In pseudo-documentary style, the narrative outlines the commando rules of his domain: statements such as “work to code,” “creativity is the enemy,” and “always be knolling” ring as philosophical clues to Sachs’s aesthetic and conceptual premise, while others, such as “be on time,” “keep a list,” and “persistence,” outline basic functional tactics for any successful operation. Prior to stepping foot in his studio-a highly functioning “teaching hospital” 1 of sorts with a cadre of assistants who tackle projects with almost obsessive rigor and intensity-the artist insists that all visitors watch Ten Bullets, 2010, an over-the-top, entertaining, and deadpan short film by Sachs and director-producer Van Neistat. Sachs also articulates particular phrases and mantras that accompany his artistic persona like sound bites to a manifesto. Playful intent, combined with a desire to upend comfort, social mores, and elitist systems, constitute the artist’s bread and butter. With wit, charm, and a mischievous grin, Sachs scans his surroundings for potential fodder for his work, pulling a myriad of everyday references into his creative orbit. The look of Sachs is unmistakably his own: an art world provocateur with a youthful visage, dressed in what could be called “smart boyish” attire-oxfords buttoned to the collar, pants rolled, stylish sneakers-with his signature mop of curly hair, facial scruff, and round glasses. While it can be argued that the persona of an artist should be separate from an interpretation of the work, Tom Sachs (American, born 1966 in New York City, New York) poses an exception. On View at the Jones Center and the Betty and Edward Marcus Sculpture Park at Laguna Gloria
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