"I think the Instagram girl is already part of art history; she’s submerged in it. The selfie is slightly different because it is mediated by tech and the internet rather than a man with a paintbrush, but it still serves a similar function. I’m really interested in how porn, painting, and technology have blended together to create a whole generation of girls who endlessly repeat their own image."
"The Young-Girl is fascinating in the manner of all things that exhibit a closing-in-on-themselves, a mechanical self-sufficiency or an indifference to the observer, like the insect, the infant, the automaton, or Foucault's pendulum."
"The beautiful boy is cruel in his indifference, remoteness, and serene self-containment... Narcissistic beauty in a postadolescent (like Hitchcok's Marnie) may mean malice and ruthlessness, a psychopathic amorality. There is danger in beauty... The beautiful boy, the object of all eyes, looks downward or away or keeps his eyes in soft focus because he does not recognize the reality of other persons or things. By making the glamourous Alcibiades burst drunk into the Symposium, ending the intellectual debate, Plato is commenting in retrospect on the political damage done to Athens by its fascination with beauty."
When we say a work (or category of works, eg conceptual art) is inaccessible to the general public, what we mean is that the ratio of familiar to foreign, of predictable to unpredictable, is so low as to make the work unassailable. There is no puzzling to do because there is a dearth of priors, and the reader is left (in the words of Csikzentmihalyi & Robinson 1990) "on the outside, unable to interact with the work." In an environment of pure noise, the viewer is left without handholds, without any priors from which to draw conclusions, expect certain characteristics over others, or form any predictions at all about the work.