These are certainy contemporary in materials, concept, palette, the fractured design. Its a signature style that she invented and innovated. The hardness and opaqueness of the paintings are unflinching. Can't really deny them but...
Its a lot to get off the ground, and I dont think they totally fly. The drawings have translucence/transparency that brings the parts together more succcessfully.
This accounts for the ages we seem to have lived and to state it more generally, for that ex post facto operation of a great calamity, or any very powerful impression, which we once illustrated by the image of a stain spreading backwards from the leaf of life open before us through all those which we have already turned.
Ditch , arrange stain and hide membrane take shelter from rain , prevent from , drench with rain , cause Caulis Bambusae in Taeniam rotten fungus egg for a long time, clear up beds of impurity, excise rotten mushroom , death mushroom;
Anyone care to decode the palette (I thinks thats the key). They look like generic enamel colors - in the same way that you might go to the store and buy "mistake" paint and work with that.
I think I prefer Hirsts spin paintings, less pretentious in their pretention in a way.
or you could dot he art cow thing - doesnt have to be a cow - here for example
In seattle its pigs. I hear in Vegas its vultures.
Zip and old guy need to take a lesson in the tea ceremony. Yes everything matters in a work of art: aluminum or shower curtain support, whether its a found painting or one you commission. Everything matters. That's so obvious, why would you want to gloss over it?
MOST of us have to respect our budget…so how do we incorporate the “Truth in Materials” concept without breaking the bank? It’s actually pretty easy. The fundamental property is not to fake it.
That means that your home is an honest reflection of YOU, your values and is truthful about what materials you have incorporated.
For example: wood is wood…laminate is laminate, tile is tile, metal is metal, paint is paint, glass is glass. NOT laminate pretending to be wood, plastic pretending to be glass, vinyl pretending to be leather.
Baskin-Robbins is known for its "31 flavors" slogan. When the first Baskin-Robbins store opened, it offered 21 flavors, an innovative concept at the time. ― hence the iconic small pink spoon.
1. Mix green tea powder in hot water. 2. Mix egg yolks and sugar. 3. Add milk. 4. Heat the mixture on low heat. 5. Cool the mixture. 6. Add green tea in the mixture. 7. Add whipped cream. 8. Freeze the mixture. 9. Done
All those moments will be lost in time like tears in rain
Right, so in the peter S. painting, OG was right in that the painter didnt use the support (found painting) like it mattered. Thats one of its problems; why it seemed condescending.
But in this IC painting, it feels like it all matters--in that the materials add to the meaning.
Re: the palette. We have a guy here who does a very similar style. He gets his palette from Playskool pieces, or is it Legos? Some kid toy. He goes right to the manufacturer I think and matches the colors.
It's very disillusioning to get that no matter what one might accomplish, it disappears like smoke in the air; that no matter what service one might attempt to perform, it's like an insignificant grain of sand upon an infinite beach.
Are you feeding the poor? Are you Shakespeare? Doesn't matter. It's all insignificant in the end. If not today, then tomorrow. If not in a thousand years, then in a million billion. The whirling clusters of galaxies don't even notice.
I can answer that one Q. Meaning comes from the feel. The feel comes from the materials and how they are touched. It's all in the tea ceremony. Rush is right here, we seemed to have glossed over so much in ernest to get so far. And now not so far from where we were, and far off in another distance, this getting back, keeping in touch, touching, knowing a kiss, over the phone, in the material, in memory, the scent, hot flush smell... all this stuff which makes the air most visible.
Erthling, do not doubt your feeling of meaning. We have been watching you in earnest. Just remember, compulsion differs from decision. That is all for now.
There are many painters who have adopted aluminum for their supports rather than canvas or wood. It's porous enough for paint to soak deep enough and provides a lustrous, light-struck surface. It does wonders for creating a very slick signature decorative formula. The aluminum reproduces the flow of brushwork and flattens the paint surface, the enamel hightens the effect to the gloss of commercial printing.
Karen Lang states in her essay for the accompanying exhibition catalogue "Calame's secular responses do not provide an answer. Instead these projects call into question outside and inside, the local and the universal, as well as the assumptions, ideas, and concepts on which religious, economic, and scientific institutions rest. Secular Response is an intervention in the very best sense of this term as an artistic tactic: these projects implode categories and concepts."
And everything is everything And no-one knows nothing Not nearly til never Cos when everything matters In everyway and at all times What is left for matter to mean? For that matter, to matter?
The term *matters* suggests that you are having an effect on something; that you are causing something to change. In reality, the truth that you are infinite and perfect never changes.
QQ – To go back to your question – does the aluminum support of the Calame change the meaning?
I’m not sure; I think you’d have to see it to decide. I’m not even sure now precise or hard all those traced edges are, whether it has a gloss or matt finish.
But I can see how it might add to the smooth industrial finish (no canvas weave) and wood would do as well (ply rather than MDF - unless you’re Lari Pittman and can afford mahogany panels – because MDF weighs a ton, handles moisture really badly as well as being carcinogenic).
So aluminum, as Zip noted, may be a budgetary consideration as much as anything.
But generally, not everything in or about a work contributes to its meaning, or works as reference. The fact that a painting may have jam smears on the back or price stickers still on the stretcher, doesn’t influence the meaning. The work possesses these things but doesn’t display them. Then again, ‘the materials’ aren’t just tactile properties either, since scale, amount of detail (or lack), expense of materials, even location (think murals) and other circumstances may also influence meaning, put you in touch, in intangible ways.
So meaning arises along a number of channels (in the literature distinctions are drawn between what is stated, expressed and embodied) but works variously combine them. Styles class them by who, when and where.
OG, Myron had a thing or two to say about the support and a paint's resultant surface, performance, and meaning. He was, in the later days, super fastidious. I don't think that matters, but what it did for him was gave him the space, and sense, and yes, feeling for all it is like to be faced, what it is like to be faced with all these minute details, their resultant meaning , and, importantly, how to manage them to create something vivifying, synchronic, with the sense in the material. When your going into this trade as a conductor first thing is you'd better have a good idea how all the materials sing. Well, for a painter, as with a musician, we call it temperament. So yes, if we are faced with this thing abstraction again, paying attention to materials may just give the edge to the meaning, meaning that you can tell if it's working because it makes sense, and works in the material and out of it, where and how it reaches us.
A deliberate artistic search for stains may lead to an unexpected chance observation or discovery. But to have meaning, every observation or discovery must fit into a pre-existing pattern of ideas in the artists mind. Just as a word means little out of context, a new observation or discovery needs a proper context in which to fit in order to be most meaningful.
She didn't invent anything. Gary Hume was using these materials before her. This is souless work made with a team of people that is decorative and empty. The content comes from the outside; it's about the Indianopolis Motorway whatever. Like that is supposed to save it from being just crafty decoration. They all look the same and the meaning somehow is tied up with the amount of craft required in their making. It's bullsh!t.
Two dictionaries glued together, still not a novel.
Mapping. Always.
"...the jagged wrenching forms derived from the artists body temperature amortized over the lifespan of a cricket points to our deeper disconnect with nature..."
"...sweeping arcs of thrown charcoal dust conjure a Dickensian factory setting but are in fact carefully rendered extrapolations of the path of the artists ejaculate, recorded in grainy super8, as it arcs gracelessly onto a human skull..."
Tea ceremony? Or just convenient form generating systems?
