The Age of the Marvellous

The videos on my blog from 'The Age of the Marvelous', specifically Paul Fryers and Joe La Placa are saying something very impotant and explain things better than I can. Recent years have seen a slope off in to highly cerebral and overly interlectual type of art. Art about art. Avery sealed, uninclusive and inward looking period. When the YBAs first came on the scene they were a breath of fresh air. Like punk rock they by passed the gallery network and shook up the artworld and showed you didn't need to know how to play the guitar to get up on stage and make music. Punk lasted barely a year, firstly due to its nihilistic undertones that overshadowed the jojous side. It split off down a number of avenues, the social realism of The Clash, the art punk of the sex pistols with the support of Malcolm McClarren, Jakie Read and Vivienne westwood. All artschool intelectuals who shaped thier boyband, dressed them up and paraded them in creative clothing. It wasnt even intended to last. After the first year there is barely a punk record worthy of mention. The aftermath of the YBAs has been a little like this. Apart from the magnificent works of Damien Hirst there is little of consequence left with hinsight. Joe La Placa equates thier work with the freak shows of the early 20th century that began in new york, sheep with three heads, bearded ladies, where the intent is merely to shock.
The Age of the Marvelous could possibly prove to be as seminal an exhition as Freeze, the show Damien Hirst organised during his 2nd year at Goldsmiths. The 'Frieze' art fair, which obviosly references its origins in 'Freeze' was a jumble sale like affair. No way to look at art. Unless you are a collector buying for resale. Little thought, no sense of wonder. 'The age of the Marvelous' showcased a different and refreshing kind of art. Wonderfully crafted, amazing creatures to stimulate the art fan and newcomer alike. Akin to exhibitions from the 1600 and 1700s where travellers brought back strange new plants, animals and craftworks from farawy lands. Tere is a distinct possibility of a shift. Icertainly prefer that kind of work as its closer to my own. For a long time I felt no openings as my work was overcrafted and most galleries were showing scratty, over intelectual works. Never has th Turner Prize seemed so out of date.