>But hey, who doesn't like Monty Python?

>Bob

Thanks,
Bob, I'm glad to provide a little entertainment and I humbly bow to
anyone else in the audience who hasn't already pegged me with a tomato.
And apologies out to Bob and Rob for misreading "Rob" where I should
have read "Bob" on that particular "truth" bit. I've loaded a glove
with a brick and slapped myself silly for all of you.

Actually, I don't know why I didn't think of it before but this whole thing 
reminds me of the criticism of Hans Haacke
for his Shapolsky Project in the 80s. Actually, folks are still
debating it. I'm guessing that there would be a similar break down of
interpretations from folks on the list as there were to Haacke's piece
from critics in the 80's. I'd like to read thoughts...  or maybe not? 

here's a relevant paragraph from
 
http://www.ccca.ca/c/writing/h/hassan/hass002t.html

"Leo Steinberg's text is not only an elaborate demonstration of an obvious 
      failure to recognize the integrity of social / political art, but 
contains 
      a perverse attack against Haacke. When reviewing the Real-Time Social 
      Systems, he wonders why Haacke had to choose Shapolsky to illustrate 
      a real estate network in New York City slums. He questions, 'Did this 
      exposé of a stereotypical Jewish landlord express the old gut reaction 
      that resents a non-Aryan presence among holders of wealth or was this the 
      updated anti-Semitism of the New Left?', and writes from a completely 
      cynical position when he flatly declares that, 'The artist knows 
perfectly 
      well that Mobil will not be induced to retreat from its South African 
market.' 
      This is totally unlike Deutsche who locates the concepts of specificity 
      and explains why Haacke selected the Shapolsky group as the subject for 
      his work: in 1971 they held the largest concentration of properties in 
the 
      Lower East Side and Harlem of any group owner. Thus Haacke's reasons were 
      economic rather than racial. Deutsche' s insightful text articulately 
probes 
      the temporal and relative nature of meaning within works of art to affirm 
      the potential 'education and transformation of the viewer' that 
      further the implications of Haacke's work."


      
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