Was it a coincidence that in 1929, at just the time Joan Miró entered what he termed “anti-painting,” Georges Bataille enunciated the principle of formlessness in the “dictionary” entry he wrote for the word (l’informe) in the magazine he edited, Documents? Or that during the periodical’s brief life (1929–30), the sculptor Alberto Giacometti should have been praised for producing the experience of “failure,” or that Salvador Dalí should have developed an aesthetic of the edible—the destruction of form through eating?
The Tao flows downward like water that is not water. What is it? Is it a coincidence?
Did I write this on a computer or on your mind?
How did I get there?
Opening a can of shit, a cat comes out, alive. I name it Piero.
QQ: I brought up the issue of material/meaning to contradict zip & old guy's assertions that they are unimportant. Seems to me that the materials either work for or against the meaning, in either case, they always matter. A painting is the confluence of content, materials and process.
What you are asking is does the stain source matter--which is more about the conceptual basis of the painting. I'm interested in the ways that this painting is conceptual like that. Seems that where the stains come from are "supposed" to matter. It does seem like a stretch to me, too, but I like the way its attempted. Like Julie Mehrtu does as well.
Form generating systems, and the fighting against form generating systems, in the same painting. That's what you try to do with abstraction these days, innit?
...Especially if your working in a style that references abstract expressionism and the possibilities for freedom implied, attempted, historically failed?
As no rush says, " A painting is the confluence of content, materials and process."
A painting is also a confluence of the artist and the audience. The materials always matter to the artist who is all-knowing about the work, but for them to matter to the audience, the materiality has to be apparent. And, as I think Zip implied, that should happen visually to be effective. If the medium requires verbalizing to the audience, the art may be effective as a concept, but at some level it is a failed painting.
This Calame painting seems to be 'floated' off the wall on its aluminum support as near as I can tell from the jpeg image. If so, it speaks for itself since the edges of the aluminum would be visible.
Andre Serrano's crucifix image however is more high concept so to speak. I doubt that it would have the same power as visual art if he had titled it "Apple Juice Christ". His concept in that case had to be verbalized, which he did by the title.
Huh. I don't find these paintings nearly as awful as I thought I would reading the comments. I can't say they are exciting to me, but I find that slight "Starbucks wall graphics" quality interesting, interesting in an unironic way -- that aspect of the work somehow feels organic and not like an over-thought concept. Strange.
I don't feel that these paintings call into question all those questions that the essay writer says they do; just because the back story, or whatever I should call it, behind a work involves certain questions, doesn't mean the piece itself is going to automatically reflect that. I don't think these do, which for me is fine.
Also, a question. Someone said she's been doing these forever. How long is that?
I saw the Gary Humes at White Cube recently and they were on aluminum, canvas et al. Looked a little weird I thought. But i guess he has earnt that right.
who started the whole "people under the scrim" or "face in the attic window" tropes anyways? Its like when MTV music videos came out and stole all their crap from performance art.
I do feel however, that the painting's "are" something else. They "do" something else. That something though, ends up a little boring - especially when we find out what these are supposed to be, or supposed to be "about."
I'm having a hard time buying into her "system" when it's so obvious that she breaks it down with seemingly reckless abandon, according to her sense of form and color. If these are in fact assembled by chance, as a cup of spilled coffee, I want to see some discipline.
If it were in fact the way the poop plopped, as idon'tbathe so aptly stated that it is, I may be able to look at it as something other than simply matching the couch.
From someone who hasn't seen any of IC's stuff in person, I am a little curious about the drawings.
What are they like in person? Are these sheets of mylar dirty? It's not often you see someone hang a dirty piece of architectural mylar. That would come closer to working for me.
The recent decision by German officials to withhold support for any new sanctions against Iran has pushed a broad spectrum of officials in Washington to develop potential scenarios for a military attack on the Islamic regime, FOX News confirmed Tuesday.
Blotter Blotter madman bleer gut sloth is slop to think? Car adam 12
Shows over folks!
For example, Coppolino noted in his thesis that while it was not customary for police officers to remove their hats while in the patrol car at the time the series began, after Adam-12 aired for a while, this became the habit of most officers. This could be seen as evidence of Marshall McLuhan's media theory that "we create it, then it creates us."
The Gary Hume League is Warhol without the silkscreens, Matisse on a slow trace in enamels and lacquers borrowed from Pollock or Stella right back to Bauhaus experiments.
Ach! Those German chemists.
Stencil me a grape, guv.
But Calamity Ingrid is systematic overspill, kicking over the traces and departing the places for abstraction on high. If we don’t track it all the way back to the speedway or church, neither do we have the direct and personal engagement with materials, the instant splash to scale, while boarding for point, line and plane, the pattern of pictures or the painting of geometry.
We’re stuck in the middle, taxiing in line and awaiting clearance from air traffic control. Rush has a window seat.
It’s decorous if not decorative when process meets only the gestural, when the trace is only to fluids and fill ends in flatness if not flattery. My coffee cup is half empty, but it didn’t taste like coffee anyway starvuck.
There is an abstraction to be traced to the fluent, there are designs beneath the workings of the world at its most civic, but to properly reveal them will take more than patience, industrial strength material or commission.
Ok, so let's assume that we now know what it is... mattering or unmattering. Is it possible to move onto this next bit--we've got all this splashy stuff, in this case it's kind of worked out in a horizontal, with this long stretch running the vertical with certain counterbalances going on that can run into metaphor and / or simile, so we've got all that, so what does it all mean? You know, the big add up @ the end of the day...
Gary Hume can have quite an elegant mark sometimes. he ran a rut, but seems to be coming out of it, good stuff in that he has this knack of pulling out the reshuffle that loads the expectation of the hierarchy... kinda like that< whatever...
E says, "I've moved on. I've moved on to the next life!"
"don't be daft, yer here, standing next to me. How can you say you've moved on when yer here standing, talking? I mean, don't be daft, you're wriggling it again, aren't cha ?!"
E says, "Ah, very astute. it might look like to you that I'm here, but it's not really. What you see here, is like, just part of a memory... you see! The real me is like lifeless, part of the deal of going up a knotch!".
angelina, you forget that some of us are heirs to large fortunes simply masquerading as plebes. the aristocracy is slow, but not blind. the lessons of guerrilla warfare are free for the taking.
i'd rather see it baked onto a fibreglass surfboard. then it would really mean something. these materials are chosen functionally, or to give the nozzle spent enamel its proper signwriting surface covering ability. commercial materials once again being sent through the apophenic chamber, more high lows, like before. i'm not shitcanning it, though it is essentially still a spraycan in its materials. high low dichotomy is not just because of your nuts/ovaries, your inside outness, its because of the questions.
Water sticks to itself (cohesion) because it is polar. Water also has high adhesion properties because of its polar nature. On extremely clean/smooth glass the water may form a thin film because the molecular forces between glass and water molecules (adhesive forces) are stronger than the cohesive forces.
I think the success of The Sims demonstrates pretty clearly that it's not necessary to rule the world, and a lot of people don't even want to. They're busy just trying to keep the dishes washed and the newspapers picked up. Millions of them are perfectly happy doing it, and Maxis is making a fortune out of fulfilling that particular, if peculiar, fantasy. We don't need for games to be about adolescent armageddon. We only need for them to be about people that we care for, and in fact that allows us to make a much wider variety of games than "Save the world!" does.
When you read artist statements like the onbe for this show or when you read words like "blur the boundaries" or "calls into question" it gets you thinking about what it means to be an american. Am I right?
