"I've always been a fine artist"
About this Quote
"I've always been a fine artist" lands like a deliberately misplaced label on a jar you thought you recognized. Coming from Joey Skaggs, that mislabeling is the point. Skaggs is famous for hoaxes that expose how easily institutions, media, and audiences can be coached into swallowing a narrative. So the line isn’t a bid for respectability so much as a dare: if you call it art, who gets to stop you?
The phrase "fine artist" carries a particular kind of social permission: gallery walls, grant language, tasteful distance from the messy world of scams, stunts, and tabloid appetite. Skaggs claims that permission retroactively with "always", implying continuity and inevitability. That word is doing heavy work. It reframes his career not as a series of pranks or provocations but as a coherent practice, suggesting the scandals were medium, not misconduct. The subtext is a critique of how the culture sorts creative labor into "serious" and "trash" categories, then pretends those categories are moral truths rather than branding decisions.
There’s also a sly defensive posture here. If the public reads his projects as fraud, "fine artist" becomes a legal-ish alibi: performance, not deception; commentary, not con. Yet Skaggs’s best work thrives in that uncomfortable overlap, where the hoax functions as a stress test for credibility. The intent isn’t to be believed so much as to make belief visible - to show how quickly we outsource judgment to authority, polish, and the right label on the jar.
The phrase "fine artist" carries a particular kind of social permission: gallery walls, grant language, tasteful distance from the messy world of scams, stunts, and tabloid appetite. Skaggs claims that permission retroactively with "always", implying continuity and inevitability. That word is doing heavy work. It reframes his career not as a series of pranks or provocations but as a coherent practice, suggesting the scandals were medium, not misconduct. The subtext is a critique of how the culture sorts creative labor into "serious" and "trash" categories, then pretends those categories are moral truths rather than branding decisions.
There’s also a sly defensive posture here. If the public reads his projects as fraud, "fine artist" becomes a legal-ish alibi: performance, not deception; commentary, not con. Yet Skaggs’s best work thrives in that uncomfortable overlap, where the hoax functions as a stress test for credibility. The intent isn’t to be believed so much as to make belief visible - to show how quickly we outsource judgment to authority, polish, and the right label on the jar.
Quote Details
| Topic | Art |
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