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So, John told me to move out so he can live the life he wants to live; a life that does not have me in it.
Bravo to you for moving on, getting your life on track, making the necessary changes to better yourself and situation, and for having happiness in a new relationship with a man who loves you, wants to marry you, and who takes care of you and your son. So, to keep that happiness in your relationship, and to maintain your power and peace in your life, I feel you should tell your boyfriend. So, with that, tell your boyfriend because I’m sure you wouldn’t appreciate your man keeping it a secret from you if one of his ex-girlfriends started calling him, leaving messages, and sending text message. Look, unfortunately, and although you’ve told your ex to move on, stop calling, and leave you alone, he won’t get the message by you ignoring him.
Diane Thodos is an artist and art critic and was a student of Donald Kuspit at the School of Visual Arts in New York City from 1987 to 1992.
DK: I think ita€™s over for a lot of those people and one of the things I see happening is a return to tradition in a variety of ways (without mimicking it). DT: Regarding the postmodern problem I remember you once raised the question in class about why is it artists dona€™t allow themselves to go back to being influenced by a tradition.
DT: And at this point when you think of the incredible diversity that occurred (I remember you talking about the a€?Big Banga€? of Modernist creativity at the beginning of the last century around 1905 a€“ 24) we still have these rich aesthetic Modernist traditions that have barely scratched the surface of their possibilities in a sense.
DK: They probably do have emotions in their lives a€“ I dona€™t see how they couldna€™t a€“ but they split it off and deal with a€?official a€? issues of art.
DT: You have often written about the exclusion of experiential depth in the great morass of conceptual art that dominates todaya€™s art world. DK: Well, as you know certain groups a€“ for example October most notoriously - have attacked humanism quite explicitly. DT: Yes - referring to the title of the book written by Jacques Ellul The Technological Society. DT: Yes - they are playing video games all the time, they are on the cell phone all the time, or constantly texting.
DT: Like what Picabia was talking about when he had his Orphic ideas in painting and then transformed them into the Dadaist idea of the machine? DK: Most subtle, and the most complicated organ apparently ever created by nature from what I have read. I feel this writing reflects a historical a€?revisiona€? of Muncha€™s work that intends to desublimate the power of his work by making him into an everyday huckster. DT: This brings me to the question a€“ do we have historical revisionism today thata€™s working as a means of not merely avoiding the presence of emotion in art, but being destructive of the importance of emotional sublimation in art?
DK: What I would say has happened is the avant-garde a€“ avant gardism - has become institutionalized.
DT: He was part of the Modernist movement even though he was complicit in horrible atrocities. DT: In the Leni Riefenstahl film Triumph of the Will it is interesting how rigidly the soldiers march in tight box formations.
DT: And that hea€™s a hustler, that we are all the same, and that this is an everyday kind of thing. DT: Do you see shades of George Orwella€™s book 1984 when the Whitney Museum claims there is great diversity in art when there is just the opposite. DK: I am telling you he is getting the award this year - or why is Bruce Nauman in the Whitney Biennale? DT: Getting into a big subject here - on your suggestion I have read Jacques Ellula€™s book The Technological Society [first published in 1964] and was struck by his prophetic insight about the present.
DK: Not only do you get more and more efficient, is shuts out what you call the a€?dark areaa€? - it shuts out emotion, because emotion is inefficient. DT: Ita€™s not like watching an Andre Tarkovsky film where you get this incredible Dostoyevskian poetic depth.
DK: Ita€™s very interesting to see this a€“ the sets, the clothing, the environments they create - this Americana scene. DK: When people talk about Americanization they are talking about standardization with a vengeance. DT: Do you feel, in reference to Jacque Ellula€™s book The Technological Society, that technique as an absolute standardization of means also relates to how artists have become these sort of glorified commercial producers of brand name products: in other words formatting the product to streamline the marketing system? DK: Yes a€“ but remember when there used to be the Soho Guggenheim that was at the corner of Prince Street and West Broadway?
DK: I dona€™t think they do this anymore, but the shoes are brought out every morning and exhibited like precious objects.
DT: Is marketing as you see it a€“ the way this American Capitalist marketing system operates a€“ part of the efficiency of technique in a sense? DK: Unless you want to have success for five minutes after getting out of the program - ita€™s shorter than 15 minutes these days. DT: Conceptualism wants to create ita€™s own self-fulfilling propaganda and have no dialectical relationship outside of that?
DK: He just stuck with it and made this special amalgamation of expressionism and the figure a€“ but he had the strength of will to do that. DT: So you need the strength of will to separate yourself from the things that do not give you the diversity of experience you need? DK: And there is the argument that Harold Rosenberg made in relation to Arshile Gorky, that his apprenticeship was good a€“ Picasso to Miro a€“ and his work was quite different from theirs, derivative but an interesting derivation at that.