Back in 2002 or so, as you will recall, Anne Coulter was saying Liberals were namby-pamby or worse, hipocrites for thinking Saddam must go but not wanting to take the necessary action of Invading Iraq and Afghanistan.
Well she was right, and now the Liberals who got us stuck in a quagmire WORSE than Vietnam in many ways, are going to embolden the enemy by forcing an early withdrawl. Its insane.
THe same liberals that didn't fix the Levees, when they knew full well they were fiddling while rome burned. The same Liberals who can;t fix the nation's infrastructure (what this painting is really about my frined, all sophistry aside).
Yes, while the conservatives are building bridges, the liberals are tearing them down.
As a conservative, I wonder who is going to be a force for change in this country, a force for good? Who is going to tear down the old liberal way of doing things and do the hard work of making a difference?
Liberals are a lot of talk about what they plan on doing but when it comes down to it what are they really doing? Name one country a liberal has invaded.
If ROnald Reagan had been president during the Iranian Hostage Crisis we wouldn't have to invade Iran now.
IC paintings are visual desserts that mostly satisfy. They are funny hard-edged reactions to old drip paintings of the 40's: new found drips and splatters flattened, mechanized, designed. Don't like decoration? The gallery will contextualize them into the avant guard. James Sienna's tightly controlled idiosyncratic patterns follow different rules, but each artist uses tightly controlled, idiosyncratic patterns- simply to different ends. (It all ends up as enamel on aluminum.) They are shamelessly about visual splendor in a way that makes the Peter Schuyff look annoying. I prefer Jim Shaw's use of thrift art- without the over painting.
These similarities frightened the early Christian leaders - that almost 500 years before arrival of Christ all of the Christian mysteries were already known. To combat this, Christian witters said that the Devil knew of the coming of Christ in advance and had imitated them before they existed in order to denigrate them. As Christianity gained strength and became the formal religion of the Roman Empire, the 'Cult of Mithras' was one of the first pagan cults to come under attack in the fifth century; Temples of Mithras, like most other pagan Temples, were destroyed and Churches build on them.
hey, you guy's forgotten this panting? A lot of people still say abstraction over-intellectualizes things because most people who make the stuff have forgotten how to draw. And, for what it is worth, every abstract bit of stuff has already been made, while when using the figure, landscape or an interior there is this partaking in history. Every mark in history has its individual stamp. And the stamp of abstract, is, well, um, well that's not the real one, that's the fake one. anyway I've been taking this 5th brain circuit drink, it promises:
Improved communications at all levels; Improved health; Physical agility is improved; Improved sex life; Psychic ability gained; Problem solving is enhanced; Ability to image better; Ability to discern at deeper levels; Creativity is greatly enhanced; Opens new levels of consciousness; Able to learn new things more easily; Increases I.Q.; Harmonizes the individual with the environment; Aids in gaining a positive outlook; Improves financial ability; Improves ability to work; Abundant available energy; and much, much more.
Ok, here it goes, I'm just pouring a bit of the stuff down here into the painter URL. Let's get it out there quick. I can hear something....
The staement says these are non Secular. I read the statement when I dont get the work. Im stupid like that.
You know, for example I see a sculpture of a crow and I'll think of a rope straight away. No tree necessary, I can branch off at will. I'm a human bonsai.
But its just a painting for 500$ right?
The message is more important than the money?
I don't think so bro.
I'll take decorative for 10,000
Now go out there and crawl on your hands and knees and beg for it. Trace your path so I can see your ass all day. And no fair hiring interns unless they have good assets.
Where is the outlet for emotion in the present rational-scientific-intellectual-social-etc system/noose? (murder, dancefloor, art) This is what Ingrid is asking, searching for, putting together. Shes using the method she's been given and trying to make something that flies. But it can't really, and that's why its interesting, poignant and contemporary
And Im saying thats not good enough. It never is is it? Making the darkness visible, pshaw. Thats like saying artists make art. Doesn;t justify a solo show bro! I dont care if you used rto be a crack whore prostitute, you still gotta make something that doesnt scream capitulation if not outright collaboration. Thats the problem with this abstract stuff. its a perfect mirror. Personal isnt political, thats just a bromide - snake oil for the farm fed ffllaggellaattee!!!!!
Cook me up a twinkie.
Harpers magazine is calling for a general strike on Nov 6.
"What are you going to do, sit on your overdue library books?"
QQ:using the method given. i guess I mean she regards history and art history and tries to make it go. the method she's given is criticality. i think she's trying to show the problem and the solution in the same painting, which is hard to do. as I said, one weighs the other down. but that's where we are, its unflinching.
99 percent of all art is lost, so tey say. Was it art to begin with?
Save yourself, or lose yourself. All art is capitulation. I think this is postmodern reality pastiche, its all blending together like a shirley temple or a graveyard.
This painting is real but the criticality is an illusion, a mirage at the end of the river like the rest running through nothing a bunch of heads on sticks and someone nattering on about how if they didnt do it someone else would. Which is of course true and necessary.
Let there be darkness!!!!
No wait the criticality is contincent, consisting of a convergenge of context. Im at the vanishing pont of the all seing eye at the bottom beneath the square, crushed like a bug.
space is not a passive locus of social relations and that space is trialectical. That is space is comprised of mental space, social space and physical space. This said, hegemony can be read as a spatial process.
In order to get back at the company, the three friends decide to infect the accounting system with a computer virus, which will round down fractions of a cent from accrual of interest and transfer the leftovers into their own account (see salami slicing).
No one knows what information is, but people continue to believe that having access to more of it is a panacea. Similarly "knowledge".
In the following years they have spread to various art collections all over the world and netted large prizes. Many of them have also exploded, maybe because of corrosion and expanding gases.
to creating art to running simulated physics experiments instead of real ones in order to provide clean, synthetic results that match the theory.
The resulting liquid air was then processed to separate out the liquid oxygen for burning in the engine. The amount of warmed hydrogen was too great to burn with the oxygen, so most was to be simply dumped overboard (nevertheless giving useful thrust.)
You can look into this painting and enjoy its kaleidoscopic qualities. Suggestions of cursive writing and Rorschach ink blots combine, but the artist's focus on layering pays off. Purely visually, this painting is like Da Vinci's spitting wall. Enjoy the ambiguities or get turned off by the technique and the lack of distinct figuration. The artist's technique, the inherent contradiction of the slick surface and the nebulous splotches, draws the gaze in, if the viewer is willing to switch off rational discourse and slide into a meditative daze.
if we could take the necessity of money for the artist out of painting, would the interior decoration, and the candy shop, close down?
in the future there will be division, as there always has been, between the proto-technologists, the folk arcadians, the folk-techno-arcadians, the proto-spaceforth-arcadians, and the ancients (who cannot develop any theory of supporting the number of people on earth and live autonomously).
if we live in the age of saturation then some works are certainly flood markers. but if art is not in some way pretty, even if it is spooky pretty, will nobody buy it? Should it always be made to sold? That has irked me for a long time.
flowers are beautiful. but are we living with flowers? sometimes. Love comes and goes.
ok revision, love never dies as it is ethereal and never lived. but people die, hence the ephemeral nature of love that may pass with them. (or some krap)
i don't know, but i like works that are psychological in some way, or even emotional, just something. i know there are entire schools against this, but that's where i find the translation of experience. in abstract work it is still completely possible. even folly has something to say of itself. again with my intersubjective analysis, i find it difficult to read this one.
factory colors are difficult to bear, for me, they kind of jar like web colours, or standard swatches in microsoft paint. super flat dead ish. but maybe thats the intent. but any intent doesnt feel like it was the intent here, until some curatorial afterthoughts. which i don't deny can be revealing, but not here. a lot of meanings seem to be tacked on, as zip posts, not living in. does anyone see matthew ritchie in less detail.
can't like this one, or her work in general. oh well, can't win them all.
