Exhibited Experiments In Evidentiary Explication Against Artistic Exhibitionists

"Beauty is momentary in the mind---
"The fiftul tracng of a portal . . ."
---Wallace Stevens, "Peter Quince At The Clavier," IV


Welcome to this most avant-garde exhibit
of meritorious artworks that we have assembled
in what we believe to be a most successful attempt
to express the Art of the Unobjectified.
These works are for edgy-cated purposes only.
And, in the opinion of those who believe and assert
that their opinions matter the most (although matter
is, itself, the molecular objectification of atomic bonding;
or, for those of a more metaphysical bent,
the objectification of the Creative Impulse, or,
in human bodies, the objectification of the soul,
expressed by or experienced through its senses).
However, our considered contention is simply that
no artist has the calling, the vocation, or even the right
to objectify a person, or that person's desires and pleasures
through the medium of that artist's particular choosing.
Intangible worth and beauty must not be sullied
by a contingent devolution into the tangible;
just as a delectable gourmet repast should not be
reduced to an examination of urine and feces.
Let us now proceed to these works of art;
and I am privileged, among other things, to be
your escort through this exciting, exemplary gallery.
Here we have, on this canvas painted entirely in gray,
Rural Landscape Entirely Subjectified Against Objectification.
Takes your breath right away: am I correct?
Politically correct, of course; but aesthetically as well,
or so I should like to think. Next we have
this very intense pile of dried clay,
which the artist has named, Unsculpted Sculpture:
An Unjectified Objection To Objectification.
This piece, we believe, will long outlast
even the pryamids, which, as you know,
began with old Imhotep's attempt to objectify
external existence after the process of death.
And his creation, the Step Pyramid, really steps
to nowhere---does it not?---which, to us, provides
proof that objectified art is really, excuse my pun,
a dead end. Now our next contribution is a sonata---
Sound Unobjectified In The Trite Customs Of Musical
Notation And Rules, Especially the Prohibitions Against
Parallel Fifths.
The title is, admittedly, a bit
cumbersome; but the objection to objectification
must not be subjected, in any way, to truncation.
And, finally, a blank page of what used to be called,
about three centuries ago, foolscap paper:
and is titled, None Of Have The Right To Verbally Objectify
. And that brings us to the end of our tour.
We hope you have enjoyed this new frontier of art---
which has purged itself of all encumbrances
arising from matter, or the flesh, or an individual's
vocabulary. Personally, I think words are the worst
perpetrator of the faults of objectification;
because, with words, we objectify our inmost thoughts;
and most people are tripe-producing perverts in their minds.


And having thus spoken, our tour guide---
clad in a full length robe and mask so that
specific identity cannot be revealed.. During
our progress, I noticed one of those
objectionable femboys accompanised by
"hir" lover. "S/he" was so inappropriately clad---
in a tank top, provocatively short shorts, and
long (toe to thigh) stripey socks. In defiance
of appropriate propeities "s/he" carried a pair
of flat shoe which "s/he" refused to wear while
within the gallery. Upon her exit, "s/he" clapped
the shoes together as if to remove the dust
from them; and then, with an angry look
threw them against the building , and walked off
entirely shoeless
---can you believe that???
And let me just say that I object most vociferously
to this poet's editing---compelling me to use
these new, and unjustified, typographic malfromations
of pronouncs which, on this screen, are compelled
to take the form of "s/he" and "hir" inclusively.


"But in the flesh it is immortal."




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