York scene” were not really of interest to an editorial majority with a national focus. The essayand my opinions are in no way a reflection of the editors’ opinions, nor are they sponsors of myviews. The same goes for the professionals I consulted. Sorry folks, but they will remainanonymous.I read the essay to myself a few more times; going over the issues in my head. In person, I readsections to two collaborators because the content was relevant to projects we are currentlyworking on. And that’s it. As far as I was concerned, this essay was dead.- - - - - -But then, here we are. Someone else has chosen to publish this draft, without my knowledge or permission. I accept 100% responsibility for the content of this essay. Even though there arethings I would change or edit, it’s still mine. I wrote it.However, the idea that I would post this anonymously is a joke.I have a pretty established track record of speaking my mind in essays and letters on a variety of issues in our field; with an equally established record of seeing those thoughts ignored. Does thefact that Caleb Hammons and/or
serve as de facto posters give my words moresignificance in a new context? Beats me.I have never met Caleb Hammons, except seeing him introduce nights at the CATCH series. I’mnot a big fan of
, to be honest; with all due respect, from what I’ve read (or tried toread) of late, it alternates between the unintelligible and advance PR used by artists’ reps to prep/generate review(s)[ers] at mainstream publications.
I actually did attend the PRELUDE“Manifesto” event that was alluded to by the sender and found some of it quite good andinspiring; especially the rhythm of Miguel Gutierreuz’ Skype delivery and Leah Winkler’s veryhonest and accurate assessments. If I had a problem with the event -- besides David Levinemuting the sound, meaning that those of us watching in the next room via live feed could nothear -- it was that none of the participating artists seemed to want to stick around for the nextartist’s manifesto who followed their turn.The arc of views expressed in the essay are not that heretical -- or original. Internationally, it isan accepted viewpoint by professionals [whom I know at least] that segments of Americancontemporary work are not up-to-par with what is going on in the rest of the world. I just spent aweek with many of them, and their viewpoints are a whole lot more extreme and frank than positions I took in the essay. Sometimes this applies to festivals mentioned; sometimes it appliesto a larger New York “scene”; sometimes it doesn’t apply at all; while at other times the patternworks in reverse. There are identifiable reasons for this, but that’s an essay for another day.The idea that all our energies and resources each January are clustered around a singular goal togain the attention of professionals, curators or presenters -- as opposed to, say, taking those