than that, we don't pay any attention. Now there's an art lie for your
rag. Sometimes we only look at the pictures because column inch
quantity has a quality all its own. But most local art coverage is
simply reporting. There is very little critical response because the
daily's don't seem to have the agenda, art is seen only as an
entertainment. Art critics are like armchair athletes; as with fans,
they know the game better than the participants.
HJB: Yes, just ask the critic, for everyone becomes one, and all
AGI: Artlies at least offers players responding to players, creating a
HJB: Does Art Guise Art seek the same paradigms of recognition
and exposure as most other artists?
AGI: It's all like a pie to be divided. Artists should be seeking many
different things, as there are many courses to a meal. There's plenty
of opportunity out there, plenty for everyone. The Art Guise Ink World-
Headquarters has generated its own activity. We reach for the
unconventional venue, extensions of the usual gallery format, a
constant state of readiness, work and awareness of exhibiting
opportunities. It beats trying to sit around waiting for people to get you in
shows. You just have to be actively ready, it will come around.
HJB: Obviously the media is always in your tool chest as well as a
favorite medium to exercise. Is this medium the essence of what
AAAAAArt Guiselnk is all about?
AGI: First, June 1990 was dedicated to the task, yes, as our pigment, to see
how much press we could generate with the International Aaaaart Guise
Month, beginning at the Museum of Fine Art Guise. We also use ourselves
as pigment. Two white heterosexual males become material to use. We see
no barriers to do what we wish to do. But the work is primary. There's
much we want to accomplish. We are hungry. We have a lot of projects to
do. The Art Guise have a bigger vision so we have begun to pick up the
RUB: The street scene has it that The Arte Guyz don't edit or don't sleep.
Does the team effort actually enhance, extend and fulfill your dual
AGI: First, that's just not true about our not editing. Some ideas must be
performed or exhibited before we know that it satisfies our goals. We don't
wish to do an annual gallery show with but variations on a theme, even
though we do work serially at times. The excitement and interest has
always been in variable investigations and possibilities of collaboration
with many materials, including the non-tangible. Two minds thoroughly
digest everything we do.
HJB: Does this extended collaborative force become self expansive,
exponentially, open; Le., two to what power?
AGI: We don't actually delve into the process, per se; but one person's
oblique idea is seldom challenged until it's in presentation mode. The
Art Guise:Schmart Guys know what they are doing; we handle numerous
operatives simultaneously as may be necessary. The dynamics of the
collaboration, in an introspective way, is but grist for the curious. Our
work is not introspective. The Art Gyse are not out there trying to "express"
themselves. We are investigating and playing. And playing is a most
important sophisticated means of exploring ideas. We also generate
considerable non-art human interest press like selling birdhouses on
freeway access roads.
RUB: What is the most important art lie The Museum of Fine, Fine, Fine
AAAAArt Guise would like to have documented in Artlies?
AGI: The Truth. Is this recorder on? Is this off the record? Well, then, no
comment for we share no secrets.
artl i e s REPARTEE
~~~~~~t ~ ~I~i
Chandler, Wade & Schwab, Eric Jonah. Art Lies, Volume 2, May-June 1994. Houston, Texas. The Portal to Texas History. http://texashistory.unt.edu/ark:/67531/metapth228035/. Accessed August 29, 2014.