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RE: When the one on the right starts bobbing her head in an
Posted on: May 10, 2025 at 11:50:15 CT
Tigrrrr! MU
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There was a time, not long ago, when if you wanted to see the latest sculpture from some obscure contemporary artist, you had to actually go to a museum. That was the deal. Just like watching a movie meant going to a theater, or buying a book meant walking into a bookstore. Museums were where modern art went to be quietly ignored. If you didn’t make the conscious choice to go see it, you wouldn’t see it at all. And over time, fewer people made that choice—for the very simple reason that contemporary art stopped being worth the effort.
In a sane world, declining interest would be a sign to try something new. But the art world doesn’t operate by normal rules. Instead of rethinking their approach, sculptors decided to force-feed the public with their work. If no one wants to see your statue, just drop it in the middle of a sidewalk where no one can avoid it. That’s the new strategy. And no one exemplifies this better than an artist you’ve probably never heard of: Thomas Price.
Price has made it his mission to place huge, glum statues in public spaces. They’re all basically the same: anonymous figures, usually black women, usually frowning, often staring at a phone. These aren’t sculptures—they’re interruptions. In one piece installed in New Orleans, we’re told the subject is “paused in contemplation.” In reality, she looks like someone stuck dealing with a customer service call. Another statue in Florence, coated in gold, was vandalized several times. Officials rushed to call the vandalism racist—but never bothered to explain how Price’s own work, which turns real people into blank, joyless abstractions, isn’t more insulting. Apparently, the real problem isn’t the art—it’s anyone who refuses to pretend it’s good.
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Oh, it's a thing.
https://scontent-msp1-1.xx.fbcdn.net/v/t39.30808-6/496925925_1287267209422324_7185891149497632284_n.jpg?_nc_cat=1&ccb=1-7&_nc_sid=127cfc&_nc_ohc=MKrgtukqfBwQ7kNvwEDa2lE&_nc_oc=Adk4TVZFSAsZfV7gaYpIWzHy-PMdHlqt4aNMkdJ9iHHaxE_K4u6H20rqdXvYs5Dln7w&_nc_zt=23&_nc_ht=scontent-msp1-1.xx&_nc_gid=WktB4uYQzoDoHjT5upZ2Yg&oh=00_AfLqSfNAFKsFH9xrlv5cMbtlESY1ealxgONN4DjDS2Y-sw&oe=68255D17
In a sane world, declining interest would be a sign to try something new. But the art world doesn’t operate by normal rules. Instead of rethinking their approach, sculptors decided to force-feed the public with their work. If no one wants to see your statue, just drop it in the middle of a sidewalk where no one can avoid it. That’s the new strategy. And no one exemplifies this better than an artist you’ve probably never heard of: Thomas Price.
Price has made it his mission to place huge, glum statues in public spaces. They’re all basically the same: anonymous figures, usually black women, usually frowning, often staring at a phone. These aren’t sculptures—they’re interruptions. In one piece installed in New Orleans, we’re told the subject is “paused in contemplation.” In reality, she looks like someone stuck dealing with a customer service call. Another statue in Florence, coated in gold, was vandalized several times. Officials rushed to call the vandalism racist—but never bothered to explain how Price’s own work, which turns real people into blank, joyless abstractions, isn’t more insulting. Apparently, the real problem isn’t the art—it’s anyone who refuses to pretend it’s good.
---------------
Oh, it's a thing.
https://scontent-msp1-1.xx.fbcdn.net/v/t39.30808-6/496925925_1287267209422324_7185891149497632284_n.jpg?_nc_cat=1&ccb=1-7&_nc_sid=127cfc&_nc_ohc=MKrgtukqfBwQ7kNvwEDa2lE&_nc_oc=Adk4TVZFSAsZfV7gaYpIWzHy-PMdHlqt4aNMkdJ9iHHaxE_K4u6H20rqdXvYs5Dln7w&_nc_zt=23&_nc_ht=scontent-msp1-1.xx&_nc_gid=WktB4uYQzoDoHjT5upZ2Yg&oh=00_AfLqSfNAFKsFH9xrlv5cMbtlESY1ealxgONN4DjDS2Y-sw&oe=68255D17
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RE: When the one on the right starts bobbing her head in an - Tigrrrr! MU - 5/10 11:50:15