Slide Show - Images (mostly) from The Illustrated History of Painting


Tuesday, August 16, 2016

70 Million Dollar Petit Fours

FYI: Art Historian Amelia Jones is a seasoned pro when it comes to curating her own (faux) radical credentials – and self-promotionally disseminating that self-constructed myth via mainstream media and august podiums at airless academic conferences. 

Jones is particularly deft at opportunistically placing herself (in word, if not deed) at the hypothetical barricades of whatever cultural war(s) she sees being fought – fought by actual, participating, stakeholders. 

Jones is the quintessential academic, careerist-sayer, posing as an activist player. Her two main claims to ‘fame’ are coining the grammatically jaw-breaking trope “Pollockian performative” … and her infamously demonstrated willingness to accept a lucrative Chair at UCSC – where she functioned as upholder of, and appartchik spokesperson for, the party-line at Roski School of Art and Design, University of Southern California – just as the entire 2016 post-graduate cohort of the school quit en masse, in protest over the organizationally inept corporatization of the art school. Including, but not limited to, broken, contractual, promises to its post-grads. 

From the elitist promontory of her academic sinecure Amelia Jones loftily pronounces on “trans-identity” and righteously excoriates ‘privilege’ – all-the-while nibbling Jimmy Iovine and Dr. Dre’s 70 million dollar petit fours. 

Jones has positioned herself in such a way as to lump anyone who questions her radical legitimacy with those who oppose the cultural “re-questioning” she herself has co-opted from its rightful owners.