I have visited countless galleries, stared at or shielded my eyes from all manner of art, but I always read the plaques affixed to the walls, name of artist, of work price, the relative amount speaking to the financial state of the gallery.
I actually care very little about the name of the artist other than as a historical reference, for the piece has already spoken or remained in total silence.
I do glance at the title and wonder why so many artists, of infinite creativity, when it comes to words are struck mute, and tell me their work is simply “Untitled,” which for me is but another way of saying, unpurchasable.
What I most want to do now, locked in by something unseen, is to wander the streets of cities here, Europe, it hardly matters, and find statues whose plaques are worn away or gone missing, now nameless souls of once lesser fame meriting a bronze or of such ego as donating their own image to the town.
They are forgotten souls, often rightfully so no doubt, but even the forgotten deserve a name merit a history and higher purpose, and I would offer those, with Banksy-like labels, this old bearded man, now Ignatius Fatuus, best remembered for inventing the pyramidal bread pan, where each loaf is uniformly burned on top, and there Shoshanna Chesed, who pointed out that if we were created in God’s image, it is likely God is a woman given the planet’s gender distribution, before the zealots stone her for blasphemy, insuring their own ultimate, eventual ticket to hell.
But perhaps the virus will grow tired of us, mutate, and go after one of the myriads more intelligent species we have not yet foolishly or greedily rendered extinct.
First appeared in The Poet: A New World, Autumn 2020