Twenty people, mostly friends of [the artist Laura] Ginn or the gallery owner, [Allegra] LaViola, nibbled on goat cheese bruschetta topped with rat leg tenderloin, and rat-pork terrine encircled with beef fat, prepared by a chef after much trial and error with his proteins. The rats were shipped from a United States Department of Agriculture-approved West Coast processor that supplies pet owners with humanely killed, individually flash-frozen rodents, in classifications ranging from “jumbo” to “fuzzy.” Seventy five rats were skinned and cooked — and broiled and smoked and grilled — for the dinner, and most guests paid $100 each to attend, signing a liability waiver, some not entirely willingly.It's like a Tony Robbins fire-walking event... for the sophisticated, arty crowd.
“If I see an entire carcass, I might throw up,” said Clifford Owens, a performance artist. Mr. Owens, who had an exhibition at MoMA PS1 this spring, invoked the daredevil spirit of the performance artist Marina Abramovic, to get himself through the evening. “This is about risk,” he said.
“I don’t care about it as art,” [said "artist and video editor" Timothy Hutchings.] “I care about it as something that makes me a more interesting human being.”So another artist doesn't care about it as art. He cares about it as something that makes him a more interesting human being.
But isn't that what art is all about? Being the artist who is the most interesting human being? I can just imagine what was reeling through the brains of the artists who submitted to Ginn's art performance — and what's still reeling now that there's this drooling write-up in the New York Times. Why her?! Why not me! Look how interesting I am. This is all about me displaying myself as a more interesting human being. It can't be that she played me into her getting the recognition as more interesting.
I don’t care about it as art.