are in Basel, the cradle of modern avant-garde art going back to the early years of the twentieth century. And, of course, having their names listed one under another, manifesto-like, adds weight to their support.

Photo of a group of artists - could be 1966 or 2016. Some things never change.

Rotteerdam Chimes In: Madga Baum is outraged that the galleries, critics and collectors bickering in this LeBuff debate have ignored the artist Elaine Grasso, who has been working in the field of parentheses. Oh, those damn men and the male dominated art world overlooking a real artist just because she’s a woman!

Athens Chimes in: G. Philios lets everyone know their debate is complexly misguided since the asterisk is from the Greek asteriskos (or small star) and has served a very specific function going all the way back to Greek mythology. G. Philios ends by making a specific plea to the editors to publish his letter so people will know he set the record straight.

An Art Critic Chimes In: Yes, Shock Art Magazine consulted Titus Toselli Dolla in Palermo, a highly respected art critic, to contribute a letter on the subject. As part of his letter, Titus denounces LeDuff, “The brutality of the American rape of the world’s exhibition spaces and organs of art-information has distanciated his senses.” Love Titus and his slicing comment about Americans immediately following his claim of maintaining a critical distance from all passions surrounding the debate. And true to form, Titus peppers his writing with words like “distanciated.” Very much in keeping with art criticism – vocabulary as a weapon to keep the uninitiated outsider out.

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Ticket for a Gallery Exhibition - cherished prize in the art world

Collection of postmodern short stories from the 1960s and 1970s penned by that master of the genre, American author Donald Barthelme. Some short non-fiction satire is also included. Of course, I enjoyed a number of pieces more than others but one short zapper really hit home for me, most likely since I have been interested in art and aesthetics for a number of years. Reading “Letters To The Editor” I imagine myself sitting in a whaling boat watching lampoon-harpooner Daggoo-Barthelme hurling lampoon-harpoons at the whales of the art world. Ready, aim, let her soar, Daggoo-Donald! Here is a list of needle-sharp zingers from the hand on our intrepid harpooning author:

Letters To The Editor
The Controversy: Nicolai Pont, editor of “Shock Art” magazine admits a raw, tender nerve has been hit when his international art journal published an article on an exhibit by American artist Doug LeDuff featuring an original series of asterisks. Editor Pont announces “Stock Art” will accept only one more letter on the controversy before the subject is closed forever. “Shock Art” - love that name for the magazine and the mind-set of the people who run it, being shocked when an article they print about art actually shocks.

Art Theft: Bernardo Brown of Galerie Z accuses LaDuff of shamelessly copying the asterisks of Gianbello Bruno, a fellow Italian, an artist his Galerie Z represents. Bernardo points to a 1978 Paris exposition where artist Bruno incorporated a series of asterisks into his work. Sure, the American claims he has been painting asterisks since 1975 but, Bernando Brown asks: Where are these asterisks? Where is the proof? One of my favorite Barthelme lampoons here is the name of the American Artist Doug LeDuff. Doug is a common enough American name, but what about that LeDuff? Sounds like the artist or his agent committed some genuine art theft to conquer the European art market, combining the names of two famous, influential French artists – Le Corbusier and Jean Dubuffet.

Gallery Opening - Where art and party time come together

A Proud Heritage: Galerie Z is in Milan and Bernardo plays his trump card, since, after all, he is from the land that graced us with the Italian Renaissance and all those great Italian masters, the greatest artists the world has ever seen. “Of course the fully American attitude of the partisans of LeDuff, that there is nothing except America, is evident here in the apparently fair evaluation of the protagonists which is in fact deeply biased in the direction of their native land.” Bernardo curtly dismisses the evidence LeDuff painted six pointed asterisks as opposed to the five pointed ones of Bruno; he also dismisses the fact that LeDuff predated Bruno in superimposing one asterisk on another. Bruno’s tacit accusation: Americans are untalented, moneygrubbing bunglers, coarse hicks incapable of the barest shred of artistic originality, forever crudely copying and mimicking refined, highly accomplished European artists. (Of course, Bruno might be correct on this point, at least generally, but there is always that rare exception!)

Rome Chimes In: Pino Vitt smiles at the entire LeDufff-Galerie Z controversy asking: What do these bloody Americans really want after they come to Europe, are installed in the most sumptuous hotels yet still find reasons to complain about everything? Those childish, no talent Yanks made rich by our stupid bourgeois fly back home to figure out more ways to dupe and despoil our gullible bourgeois. “Doug LeDuff is a pig and a child, but so are his enemies.” What is so great about this letter is Pino adds nothing to the subject at hand but rather takes the opportunity to slam the whole art scene – artist, supporters, detractors; if you are out there as part of the art scene, you’re fodder for Pino’s slam. Maybe Pino Vitt is still smarting from the humiliating loss Rome suffered at the hands of Milan in the latest soccer match. Or, perhaps, he envisions himself as a great Roman general put in the position of being required to put down the barbarians on Rome’s borders. Or, perhaps Pino is an unrecognized artist producing paintings or sculptures or installations unacceptable to the art world.

Düsseldorf Chimes In: Hugo Timme points out to the faculty of the LeDuff-Galerie Z debate that LeDuff’s art is so much bad wallpaper but Shock Art Magazine was irresponsible accepting for publication a Galerie Z ad defaming LeDuff. Hugo goes on to enlighten all by proclaiming that LeDuff and Bruno have both impersonated the accomplishments of the 1938 Magdeburg Handwerker. Ah, a German historian to the rescue. And love his referring to those contributors to the debate as “faculty” then skewering their ideas.

Artists Chime In: The members of an artist’s group in Basel, Switzerland let it be known they are unfaltering supporters of the immense American master, Doug LeDuff. This is an international crowd with first names of Gianni, Michel, Zin and Erik. And it isn’t an accident they are in Basel, the cradle of modern avant-garde art going back to the early years of the twentieth century. And, of course, having their names listed one under another, manifesto-like, adds weight to their support.

Photo of a group of artists - could be 1966 or 2016. Some things never change.

Rotteerdam Chimes In: Madga Baum is outraged that the galleries, critics and collectors bickering in this LeBuff debate have ignored the artist Elaine Grasso, who has been working in the field of parentheses. Oh, those damn men and the male dominated art world overlooking a real artist just because she’s a woman!

Athens Chimes in: G. Philios lets everyone know their debate is complexly misguided since the asterisk is from the Greek asteriskos (or small star) and has served a very specific function going all the way back to Greek mythology. G. Philios ends by making a specific plea to the editors to publish his letter so people will know he set the record straight.

An Art Critic Chimes In: Yes, Shock Art Magazine consulted Titus Toselli Dolla in Palermo, a highly respected art critic, to contribute a letter on the subject. As part of his letter, Titus denounces LeDuff, “The brutality of the American rape of the world’s exhibition spaces and organs of art-information has distanciated his senses.” Love Titus and his slicing comment about Americans immediately following his claim of maintaining a critical distance from all passions surrounding the debate. And true to form, Titus peppers his writing with words like “distanciated.” Very much in keeping with art criticism – vocabulary as a weapon to keep the uninitiated outsider out.
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