By DeAnn Welker
Miles talks about how awesome it was to get to look through the Brooklyn Museum when it was totally empty, with no tourists. They all think it's crazy that one of them will show there. And that's the end of that tiny mid-commercial segment, which really adds nothing. Why do they do this? And why does it bother me so? Probably because I'm so lazy that having to pick up the remote twice this close together is a pain.
Anyway, the artists line up one last time, and China -- in what looks like a dress made out of clear plastic bags -- introduces judges Jeanne, Jerry, Bill and special guest David LaChapelle, which is obviously hugely exciting for the artists, though LaChapelle sweetly tells them how much he's looking forward to seeing their work. The show begins. Sarah Jessica Parker's there, of course. There are also sightings of Ryan, Nicole, Jaclyn, Erik and a bunch of random New Yorkers.
Miles's gallery title is "And Two White Castles, That's It." It's written on an introductory sign, followed by a paragraph of text: "There is personal history surrounding the act of indulgence throughout a life. One repeated indulgence is able to access a bank of memories tied to these moments of release for an individual, extending and connecting each act to both the and the . These connections inevitably compile and strength over a life, giving a higher significance to indulgence (and the release found within) during the late stages of existence." Huh?
He explains: There are photographs in the first room of his gallery. In the room are the original three photographs of the man who died. In the last room are the abstraction/dot photos. He explains it to Nicole, who seems fascinated. Miles is proud of taking a chance. The judges and SJP rave and rave. LaChapelle thinks he sees the face of Jesus. The Brooklyn Museum curator isn't so impressed. Miles's dad gives him a hug and tells him he doesn't want him to leave Minnesota, but that Sarah Jessica's probably ready to hire him.
Peregrine's gallery is . It's called "Fair Game," with the following explanation: "Carnivals and country fairs permit us to ogle oddities, compete for novelties, succeed with simple skills, and gorge on trashy food. With modern tabloidization harkening back to carnies calling on the midway, this sherbert circus evokes a cloying romance with contemporary shills and glittering gaffs. Everyone wants to win the prize, woo the girl, and overindulge." Okay. I mean, at least I knew what she was trying to say. She explains that it plays on country fairs and competition.
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