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article imageIn the present-day art scene, fragmentation delivers from vacuums Special

By Michael Krebs     Apr 7, 2013 in Entertainment
In a year-end analysis by the Huffington Post, 25 upcoming exhibits were profiled as the artists to watch; I caught up with local New York City artist Brad Darcy for his perspectives on the machinations of present-day art creation.
Art's authorities often parade forward without abandon or embarrassment, offering blueprints and guideposts without a meaningful notation on the nature of subjectivity or of interpretation - and paving forward with opinion columns that pose as a ponderous menu of fully vetted contribution. The Huffington Post offered a 2013 art preview, offering 25 must-see exhibits - cobbling together a slideshow under the journalistic proxy through which the site has been defined.
But there is more to present-day art than the convenience of listings. There is always more, because there is fundamentalism in the pursuit of fragmentation and of exploration and of experimentation. And, given this fundamentalism, it is effectively not possible - or at least not credible - to offer any must-see bias.
In connecting with local New York City artist Brad Darcy, the fragmentation is found in the rub between the microcosmic and the macrocosmic.
"There's always going to be a footnote in history," Darcy said. "Even if it's shit. It'll happen, and if it happens it'll be noted. It'll be documented and it will be in the art history books."
Brad Darcy, the youngest son of the late Pulitzer Prize-winning political cartoonist Thomas F. Darcy, operates across an artistic spectrum that includes sculpture, illustration, painting, video, and the incorporation of multimedia through computer technology. The vast pallet from which he works poses its own challenges and demonstrates the larger issue facing gallery audiences and artists.
"I kind of feel estranged because I'm at a point where I could go either way. I could use technology a little bit. I could get conceptual, or I could do a straight-up painting or a portrait. It's interesting," he said.
Doing nothing is the bigger sin, Darcy insisted. Nothingness presents a vacuum, and vacuums are opportunities.
"I had a teacher at the Art Students League who said if you don't do it someone else will," Darcy said. "If you have an idea and you don't make use of that idea, it'll be done one way or another."
Pablo Picasso is reported to have said that "good artists borrow, great artists steal," and this may amplify Darcy's point.
But the dynamic between the microcosmic and the macrocosmic certainly appeals to Darcy as a definitive means, and it is this dynamic that is misunderstood - or at least under-reported - by those voices covering working art circles. Darcy has seen this dynamic unfold in nature and has been drawn to its expression in the wonder of stem cells.
"But you also have to be introspective. That's why I'm interested in the stem cells," Darcy explained. "That picture of a stem cell splitting, and then also side by side - you've seen it on Facebook - the picture of the two universes splitting or some stars splitting. So, it's like the macrocosmic and the microcosmic - internally what's going on with the individual and the trending now, which is the social and what's going on with everybody. And the big picture in space."
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