Dash Snow, Penis Envy (Original), [2007].
I can see what you’re saying, but I still don’t buy it. I think the cohesiveness of Dash Snow’s installation owes itself entirely to Javier Peres and his tenacity. This is a man who is so determined to make his artists successful, while it seems that Snow himself can’t even deign to make an effort. From his Paper Mag interview:
My business used to be and still is thievery, to some extent. I came across a camera, which I thieved when I was 16 and started taking pictures. I’ve been partying for years, probably since I was 11. I did my first line of coke when I was 13 years old and I’ve been partying every night and taking pictures ever since. Everything’s a blur and every night is New Year’s as far as I’m concerned. [When I’m at a party, I look for] a dark corner, a wallet, a bag of blow and some love to go.
In reality, he is a member of one of the the wealthiest, most powerful families in the art world (great grandson of Dominique and John de Menil) and yet, all he can manage is a few lazy collages made with come instead of glue?
Give me a break.
Dash Snow Untitled, 2007.
I know I have been hearing some negative things about Dash Snow’s work lately, and I agree that I am not absolutely in love with every piece he has ever created. Some pieces though, really blow me away. If this isn’t a sophisticated, aesthetically sound and complete [comment? — ed.] on the landscape of media in our society today, then I am not sure what is.
