"For long, many in art, academia, and popular culture have trumpeted the Marquis de Sade as a symbol of poetic transgression against society's stiff mores. He was put on a high pedestal despite being a certified rapist who took orgiastic pleasure in hellish torture and abuse. Among his spiritual followers, so to speak, was one Jeffrey Epstein from Manhattan's Upper East Side. The latter had friends in high windows who celebrated him as a business and math guru with slightly eccentric taste in women."
"I also want to shout out Aruna D'Souza's educated rant about wall labels in exhibitions, Seph Rodney's deconstruction of the politics of representation in art, Bridget Quinn's primer on Finnish painter Helene Schjerfbeck, and Renée Reizman's tribute to the DIY spirit of the Los Angeles art community. Finally, please join me on March 2 (3-4pm ET) for a virtual conversation with artist and Hyperallergic contributor Damien Davis. We'll discuss his recent essays, studio practice, and things he loves and hates in this art world."
The Marquis de Sade's celebrated transgressions are linked to Jeffrey Epstein's criminal abuses, framing a continuity of aristocratic depravity into modern exploitation. Epstein cultivated affluent networks that admired him as a business and math guru despite predatory sexual violence. Essential parallels connect 18th-century moral corruption with contemporary systems that enable and conceal abuse. The newsletter highlights critiques of exhibition wall labels, analyses of representation politics in art, a primer on Helene Schjerfbeck, and a tribute to Los Angeles's DIY art community. Graduate students at the University of North Texas withdrew thesis shows in apparent solidarity with Victor "Marka27" Quiñonez. A virtual conversation with artist Damien Davis is scheduled for March 2 to discuss essays, studio practice, and art-world preferences.
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