| The Outside World |

Monday, October 18, 2004

An Appetizing Idea
CULTURE ANALYSIS by Kate Grace

Most of what I see and hear on our celebrity-obsessed TV and radio stations, I disregard. In my opinion, PR stunts have become so sneaky (and pathetic, really) that nothing can be taken at face value anymore. There's always some agenda behind the story, and the agenda is usually "Get in the Spotlight." For the most part, our culture is prone to fall for these tricks, because (for some reason) we're interested in these people's lives. Whether it's Vegas weddings (Brittany or the other Hilton girl, take your pick) or coining the phrase "Bennifer," individuals become celebrities not due to their talent, but because of their PR team. They have gotten sneakier, and we (as the public) have become suckers for it.

Occasionally, even though a PR stunt may piss me off, I am impressed with its ingenuity. I sit back and say, "My friend, that was unique and you deserve my respect. I salute you." For the most part, these instances never occur in respect to an established celebrity's weekend endeavors or the young, rising star's rambunctious escapades in order to garner attention in the gossip rags and therefore attention. These are people who can afford the best PR and yet they are getting the same 'ol shit yesterday's celebrity received.

It's those who have to fend for themselves without a budget and are able to do it by coming up with something truly unique that impress me. Case in point: Marc Horowitz. It's not only difficult for an artist to exist these days (artists considered to be successful make are expected to make less than $15,000 a year from their artwork) because we are a culture that values stardom over expression; status over talent. We are not a culture that seeks artists and art out, so artists have to find new ways to get our attention.

Imagine for just a moment, how many people around the world receive the Crate and Barrel catalogue. I feel I represent a large demographic when I say I can't afford a damn thing in the catalogue, but I still enjoy flipping through it and dreaming of the day when my kitchen and my at-home-office will look like the ones pictured: the day when my life will resemble that of those unseen people living in these rooms. Those who actually frame photographs and hang them rather than just think about it, those who use shoe organizers to actually organize shoes and those who always have something scheduled for later in the week with a neat reminder waiting for them on the dry-erase board: dentist appointment 3 p.m., Soccer Practice Tuesday or Dinner w/ Marc. I want to have dinner with Marc.

Apparently I can.

As a photographer's assistant, you're required to do the "bitch" work that goes with any shoot: Clean the smudge off the glass, spray the model so she glistens, write a note on the dry-erase board to make the office look lived-in. Ah-ha, opportunity knocks.

Marc Horowitz, performance artist and all-around fascinating guy, was assisting the photographer during the shoot for the most recent Crate and Barrel catalogue. In the final image of the Crate and Barrel-furnished workspace, a dry-erase board reminds the inhabitant "Dinner w/ Marc," and includes a phone number. One might think nothing of it when scanning through the catalogue's pages. Crate and Barrel executives certainly didn't.

Horowitz has received over 5,000 phone calls and an equal amount of e-mails due to his sly placement in the catalogue. I heard about this on the radio this morning on my way to work. The DJs briefly described what Horowitz had done and then called the number while on the air. While I was listening to the phone ring I had two thoughts. 1. It was 8:30 a.m. in Michigan and the number was for San Francisco. I would be pissed. 2. That poor guy. I can't imagine how many calls he's gotten, and probably wishes people would stop calling him. Finally, the ringing stopped and voicemail picked up. It was Marc inviting callers to email him and visit his website to see his artwork. I started laughing immediately. Marc, you're a genius.

Earlier this year, Horowitz embarked on his Dinner Tour. While traveling to different cities for work, he would contact random strangers listed in local publications or on company websites. He would offer to take them out for dinner, and amazingly, a few accepted. The result was what Horowitz referred to as (in an interview with Chicago Tribune/Metromix writer, Matt McGuire -- over dinner, of course) "social sculpture" or "experiential art." He's a social Van Gogh, so to speak. He opens himself to experience new people and connect with complete strangers and then documents the experience with photographs and conversation excerpts on his website.

With the overwhelming response from his incognito, self-imposed Crate and Barrel plug, Horowitz has planned Dinner Tour II to commence in 2005, and an International Dinner Tour to follow in 2006. He intends to turn his experience into a full-length documentary and an accompanying book. He is already offering his current cell phone bill (I gasp at my charges when I go over my limit by a few calls, I can't imagine going over by 5,000) to art collectors at face value on his website.

I know what you're thinking. This isn't art. Going out to dinner with someone is not art. Some critics have said the same thing. It can be argued that the film and possible book will be, but not the act of having dinner as Horowitz claims. But as an artist and art lover, I'm fascinated by Horowitz's "work." This is a form of "reality entertainment" I can get behind, and wish I had thought of it first.

I want to have Dinner with Marc. Marc, pick me! Pick me!