I don't take the idea of you being policed by Kosuth that seriously, but that happens with people on the other side of the aesthetic fence too, like a friend of mine who is a famous and gifted figure painter. On the train home from a lecture we recently did together at Yale he wouldn't stop badgering me about how he thought Robert Smithson was boring "PBS art." Shutting down the range of interpretation is an obsession for some people--a negative obsession that cuts across styles. Symbols should have a wide range of interpretation. On the other hand, I don't want them to be so wide that they don't mean anything. I want to reclaim abstraction from its being just a visual style. After all, before abstraction was a visual style, an abstraction was a philosophical concept that called up multiple images. That's what abstraction means to me: the visual demonstration of philosophical nuance.
ZIPTHWUNG said............'I want to reclaim abstraction from its being just a visual style. After all, before abstraction was a visual style, an abstraction was a philosophical concept that called up multiple images. That's what abstraction means to me: the visual demonstration of philosophical nuance.' Bless you for bringing this thought out into the open. It's seems it's been hidden in the closet for too long. Malevich, Mondrian, Kandinsky etc.all had a clear 'moral' position from which they developed their work. The problem nowadays is that the demands of the 'market' has replaced the philosophical base and in a material age any notion of the 'spiritual' in art is bound to ruffle the feathers of the shakers and the movers. Unfortunately such a base cannot be picked up as one does a style - it has to come from within and for me that is why so much abstract work is forever falling flat on its face. Artistic integrity, if it still exists, no doubt remains hidden from the public gaze and until the market,critics etc. show some sort of moral courage it will stay that way. Sadly.
Ingrid's work did not excite me in the least - full of deliberation - seemed like each stroke was premeditated to the point of the whole thing being so artificial that I could not relate to this in any way (given the fact that she is inspired by nature)...
A lot of this sort of art has been cropping up recently, brushed. Clean enamel on aluminum look that looks like it has been in an operation theatre... Makes you think of all the rage that artists have for the ‘gallery as a white sterile space’ concept - only these paintings make the argument more so.
Of course, the hard work is very apparent in these paintings, but for me the paintings need to have some level of spontaneity – otherwise they looks like versions of Manga.
Take a look at the current exhibit at Dean Monogenis @ Stux and Emilio Perez @ Galerie Lelong you will know what I mean…
I like sadder paintings ... something that decays Like a Mondrian or a Gorky but not THE Mondrian or Gorky no, the No Name paintings towards the end of the line that often poorly and sublimely parody the Modern Paintings behind the velvet ropes. Something not handled with gloves. The mishandled, cracking, yellow surfaces in the attics. Ignored. Dustbunny. Next to Grammies finernail clipping collection.
Ingrids "stuff" would appeal to me if something was dangerously fragile about the surface. Simply if the surface was perfect in the paint application ... not like an obsessed sign painter a car key across the paintings would please me a better plan .... the way the variety of colors seem thought out the way the gestures seem thought out ahead of time ....
Is this paint lightfast? hope not, hope fading is lurking around every wall this painting gets hung.
Then there would be an urgent reason to look at this graphic stew today and not tomorrow in someones attic.
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135 comments:
Ingrid Calame @
James Cohan Gallery
533 West 26th Street
New York, NY 10001
These are certainy contemporary in materials, concept, palette, the fractured design. Its a signature style that she invented and innovated. The hardness and opaqueness of the paintings are unflinching. Can't really deny them but...
Its a lot to get off the ground, and I dont think they totally fly. The drawings have translucence/transparency that brings the parts together more succcessfully.
what are the edges like on these paintings...does the painting continue on the side of the stretcher?
acrylic?
This accounts for the ages we seem to have lived and to state it more generally, for that ex post facto operation of a great calamity, or any very powerful impression, which we once illustrated by the image of a stain spreading backwards from the leaf of life open before us through all those which we have already turned.
The paintings are enamel on aluminum.
Ditch , arrange stain and hide membrane take shelter from rain , prevent from , drench with rain , cause Caulis Bambusae in Taeniam rotten fungus egg for a long time, clear up beds of impurity, excise rotten mushroom , death mushroom;
aluminum.......is that legal.......whats wrong with MDF, apart from it gives you cancer
are these Starbucks wall graphics?
Theres a generic cookie cutter feel I really enjoy in work like this.
Its just like a wood jigsaw puzzle - the one with the little red pegs so you can move the pieces.
Lisa Reuter is mostly a joke, but her subject matter is personal
Plenty of people tracing photographs out there as well.
Figurative or abstract, you arent going to make it better by painting on aluminum or on a shwower curtain or by making vinyl hot pants.
Or are you?
Anyone care to decode the palette (I thinks thats the key). They look like generic enamel colors - in the same way that you might go to the store and buy "mistake" paint and work with that.
I think I prefer Hirsts spin paintings, less pretentious in their pretention in a way.
or you could dot he art cow thing - doesnt have to be a cow - here for example
In seattle its pigs. I hear in Vegas its vultures.
Zip and old guy need to take a lesson in the tea ceremony. Yes everything matters in a work of art: aluminum or shower curtain support, whether its a found painting or one you commission. Everything matters. That's so obvious, why would you want to gloss over it?
Julian Opie for exmple.
Or you could go maximal like Julie Mehretu.
Respecting your budget
MOST of us have to respect our budget…so how do we incorporate the “Truth in Materials” concept without breaking the bank? It’s actually pretty easy. The fundamental property is not to fake it.
That means that your home is an honest reflection of YOU, your values and is truthful about what materials you have incorporated.
For example: wood is wood…laminate is laminate, tile is tile, metal is metal, paint is paint, glass is glass.
NOT laminate pretending to be wood, plastic pretending to be glass, vinyl pretending to be leather.
Baskin-Robbins is known for its "31 flavors" slogan. When the first Baskin-Robbins store opened, it offered 21 flavors, an innovative concept at the time.
― hence the iconic small pink spoon.
oh snap!
amnniotic!
1. Mix green tea powder in hot water.
2. Mix egg yolks and sugar.
3. Add milk.
4. Heat the mixture on low heat.
5. Cool the mixture.
6. Add green tea in the mixture.
7. Add whipped cream.
8. Freeze the mixture.
9. Done
All those moments will be lost in time like tears in rain
Right, so in the peter S. painting, OG was right in that the painter didnt use the support (found painting) like it mattered. Thats one of its problems; why it seemed condescending.
But in this IC painting, it feels like it all matters--in that the materials add to the meaning.
Re: the palette. We have a guy here who does a very similar style. He gets his palette from Playskool pieces, or is it Legos? Some kid toy. He goes right to the manufacturer I think and matches the colors.
"Color for me is a trigger for thoughts and memories, one color leads to another— like writing a rambling poem."
Rated G
It's very disillusioning to get that no matter what one might accomplish, it disappears like smoke in the air; that no matter what service one might attempt to perform, it's like an insignificant grain of sand upon an infinite beach.
