art tart hates to talk about her art.
Instead, we include conference paper excerpts.

(from Herr Prof. Dr. Uwe Wuwe)

Art tart’s early influences are fully in the American tradition of the comic section and wallpaper.

Today I would like to explore both of these directions in contemplating the essence of art tart.

Now, as we all know, although art tart stubbornly refuses to “talk about her art”, even the most casual observer of body language can sense a deep disgust within her when her paintings are “reduced to comic”. Under these circumstances it has been hard to get access to archival material should the scholar be suspected of harboring such an interpretive framework.

You may ask why I’m willing, then, to introduce such an association?

I can only answer, the scholar’s duty is to intellectual honesty.

For the fact remains, whatever art tart may privately tell you, the fact remains that other than fantastically decorative Torrone boxes sent down from NYC by her Italian Grandmother once a year, the only readily available visual world on the southern army bases of art tart’s earliest world was the black and white world of the comics.

Although this was later supplemented by her mother’s passion for wallpapering every room in the house, that early world of line, thoroughly explored at the time through art tart’s love of reproductive technique—I am referring, of course, to her passion for silly putty—that early world, ladies and gentlemen, is embedded even today in her art and in her moral fiber. The line is everywhere. Add to this the black and white clarity of the daily funnys (let us disregard the Sunday edition) and we see at once the source of art tart's simplistic epistemology. This is truly the stuff of comic.

I refer you to my work concerning art tart and the black and white TV of the 60’s for those interested in delving further into the moral questions.

The wallpaper sample books were soon to turn this visual world inside-out. Brought along to help her mother decide, art tart fell into a trance each time she started thumbing through these enormous catalogues of changing repetition: the same in red, the same in green, the same in yellow…In 1969 worlds opened up for this nine-year old that others at the time were dropping acid to find.

(we cut here)

An animated Question and Answer period followed.
We include one exchange here:

Frau Doktor Amy Ärger:
You’ve focused on this contact with wallpaper sample books in 1969 as art tart’s breakthrough, but others contend that art tart’s first contact with a “real” painting in Hollywood in 1968 was the decisive event.

You are referring to the Mona Lisa and the Last Supper hanging in one of the tourist attractions? I do think that those who have looked at this event are correct in describing it as “decisive”. Although art tart was deeply disappointed to learn these were “only copies”, she did have about 15 minutes during which she believed she was seeing the originals. This is nicely described in your own monograph: “Simulacrum or Vulgar Hollywood Fake? Is Anything Real in This Town?!” But decisive isn’t necessarily breakthrough.