DT: Getting back to the issue of exclusion and censorship I remember once you talked about a€“ and I think ita€™s absolutely true a€“ in the late 80a€™s how women were starting to enter the art world more and more but their work was very novelty oriented in the neo-conceptual art mode. DK: It has been a lucky experience that I have met women artists in their 60a€™s who have been working for years and who I think are making pretty profound art.
DT: That is a very important point because their schooling would have dated from a time when you could learn techniques.
DK: What these artists have is also a persistent curiosity about learning and are knowledgeable about many other things. DT: So ita€™s like the stream of life is the effective force that brings the art along, as witness to it.
DT: When I was a student here in New York at School of Visual Arts from 1987 a€“ 1989, one thing that confused me tremendously was how trends occurred in the art world. DT: I was in New York from 1987 a€“ 1992 starting with two years graduate school when you were my teacher. DK: Whatever you may think of Thatcher, Saatchi understood the connection of art and advertising in a way that even Warhol didna€™t a€“ the connection of art and publicity. DK:A  And art openings have an atmosphere a little different than if we met in a boardroom or a restaurant where we would eat, chat, or make our deal.


DT:A  Everything is getting extremely distended and abstracted from any meaningfulness in terms of what is sold and what the art actually is. Now in America the art may have to do with some sense of Puritanism - a sense of shame about a€?letting it all hang outa€? unless of course you got a TV camera in front of you. DT:A  Knowable human content is easier to grasp that the sort of attenuation of abstraction into, if you will, more and more of a conceptual mode?
DT:A  He had draughtsmanship, he loved Soutine, and you could see the lushness of the color.
DT:A  I remember very clearly the day in class you described the difference between the erotic and the pornographic. DT:A  And also about how the Christian religion downgraded the body and split the body from the spirit, demonizing Eros. DK:A  They talked about how there was uncertainty that was entering the art auctions.A  Whata€™s the relationship between this blob and one and a half million dollars? DK:A  From a New York perspective the money seems to veil the art a€“ to be the clothing of the art. DT:A  This is the a€?technological societya€? where the media is in collusion with the promotion of this art. DK:A  Look at how thick it is with advertisements filled with current art images with nice color and all that a€“ so therea€™s marketing. DK:A  All I can say is I know and respect those who know the money side and they say the whole thing is a Ponzi scheme. DK:A  So you can look, leta€™s say, at our Hoover vacuum cleaner man and you can analyze that a€“ you can do a very interesting interpretation of what thata€™s all about.
DT:A  Well now they will go see a kitsch skull by Damien Hirst and it will be just as sensational, which is really a sad thing. DK:A  Well, there is a wonderful thing - there is this Bonham Gallery and they are selling meteoritesa€¦.
DK:A  I looked at this stuff and I said to myself this is a terrific expression of sculpturea€¦ha! DT:A  What about what the artist Otto Dix experience in WWI expressed in his War Series prints? DT: Another question- you had Theodore Adorno as your teacher and a very strong background in philosophy.A  Can you comment on how this enriched your approach to critical interpretation in a nutshell? DT:A  So in the Frankfurt School Adornoa€™s approach had a lot to do with dialectical thinking in philosophy and psychoanalysis. DT:A  It certainly is a voice which I find is distinctly different from your art criticism.A  How did your interest in writing this poetry develop and what were the motivating forces that brought it out in you? DK:A  Also some new things have been published on an online magazine, Per Contra, run by a wonderful literary person named Miriam Kotzin. DT:A  I am always intrigued that there are different parts of oneself that have different needs that somehow extend themselves into other forms and types of spaces.A  Was it the growing up with the Germanic tradition in poetry that began your motivation?A  Was it French Symbolist poetry? DT:A  It is remarkable to see that you can occupy different dimensions of space within writing. DT:A  I enjoy the freedom that the poetry gives a€“ the emotional breath about it, the atmospheric breadth it has. DT:A  Well, it takes sitting down and reading poetry too, and sometimes the spoken element is different from just reading the words. DK:A  This may not be what the official system loves, you may never get a museum show, but it will have its validity. DT:A  I have this internal environment that is absolutely jam pack filled with things that have to be created. This would be painful if ex boyfriend texted me out blue Magazine is a questionably “Monkey see monkey do. A lot of people today do not understand what you’re getting yourself to look into ex boyfriend texted me out of the blue from my friend neighbor. Ex boyfriend texting me everyday has long een a popular gift and source do zealots get at inexpensive looking.
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Break-ups are challenging — and with kids involved, it only makes things even more difficult.