Are you feeding the poor? Are you Shakespeare? Doesn't matter. It's all insignificant in the end. If not today, then tomorrow. If not in a thousand years, then in a million billion. The whirling clusters of galaxies don't even notice.
Lest I be declared a candidate for the looney bin (which probably wouldn't be a bad idea), let me try to explain.
I dig ice cream.
I can answer that one Q. Meaning comes from the feel. The feel comes from the materials and how they are touched. It's all in the tea ceremony.
Rush is right here, we seemed to have glossed over so much in ernest to get so far. And now not so far from where we were, and far off in another distance, this getting back, keeping in touch, touching, knowing a kiss, over the phone, in the material, in memory, the scent, hot flush smell... all this stuff which makes the air most visible.
I'm thinking about this painting.
leave it to CP to come thru with the right words. thank you so much.
I was gonna say she's the Lisa Ruyter of spills, but Zip beat me to it.
Still, she's found a niche I guess.
Still - Found stains!
Big Time, Bright Colors.
So digital!
Probably psychological if not political.
The metal adds to the mettle, I suppose. How many years has she been doing this now? Seems like forever.
oncet,i saw her at a ...site santa fe talk-she had dreads,a cat on her shoulder,and a -giggle-hangover
"You run, you slide, you hit the bump, and take a dive."
RE: MEANING
FROM: ORION NEBULA
Erthling, do not doubt your feeling of meaning. We have been watching you in earnest. Just remember, compulsion differs from decision. That is all for now.
klatu barada nictu
Lot of people take tea without the ceremony. It's called thirst.
all this stuff
There are many painters who have adopted aluminum for their supports rather than canvas or wood.
It's porous enough for paint to soak deep enough and provides a lustrous, light-struck surface.
It does wonders for creating a very slick signature decorative formula.
The aluminum reproduces the flow of brushwork and flattens the paint surface, the enamel hightens the effect to the gloss of commercial printing.
synthetic/organic
wax on
wax off
Karen Lang states in her essay for the accompanying exhibition catalogue "Calame's secular responses do not provide an answer. Instead these projects call into question outside and inside, the local and the universal, as well as the assumptions, ideas, and concepts on which religious, economic, and scientific institutions rest. Secular Response is an intervention in the very best sense of this term as an artistic tactic: these projects implode categories and concepts."
And everything is everything
And no-one knows nothing
Not nearly til never
Cos when everything matters
In everyway and at all times
What is left for matter to mean?
For that matter, to matter?
Trace and fill the compile Scotty.
The term *matters* suggests that you are having an effect on something; that you are causing something to change. In reality, the truth that you are infinite and perfect never changes.
Karen Lang don't know nothing.
phone home but you can't speak and you can't spell and thoughts fall to pieces like a pastel cannon ball through a pinyata denta all face and no cake.
I didn't mean it just a candy colored clown throwing sugar into your starry night.
Goodnight moon!
QQ – To go back to your question – does the aluminum support of the Calame change the meaning?
I’m not sure; I think you’d have to see it to decide. I’m not even sure now precise or hard all those traced edges are, whether it has a gloss or matt finish.
But I can see how it might add to the smooth industrial finish (no canvas weave) and wood would do as well (ply rather than MDF - unless you’re Lari Pittman and can afford mahogany panels – because MDF weighs a ton, handles moisture really badly as well as being carcinogenic).
So aluminum, as Zip noted, may be a budgetary consideration as much as anything.
But generally, not everything in or about a work contributes to its meaning, or works as reference. The fact that a painting may have jam smears on the back or price stickers still on the stretcher, doesn’t influence the meaning. The work possesses these things but doesn’t display them. Then again, ‘the materials’ aren’t just tactile properties either, since scale, amount of detail (or lack), expense of materials, even location (think murals) and other circumstances may also influence meaning, put you in touch, in intangible ways.
So meaning arises along a number of channels (in the literature distinctions are drawn between what is stated, expressed and embodied) but works variously combine them. Styles class them by who, when and where.
ewige blumencraft
reminds me this
http://nu-age.newage.sewage.etc
OG, Myron had a thing or two to say about the support and a paint's resultant surface, performance, and meaning. He was, in the later days, super fastidious. I don't think that matters, but what it did for him was gave him the space, and sense, and yes, feeling for all it is like to be faced, what it is like to be faced with all these minute details, their resultant meaning , and, importantly, how to manage them to create something vivifying, synchronic, with the sense in the material. When your going into this trade as a conductor first thing is you'd better have a good idea how all the materials sing. Well, for a painter, as with a musician, we call it temperament. So yes, if we are faced with this thing abstraction again, paying attention to materials may just give the edge to the meaning, meaning that you can tell if it's working because it makes sense, and works in the material and out of it, where and how it reaches us.
Where would she be if it hadn't been for Gary Hume?
The granddaddy of gloss enamel on aluminum.
how about green tea icecream party
A deliberate artistic search for stains may lead to an unexpected chance observation or discovery. But to have meaning, every observation or discovery must fit into a pre-existing pattern of ideas in the artists mind.
Just as a word means little out of context, a new observation or discovery needs a proper context in which to fit in order to be most meaningful.
She didn't invent anything. Gary Hume was using these materials before her. This is souless work made with a team of people that is decorative and empty. The content comes from the outside; it's about the Indianopolis Motorway whatever. Like that is supposed to save it from being just crafty decoration. They all look the same and the meaning somehow is tied up with the amount of craft required in their making. It's bullsh!t.
A dictionary not a novel.
Two dictionaries glued together, still not a novel.
Mapping. Always.
"...the jagged wrenching forms derived from the artists body temperature amortized over the lifespan of a cricket points to our deeper disconnect with nature..."
"...sweeping arcs of thrown charcoal dust conjure a Dickensian factory setting but are in fact carefully rendered extrapolations of the path of the artists ejaculate, recorded in grainy super8, as it arcs gracelessly onto a human skull..."
Tea ceremony? Or just convenient form generating systems?
Was it a coincidence that in 1929, at just the time Joan Miró entered what he termed “anti-painting,” Georges Bataille enunciated the principle of formlessness in the “dictionary” entry he wrote for the word (l’informe) in the magazine he edited, Documents? Or that during the periodical’s brief life (1929–30), the sculptor Alberto Giacometti should have been praised for producing the experience of “failure,” or that Salvador Dalí should have developed an aesthetic of the edible—the destruction of form through eating?
The Tao flows downward like water that is not water. What is it? Is it a coincidence?
Did I write this on a computer or on your mind?
How did I get there?
Opening a can of shit, a cat comes out, alive. I name it Piero.
Have we shit-canned history?
Why not?
Respect or piety?
QQ: I brought up the issue of material/meaning to contradict zip & old guy's assertions that they are unimportant. Seems to me that the materials either work for or against the meaning, in either case, they always matter. A painting is the confluence of content, materials and process.
What you are asking is does the stain source matter--which is more about the conceptual basis of the painting. I'm interested in the ways that this painting is conceptual like that. Seems that where the stains come from are "supposed" to matter. It does seem like a stretch to me, too, but I like the way its attempted. Like Julie Mehrtu does as well.
Form generating systems, and the fighting against form generating systems, in the same painting. That's what you try to do with abstraction these days, innit?
...Especially if your working in a style that references abstract expressionism and the possibilities for freedom implied, attempted, historically failed?
They are what they are
It is what it is
Be here now
Do be do be do.
Play it again sam.
read the jennifer reeves essay -
http://jenniferreeves.com/writings-scavengers.html
Such declarations have really messy consequences if you try to manage them with that ontology.
