I’ve been working my way through this interesting article that seems to dovetail some of the things we’ve been discussing surrounding art and The Motherfuckers. One particular section stood out to me: art, author Stephen Wright explains, becomes separated and reflective of society, and the subjects it’s grappling with, when call it “art.” For example, because we frame a painting of a factory worker, and present it on a wall, it falls indubitably into the category of art and production; it becomes removed from the very environment it serves to represent, becomes something generated and independent from the muse. I’ve been thinking a lot about this concept and its tie to Reno’s artistic drive; her interest in Land Art and film seems routed in delving into art as a process, as action instead of construction for a finished, stationary creation. Rather, Reno seems unconcerned with her final product, and seems comfortable in it being transitory (a line across the swirling sand flats of Western America, for example). Does this relate to Wright’s concept regarding the danger in naming and separating art? Maybe — it will be interesting to explore this as Reno follows her artistic interests. For now, she seems aware of Wright’s points; she is interested in participation, in action, and involving herself in a subject in order to grapple with it as art.