I made the mistake of answering – and he told me that he is having a baby in a different state with a girl who has slept with all of his friends. Let him know what’s going on and how you don’t want anything to do with your ex, and how he is harassing you. You surely wouldn’t like the idea of his ex harassing him, and he’s trying to move on with his life and build something with you. And, yes, you mentioned that you have had your number for 10 years, and that you use it for business and personal reasons.
Therefore you have to take the drastic measure to get him out of your life, and to stop harassing you. A The Rijka€™s museum exhibit of Damien Hirsta€™s Skull is also an attempt to destroy the authentic art that was already there in the museum.
A Originally he had set up his print shop Studio 17 in Paris where a lot of the avant-garde artists there came to print.
A I was very confused about how it operated - what was its modus operandi.A  By that time in the late 1980a€™s anti-art already had a very strong hold within the art world. A I needed someone who could give me some real answers.A  I recall you had once criticized certain art of the 1980a€™s as being the equivalent of junk bonds. The problem, maybe, today because of both the society of the spectacle and because of the anti-art tendency anti- aesthetic tendency, is that ita€™s become confused.
A Art is the certain moment when you reach an idea of the transvaluation of values, and the thing acquired a certain value.A  Now, whatever else is going on, say, with Mr. Ita€™s a dialectical integration of opposites and it carries forward into psychoanalytic thinking which is where a lot of Adornoa€™s ideas come from a€“ conflict theory.


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My gut reaction is that if he's already in another relationship — after a child and time with you — I would bet that relationship started before he left. He cheated on me with another girl the whole entire relationship (I was unaware until the end), and he disrespected me so much. You let go of the drama, focus on you, reclaim your power and your life, and the love for you will show up.
Therefore, be honest, explain to your man what has happened, and how to handle the situation. He can let him know that you have moved on, he is your new man, and he doesn’t appreciate him calling your phone. However, if he continues to harass you leaving messages, sending texts, and incessantly calling, then you will have to change your number. It’s sad that you can’t get a restraining order because someone keeps calling and texting you.
He fled France because of the invading German army during World War II.A  He had been producing pamphlets in his print shop on how to blow up German tanks. A Many came to Studio 17 to have contact with members of the European avant-garde who they revered. A I believe anyone could study there as long as you were a serious printmaker and you followed his instruction making the experimental test plate.A  At the time Hayter did not have a high profile status the way DeKooning and Pollock did.
A A In todaya€™s art world do you see the work of Jeff Koons and those like him being similar to toxic assets - both financially and spiritually - to use a current terminology?
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Finally, at the end of the relationship John told me to move out of his place because I wasn’t the girl he wanted to be married to for the following reasons: I wasn’t educated (I had just barely started college).
Well, I stayed true to my word. I did not talk to John for a very long time, and eventually found self-love and self-peace through counseling, therapy, exercise, healing, and prayer.
I don’t want to start lying by omission to my boyfriend, but I don’t want him thinking there is something going on, when there definitely isn’t.
I feel keeping the line of communication open between you and your boyfriend will continue to help keep the line of honesty and trust open between you. He needs to leave you alone, and respect the fact that he is your man, and he needs to fall back.
You can prepare the change by letting all your business and personal contacts know that your number has changed, and that you are sorry for the inconvenience. That’s a Fastest Getting Over A Bad Breakup Feelings habitual way to figure out what you want. I told him that I wished him the best, and that I was in a healthy relationship now and he needs to move on. And, since you haven’t spoken to him in over two and a half years, you were not expecting to hear from him. The police will tell you the same thing, “Change your number.” So, don’t make this a bigger issue than it is by letting it build up, and thinking you can ignore your ex and he will go away. Naturally the days of ex boyfriend texting me out blue is an clever source of ex boyfriend texting me everyday customer base. And, I had a child from a previous relationship (he did not want kids with somebody who already had kids). Well, now he has been calling me in the evening’s non-stop, and if I don’t answer his calls at night he leaves me a list of text messages saying how much he loves me and regrets things.
I’ve awoken to dozens of private calls and messages for several weeks and its driving me nuts! Because what if the situation escalates between you and your ex, and your boyfriend finds out about it. You don’t want anything to come between you and your boyfriend, especially an ex who threw you out of his home, told you he didn’t love you, and basically made you feel like you were nothing to him. Anyhoo routine citizens just dismiss that as much as in any rspect “Live and let live.
I cannot change my number because I use it for personal and business reasons and I have had it for over 10 years. And, all of a sudden he has had an epiphany that you are the woman for him, and he wants to come back.
And, you will find yourself stumbling and bumbling talking about you didn’t want to worry him, or you thought you could handle it.
All you can control is YOU and YOUR choices.He sounds like he's in a place of missing what was—kinda running hot and cold—and that's not your responsibility. If he respected you, he would have ended things right before starting up with someone else.
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