Oh well
thats the way the skid marks
thats the way the market crashes
thats the way the shit stains
As no rush says, " A painting is the confluence of content, materials and process."
A painting is also a confluence of the artist and the audience. The materials always matter to the artist who is all-knowing about the work, but for them to matter to the audience, the materiality has to be apparent. And, as I think Zip implied, that should happen visually to be effective. If the medium requires verbalizing to the audience, the art may be effective as a concept, but at some level it is a failed painting.
This Calame painting seems to be 'floated' off the wall on its aluminum support as near as I can tell from the jpeg image. If so, it speaks for itself since the edges of the aluminum would be visible.
Andre Serrano's crucifix image however is more high concept so to speak. I doubt that it would have the same power as visual art if he had titled it "Apple Juice Christ". His concept in that case had to be verbalized, which he did by the title.
Vultures crying poodles!
Some people eschew narrative. If its narrative its not art. I don't buy that. Everything has a narative through the lense of consiousness.
All else is sophistry.
Cornell is too sentimental. Too Emily Dickinson. Too Griffin and Sabine. Too Ann Hamilton. Its all one continuum in my mind.
THis on the other hand is like a particularly insensitive Warhol.
Now if you traced your hand and drew a beak on it, and showed it at Gagosian I'd be impressed.
She's only 8!
Huh. I don't find these paintings nearly as awful as I thought I would reading the comments. I can't say they are exciting to me, but I find that slight "Starbucks wall graphics" quality interesting, interesting in an unironic way -- that aspect of the work somehow feels organic and not like an over-thought concept. Strange.
I don't feel that these paintings call into question all those questions that the essay writer says they do; just because the back story, or whatever I should call it, behind a work involves certain questions, doesn't mean the piece itself is going to automatically reflect that. I don't think these do, which for me is fine.
Also, a question. Someone said she's been doing these forever. How long is that?
I saw the Gary Humes at White Cube recently and they were on aluminum, canvas et al. Looked a little weird I thought. But i guess he has earnt that right.
"Lets talk, turkey"
would be the title.
Let me verbalize my concept.
Small worlds may be safe for small lives but, they don't leave any space.
I speak for myself.
stump speech
or -
soap box?
who started the whole "people under the scrim" or "face in the attic window" tropes anyways? Its like when MTV music videos came out and stole all their crap from performance art.
Whos laughing now, you know?
Nomi, I think it's fine too.
I do feel however, that the painting's "are" something else. They "do" something else. That something though, ends up a little boring - especially when we find out what these are supposed to be, or supposed to be "about."
I'm having a hard time buying into her "system" when it's so obvious that she breaks it down with seemingly reckless abandon, according to her sense of form and color. If these are in fact assembled by chance, as a cup of spilled coffee, I want to see some discipline.
If it were in fact the way the poop plopped, as idon'tbathe so aptly stated that it is, I may be able to look at it as something other than simply matching the couch.
Word.
From someone who hasn't seen any of IC's stuff in person, I am a little curious about the drawings.
What are they like in person? Are these sheets of mylar dirty? It's not often you see someone hang a dirty piece of architectural mylar. That would come closer to working for me.
What a dead show. No dirt, billy.
The drawings are the worst.
But check out the party
across the street
Blame it on the Germans.
The recent decision by German officials to withhold support for any new sanctions against Iran has pushed a broad spectrum of officials in Washington to develop potential scenarios for a military attack on the Islamic regime, FOX News confirmed Tuesday.
As a puritan I like to see some sweat.
Look in the mirror then
your end is your begining right ?
beginning oops!
my beginning is my end
That Vizzini, he can *fuss*.
Fuss, fuss... I think he like to scream at *us*.
Probably he means no *harm*.
He's really very short on *charm*.
You have a great gift for rhyme.
Yes, yes, some of the time.
Enough of that.
Fezzik, are there rocks ahead?
If there are, we all be dead.
No more rhymes now, I mean it.
Anybody want a peanut?
good night billy
I'm bored
You still mad about that pink bare bear thing ?
Don't dig Lou Reed ?
I was bored first.
Fake Billy
Whatever, dude.
Silly billy
Blotter Blotter madman bleer
gut sloth is slop to think?
Car adam 12
Shows over folks!
For example, Coppolino noted in his thesis that while it was not customary for police officers to remove their hats while in the patrol car at the time the series began, after Adam-12 aired for a while, this became the habit of most officers. This could be seen as evidence of Marshall McLuhan's media theory that "we create it, then it creates us."
mary cassat had a dog
you know what I'm talking about. its called apophenia. Or the truth. Whatever.
that's hot.
mary cassat lives in one of those Williamsburg lofts I take it.
I like that emilio perez citiki, but doesnt it look like Jack Kirby (the marvel illustrator) threw up?
The Gary Hume League is Warhol without the silkscreens, Matisse on a slow trace in enamels and lacquers borrowed from Pollock or Stella right back to Bauhaus experiments.
Ach! Those German chemists.
Stencil me a grape, guv.
But Calamity Ingrid is systematic overspill, kicking over the traces and departing the places for abstraction on high. If we don’t track it all the way back to the speedway or church, neither do we have the direct and personal engagement with materials, the instant splash to scale, while boarding for point, line and plane, the pattern of pictures or the painting of geometry.
We’re stuck in the middle, taxiing in line and awaiting clearance from air traffic control. Rush has a window seat.
It’s decorous if not decorative when process meets only the gestural, when the trace is only to fluids and fill ends in flatness if not flattery. My coffee cup is half empty, but it didn’t taste like coffee anyway starvuck.
There is an abstraction to be traced to the fluent, there are designs beneath the workings of the world at its most civic, but to properly reveal them will take more than patience, industrial strength material or commission.
so um..
Hows about that Natalie Frank?
A real hitter.
And well hung, to boot.
If I were a betting man,
I'd hit it.
Ok, so let's assume that we now know what it is... mattering or unmattering. Is it possible to move onto this next bit--we've got all this splashy stuff, in this case it's kind of worked out in a horizontal, with this long stretch running the vertical with certain counterbalances going on that can run into metaphor and / or simile, so we've got all that, so what does it all mean? You know, the big add up @ the end of the day...
Gary Hume can have quite an elegant mark sometimes. he ran a rut, but seems to be coming out of it, good stuff in that he has this knack of pulling out the reshuffle that loads the expectation of the hierarchy... kinda like that<
whatever...
who do you want to be today?
E says, "I've moved on. I've moved on to the next life!"
"don't be daft, yer here, standing next to me. How can you say you've moved on when yer here standing, talking? I mean, don't be daft, you're wriggling it again, aren't cha ?!"
E says, "Ah, very astute. it might look like to you that I'm here, but it's not really. What you see here, is like, just part of a memory... you see! The real me is like lifeless, part of the deal of going up a knotch!".
Anyone who doesnt contest meaning is an aristocrat or a pleb. Hipocrites die in my fantasy world
A rolling stone gathers no moss
How does it feel?
bbaadd?
Im a plebe. Stuck in the middle with u. Isnt that where we all are?
angelina, you forget that some of us are heirs to large fortunes simply masquerading as plebes. the aristocracy is slow, but not blind. the lessons of guerrilla warfare are free for the taking.
i'd rather see it baked onto a fibreglass surfboard. then it would really mean something. these materials are chosen functionally, or to give the nozzle spent enamel its proper signwriting surface covering ability. commercial materials once again being sent through the apophenic chamber, more high lows, like before. i'm not shitcanning it, though it is essentially still a spraycan in its materials. high low dichotomy is not just because of your nuts/ovaries, your inside outness, its because of the questions.
