Continuing the theme of identity raised in Declarative identity and (processes of) identification, one should consider the stance of Johnny Tragedy/Jonathan Stanish on the matter of identity, professionalism and professional identity, expressed from a US, particularly New York perspective, in the context of art practice.
He says, in an interview with Mark Sengbusch:
"Johnny Tragedy is what non-artists think artists are—someone who lives in a Bushwick loft, has an MFA, tattoos, and is in a band (laughs). Even being in a band seems so old fashioned at this point. Jonathan Stanish is what the art world wants artists to be—marketable, palpable to market trends, and easily digestible. They both are cliches, they both pander to their audiences. (Don’t we all to some degree?) But by having both, I get some freedom in being able to go back and forth. Tragedy can get away with making a lot weirder art, and the pseudonym keeps it separated from what comes up when you Google search “Jonathan Stanish”, so Stanish’s professionalism remains preserved. Stanish, in some ways, allows Tragedy to have this freedom by supporting him financially. I also get to make art as Stanish that Tragedy might consider “selling out.” Stanish’s goal is to make money as a “capital A Artist.” His work is about the history of printmaking and ceramics. Tragedy’s practice takes place more online, often in the form of self-promotion for the sake of self-promotion."
Source: Sengbusch, M. and Tragedy, J. (2014). Born Tragedy. NYArts, 21 (2), pp.10-11.
An online version of this interview is available at: http://www.nyartsmagazine.com/?p=14255
He says, in an interview with Mark Sengbusch:
"Johnny Tragedy is what non-artists think artists are—someone who lives in a Bushwick loft, has an MFA, tattoos, and is in a band (laughs). Even being in a band seems so old fashioned at this point. Jonathan Stanish is what the art world wants artists to be—marketable, palpable to market trends, and easily digestible. They both are cliches, they both pander to their audiences. (Don’t we all to some degree?) But by having both, I get some freedom in being able to go back and forth. Tragedy can get away with making a lot weirder art, and the pseudonym keeps it separated from what comes up when you Google search “Jonathan Stanish”, so Stanish’s professionalism remains preserved. Stanish, in some ways, allows Tragedy to have this freedom by supporting him financially. I also get to make art as Stanish that Tragedy might consider “selling out.” Stanish’s goal is to make money as a “capital A Artist.” His work is about the history of printmaking and ceramics. Tragedy’s practice takes place more online, often in the form of self-promotion for the sake of self-promotion."
Source: Sengbusch, M. and Tragedy, J. (2014). Born Tragedy. NYArts, 21 (2), pp.10-11.
An online version of this interview is available at: http://www.nyartsmagazine.com/?p=14255
