FAT BOY HENRY - The Art Merchant and Me (nyc, 1985)

284. FAT BOY HENRY – The Art Merchant and Me, (nyc,1985):

“I am going to cut you in twelve little pieces and feed you to the faeries but that’s not important now for I spend most of my time looking at musculature which includes every piece of the human body you’d imagine and to me you are basically inside out or as much inside out as I’d care to see anyway for the glory of your form is nothing more than the glory of the ART of reproducing that and you can have your stupid moonscapes and landscapes and open-air seascapes and all the rest for as I see it they’re all ESCAPES and what counts alone is the sedate and powerful presence of the human body in its raw naked and powerful presence with every sinew and pore and every twist and bend and every body part and organ contorted suggested shown and exaggerated every Blakean God detail of physicality shown and because of that I am like some Philip Pearlstein madman running happily between places you’ve never seen let alone been seen the Creation the Moment of True Light the extended conversion of all life and its terror and I paint with my brush and eat with my spoon and anything in-between I don’t really care about and to hear what you’re saying causes me pain because you’ve missed the entire point of this exercise EVEN THIS one which essentially goes into to the making of the real art-world you seem so to disdain” and at that I realized it no longer was merely myself and the mouthpiece here or even Miranda and Jacques - whom I no longer for a moment had a clue as to where they were having apparently escaped themselves to do some secretive moonlight kissing or physicality inspection - but instead some crazed harlequin of broken sound some envious retreater from the art wars of Hell someone intent on destroying everything in the name of art so I spoke up once more and continued: “one times one moment here it seems OK whenever you say something but apparently all I have to do is criticize the ‘art as saleable decoration’ idea to be branded anti-semitic or whatever offense you take but WHO buys and sells this stuff on a consignment basis WHO makes money on the works and toils of the artists as the ‘other’ WHO scouts around and selects things only after first scheming in what way this or that can be exploited inflated lied about mis-focused played with or otherwise merchandized in order to get money make money attract money WHAT other than a fat art-fart Geldzahler type goes out after art alone for the PROFIT motive tell me that ?” and I realized that was bold and it felt real good too and just then the little gallery rat did try to throw up on me but missed and then tried to charge me for it but missed there too until I said “why don’t we just call that ART and you can make some coin off that too?” and then I saw his fat waddle-butt leaving the room in that indescribable fat-ass fat-boy art-walk way I cannot right now describe other than picture BUT THAT’S the ART WORLD wonder-boy I knew it was all along and then I heard again Miranda and Jacques panting and moaning and for sure I knew what was up and it was FUCKING PERFORMANCE ART for sure but fat-boy Geldzahler had already left and taken all the cash registers with him too!!