The author Jerry Saltz is a famous art critic in the U.S. In this
article he talked about the meaning of clusterfuck aesthetics thought his
reviews on some artists’ pieces and installations. Clusterfuck aesthetics is
the beauty in a huge amount of chaos. In the way of how Saltz described, it is "a manic-depressive panic attack in the face of information overload; a
disagreement to minimalism; and a way to fill space to grab attention.”
The author Jerry Saltz is a famous art critic in the U.S. In this
article he talked about the meaning of clusterfuck aesthetics though his reviews
on some artists’ pieces and installations. Clusterfuck aesthetics is the beauty
in a huge amount of chaos. In the way of how Saltz described, it is “a
manic-depressive panic attack in the face of information overload; a
disagreement to minimalism; and a way to fill space to grab attention.”
Saltz used John Kessler's the
Palace at 4 a.m and Mike Kelley’s Day
Is Done as the examples of clusterfuck aesthetics. Kessler’s project was
consisted of various objects. These visual complexes were related to the global
issues we have today. Then Day Is Done
was a project that contained 365 installations. Based on Kelley's plan, they
were all independent works but could also connect with each other.
Most works in Day is Done came from
Kelley's personal experience of growing from a teenage to an adult. Both
projects were built with multiple media, following the basic idea of
clusterfuck aesthetics.
It was not an article that can be understood easily. Like Maria
Lind's Returning on Bikes, Saltza hided
his thought behind the artists' works. Therefore, knowing the example he gave
is helpful to get his message. Clusterfuck
Aesthetics requires readers to know not only the article itself, but also
the projects Saltz had talked about. At the first sight, this beauty of chaos
seems only to contain disruption without any proper meaning. However, inside
this huge chaos, every detail is arranged in a perfect order.
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