Silence like a cancer grows
Water sticks to itself (cohesion) because it is polar. Water also has high adhesion properties because of its polar nature. On extremely clean/smooth glass the water may form a thin film because the molecular forces between glass and water molecules (adhesive forces) are stronger than the cohesive forces.
I think the success of The Sims demonstrates pretty clearly that it's not necessary to rule the world, and a lot of people don't even want to. They're busy just trying to keep the dishes washed and the newspapers picked up. Millions of them are perfectly happy doing it, and Maxis is making a fortune out of fulfilling that particular, if peculiar, fantasy. We don't need for games to be about adolescent armageddon. We only need for them to be about people that we care for, and in fact that allows us to make a much wider variety of games than "Save the world!" does.
When you read artist statements like the onbe for this show or when you read words like "blur the boundaries" or "calls into question" it gets you thinking about what it means to be an american. Am I right?
Back in 2002 or so, as you will recall, Anne Coulter was saying Liberals were namby-pamby or worse, hipocrites for thinking Saddam must go but not wanting to take the necessary action of Invading Iraq and Afghanistan.
Well she was right, and now the Liberals who got us stuck in a quagmire WORSE than Vietnam in many ways, are going to embolden the enemy by forcing an early withdrawl. Its insane.
THe same liberals that didn't fix the Levees, when they knew full well they were fiddling while rome burned. The same Liberals who can;t fix the nation's infrastructure (what this painting is really about my frined, all sophistry aside).
Yes, while the conservatives are building bridges, the liberals are tearing them down.
As a conservative, I wonder who is going to be a force for change in this country, a force for good? Who is going to tear down the old liberal way of doing things and do the hard work of making a difference?
Liberals are a lot of talk about what they plan on doing but when it comes down to it what are they really doing? Name one country a liberal has invaded.
If ROnald Reagan had been president during the Iranian Hostage Crisis we wouldn't have to invade Iran now.
Apparently as a child George Baselitz was hauled up in a cellar while the RAF bombed Dresden
artists dont go to war anymore. unless they choose to. no draft. liberals did that. thank godd.
insomniac said....
Keap loooking
*right*?
your tomorrow starts today.
circle square circle square
Fatality!
IC paintings are visual desserts that mostly satisfy. They are funny hard-edged reactions to old drip paintings of the 40's: new found drips and splatters flattened, mechanized, designed. Don't like decoration? The gallery will contextualize them into the avant guard. James Sienna's tightly controlled idiosyncratic patterns follow different rules, but each artist uses tightly controlled, idiosyncratic patterns- simply to different ends. (It all ends up as enamel on aluminum.) They are shamelessly about visual splendor in a way that makes the Peter Schuyff look annoying. I prefer Jim Shaw's use of thrift art- without the over painting.
These similarities frightened the early Christian leaders - that almost 500 years before arrival of Christ all of the Christian mysteries were already known. To combat this, Christian witters said that the Devil knew of the coming of Christ in advance and had imitated them before they existed in order to denigrate them. As Christianity gained strength and became the formal religion of the Roman Empire, the 'Cult of Mithras' was one of the first pagan cults to come under attack in the fifth century; Temples of Mithras, like most other pagan Temples, were destroyed and Churches build on them.
hey, you guy's forgotten this panting? A lot of people still say abstraction over-intellectualizes things because most people who make the stuff have forgotten how to draw. And, for what it is worth, every abstract bit of stuff has already been made, while when using the figure, landscape or an interior there is this partaking in history. Every mark in history has its individual stamp. And the stamp of abstract, is, well, um, well that's not the real one, that's the fake one.
anyway I've been taking this 5th brain circuit drink, it promises:
Improved communications at all levels;
Improved health;
Physical agility is improved;
Improved sex life;
Psychic ability gained;
Problem solving is enhanced;
Ability to image better;
Ability to discern at deeper levels;
Creativity is greatly enhanced;
Opens new levels of consciousness;
Able to learn new things more easily;
Increases I.Q.;
Harmonizes the individual with the environment;
Aids in gaining a positive outlook;
Improves financial ability;
Improves ability to work;
Abundant available energy;
and much, much more.
Ok, here it goes, I'm just pouring a bit of the stuff down here into the painter URL. Let's get it out there quick. I can hear something....
"hey, you guy's forgotten this panting?"
The staement says these are non Secular. I read the statement when I dont get the work. Im stupid like that.
You know, for example I see a sculpture of a crow and I'll think of a rope straight away. No tree necessary, I can branch off at will. I'm a human bonsai.
But its just a painting for 500$ right?
The message is more important than the money?
I don't think so bro.
I'll take decorative for 10,000
Now go out there and crawl on your hands and knees and beg for it. Trace your path so I can see your ass all day. And no fair hiring interns unless they have good assets.
Decorative is beside the point.
Where is the outlet for emotion in the present rational-scientific-intellectual-social-etc system/noose? (murder, dancefloor, art) This is what Ingrid is asking, searching for, putting together. Shes using the method she's been given and trying to make something that flies. But it can't really, and that's why its interesting, poignant and contemporary
And Im saying thats not good enough.
It never is is it?
Making the darkness visible, pshaw. Thats like saying artists make art. Doesn;t justify a solo show bro!
I dont care if you used rto be a crack whore prostitute, you still gotta make something that doesnt scream capitulation if not outright collaboration. Thats the problem with this abstract stuff. its a perfect mirror. Personal isnt political, thats just a bromide - snake oil for the farm fed ffllaggellaattee!!!!!
Cook me up a twinkie.
Harpers magazine is calling for a general strike on Nov 6.
"What are you going to do, sit on your overdue library books?"
Also a great Yes Men speech
Good stuff.
QQ:using the method given. i guess I mean she regards history and art history and tries to make it go. the method she's given is criticality. i think she's trying to show the problem and the solution in the same painting, which is hard to do. as I said, one weighs the other down. but that's where we are, its unflinching.
all abstraction is capitulation? or just this?
America, your Twinkie is now critical.
(also does anyone else have their HTML instructions in German beneath the comment box now?)
In a western world so choking with images are these paintings necessary or are they just some sweet-tooth exercise ready for the dump ?
99 percent of all art is lost, so tey say. Was it art to begin with?
Save yourself, or lose yourself.
All art is capitulation.
I think this is postmodern reality pastiche, its all blending together like a shirley temple or a graveyard.
This painting is real but the criticality is an illusion, a mirage at the end of the river like the rest running through nothing a bunch of heads on sticks and someone nattering on about how if they didnt do it someone else would. Which is of course true and necessary.
Let there be darkness!!!!
No wait the criticality is contincent, consisting of a convergenge of context. Im at the vanishing pont of the all seing eye at the bottom beneath the square, crushed like a bug.
Gleichursprünglich!!!
A roll of the dice will never abolish chance
-mallarme
"the master's tools will never dismantle the master's house"
-Audre Lorde
Is this painting a blunt instrument
I think physical information could "disappear" in a black hole although is commonly assumed that information cannot be destroyed.
Any entropy-lowering effect is duly balanced by increase of entropy elsewhere.
You need an meter for measuring molecular speed, and that the act of acquiring information would require an expenditure of energy.
