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We're only missing Robbins' Talent and Heji Shin's portraits of Kanye. To exemplar the exploitation of your social scene, and the big uselessness of image. To add to the Becherian desire to own everything. Sekula's invisible labor, people set to work. Capitalistically, everything must be harvested. Pornographize your social circle. Visibility above all.
See too: "Robbin's Talent was funny because it wasn't a joke. It dryly announced its commercial moment, no art to it at all. Artists as their headshot. Artist as professional. This was before "Top 10 Under 30"s. It was saying the quiet part loud. Here the caricature is alms paid to deny the horse of it all. Barely caricature at all."
"Notable to the migratory flocking, Henkel and Pitegoff decamped to Berlin and opened a bar. In business it would be called a "blue ocean strategy ... The theater that came next placed their social capital literally on view, staged, showcasing the finer patrons on a pedestal and brightly lit to be gawked upon... Whatever institutional critique it held was mostly in the fact that it could do it better, insinuate itself better, prove the sporting of it, point dull yellow lights at the gameroom of it."
