A Great Artist Has A Unique Vision...obsession.

I Also Take Pleasure In The So-called Negative Power In Grotjahn's Work. That Is, I Love His Paintings For What They Are Not. Unlike Much Art Of The Past Decade, Grotjahn Isn't Simply Working From A Prescribed Checklist Of Academically Acceptable, Curator-approved 'isms' And Twists.

Artistic Qualities That Once Seemed Undeniable Don't Seem So Now. Sometimes These Fluctuations Are Only Fickleness Of Taste, Momentary Glitches In An Artist's Work, Or An Artist Getting Ahead Of His Audience (it Took Me Ten Years To Catch Up To Albert Oehlen). Other Times, However, These Problems Mean There's Something Wrong With The Art.

When Museums Are Built These Days, Architects, Directors, And Trustees Seem Most Concerned About Social Space: Places To Have Parties, Eat Dinner, Wine-and-dine Donors. Sure, These Are Important These Days - Museums Have To Bring In Money - But They Gobble Up Space And Push The Art Itself Far Away From The Entrance.

Art Is A Self-replicating Force.

The Very Paradigm Of Revolution, Of Right Versus Wrong, Good Versus Bad, Is A Relic With No Bearing On The Present. Yet Artists, Exhibitions, And Curators Valorize The Sixties. People Who Wrote About These Artists 30 Years Ago Still Write About Them In The Same Ways, Often For The Same Magazines.