He put a little clear plastic bottle on the table between them. She stared at the pills in it, and then understood. "That's LSD?" she said.
The red pill is, here, the path 'out' of this episode and back to a normal life.
space is not a passive locus of social relations and that space is trialectical. That is space is comprised of mental space, social space and physical space. This said, hegemony can be read as a spatial process.
In order to get back at the company, the three friends decide to infect the accounting system with a computer virus, which will round down fractions of a cent from accrual of interest and transfer the leftovers into their own account (see salami slicing).
No one knows what information is, but people continue to believe that having access to more of it is a panacea. Similarly "knowledge".
In the following years they have spread to various art collections all over the world and netted large prizes. Many of them have also exploded, maybe because of corrosion and expanding gases.
to creating art to running simulated physics experiments instead of real ones in order to provide clean, synthetic results that match the theory.
The resulting liquid air was then processed to separate out the liquid oxygen for burning in the engine. The amount of warmed hydrogen was too great to burn with the oxygen, so most was to be simply dumped overboard (nevertheless giving useful thrust.)
i keep on seeing a hooded figure and a mushroom...am i missing a subtler experience
dont look to closely
Is the moral of the story.
pos neg neg pos
its just an allusion to me, now.
I mean its all greek to me too.
You can look into this painting and enjoy its kaleidoscopic qualities. Suggestions of cursive writing and Rorschach ink blots combine, but the artist's focus on layering pays off. Purely visually, this painting is like Da Vinci's spitting wall. Enjoy the ambiguities or get turned off by the technique and the lack of distinct figuration. The artist's technique, the inherent contradiction of the slick surface and the nebulous splotches, draws the gaze in, if the viewer is willing to switch off rational discourse and slide into a meditative daze.
(ericgelber.livejournal.com)
if we could take the necessity of money for the artist out of painting, would the interior decoration, and the candy shop, close down?
in the future there will be division, as there always has been, between the proto-technologists, the folk arcadians, the folk-techno-arcadians, the proto-spaceforth-arcadians, and the ancients (who cannot develop any theory of supporting the number of people on earth and live autonomously).
if we live in the age of saturation then some works are certainly flood markers. but if art is not in some way pretty, even if it is spooky pretty, will nobody buy it? Should it always be made to sold? That has irked me for a long time.
flowers are beautiful. but are we living with flowers? sometimes. Love comes and goes.
- taken from Webthing does a Faceplant.
The New Critics
Being criticised by Francesco Bonami and Jessica Morgan is like being savaged by hamsters.
zero population growth and some love never dies. i mean that's been my experience
EXPERIENCE we are to young or We Where to young. Yes Love never Dies.
I can make a mal stick.
let them eat yellowcake!
for the warhol fans
ok revision, love never dies as it is ethereal and never lived. but people die, hence the ephemeral nature of love that may pass with them. (or some krap)
i don't know, but i like works that are psychological in some way, or even emotional, just something. i know there are entire schools against this, but that's where i find the translation of experience.
in abstract work it is still completely possible. even folly has something to say of itself. again with my intersubjective analysis, i find it difficult to read this one.
factory colors are difficult to bear, for me, they kind of jar like web colours, or standard swatches in microsoft paint. super flat dead ish. but maybe thats the intent. but any intent doesnt feel like it was the intent here, until some curatorial afterthoughts. which i don't deny can be revealing, but not here. a lot of meanings seem to be tacked on, as zip posts, not living in. does anyone see matthew ritchie in less detail.
can't like this one, or her work in general. oh well, can't win them all.
15 minutes of frottage
rub up against your freedom!
i hear the war was about oil.
Anyone? Anyone? Bueller?
I don't take the idea of you being policed by Kosuth that seriously, but that happens with people on the other side of the aesthetic fence too, like a friend of mine who is a famous and gifted figure painter. On the train home from a lecture we recently did together at Yale he wouldn't stop badgering me about how he thought Robert Smithson was boring "PBS art." Shutting down the range of interpretation is an obsession for some people--a negative obsession that cuts across styles. Symbols should have a wide range of interpretation. On the other hand, I don't want them to be so wide that they don't mean anything. I want to reclaim abstraction from its being just a visual style. After all, before abstraction was a visual style, an abstraction was a philosophical concept that called up multiple images. That's what abstraction means to me: the visual demonstration of philosophical nuance.
Before Ray's birth, his parents formed
some vision of their future child.
What, exactly, did they have in mind?
After all, they did choose a second name
in case the baby was a girl. Who was Lisa,
and how did she compare with baby Ray?
For that matter, who was Ray, his parents'
notion of their unborn boy? Was he at all
like the Ray he would become?
. Whenever Ray had trouble falling asleep,
he played an imaginative game.
(This was when he was very little.)
Ray pretended he was extremely beautiful
and extremely soft. He pictured himself
surrounded by loving family members
who doubled as courtiers and supplicants.
Ray saw himself as helpless, cosseted,
probably genderless, and certainly adored.
ZIPTHWUNG said............'I want to reclaim abstraction from its being just a visual style. After all, before abstraction was a visual style, an abstraction was a philosophical concept that called up multiple images. That's what abstraction means to me: the visual demonstration of philosophical nuance.' Bless you for bringing this thought out into the open. It's seems it's been hidden in the closet for too long. Malevich, Mondrian, Kandinsky etc.all had a clear 'moral' position from which they developed their work. The problem nowadays is that the demands of the 'market' has replaced the philosophical base and in a material age any notion of the 'spiritual' in art is bound to ruffle the feathers of the shakers and the movers. Unfortunately such a base cannot be picked up as one does a style - it has to come from within and for me that is why so much abstract work is forever falling flat on its face. Artistic integrity, if it still exists, no doubt remains hidden from the public gaze and until the market,critics etc. show some sort of moral courage it will stay that way. Sadly.
Ingrid's work did not excite me in the least - full of deliberation - seemed like each stroke was premeditated to the point of the whole thing being so artificial that I could not relate to this in any way (given the fact that she is inspired by nature)...
A lot of this sort of art has been cropping up recently, brushed. Clean enamel on aluminum look that looks like it has been in an operation theatre... Makes you think of all the rage that artists have for the ‘gallery as a white sterile space’ concept - only these paintings make the argument more so.
Of course, the hard work is very apparent in these paintings, but for me the paintings need to have some level of spontaneity – otherwise they looks like versions of Manga.
Take a look at the current exhibit at Dean Monogenis @ Stux and Emilio Perez @ Galerie Lelong you will know what I mean…
I like sadder paintings ...
something that decays
Like a Mondrian or a Gorky
but not THE Mondrian or Gorky
no,
the No Name paintings
towards the end of the line
that often poorly and sublimely parody
the Modern Paintings behind
the velvet ropes.
Something not handled with gloves.
The mishandled, cracking, yellow surfaces
in the attics.
Ignored. Dustbunny.
Next to Grammies finernail clipping collection.
Ingrids "stuff" would appeal to me if
something was dangerously fragile
about the surface. Simply if the surface
was perfect in the paint application ...
not like an obsessed sign painter
a car key across the paintings would please me
a better plan ....
the way the variety of colors seem thought out
the way the gestures seem thought out
ahead of time ....
Is this paint lightfast?
hope not, hope fading is lurking
around every wall this painting
gets hung.
Then there would be an urgent reason to look
at this graphic stew today
and not tomorrow in someones attic.
Great painting. Reminds me of having tea on a terrace, when I first met my wife.
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