Yes! I thought the show was great, had fun. I went to the Met and the Vet (for the pet) again wednesday and it was hot and it wasn't as good, of course, everything closed for instalation. So I guess I saw the met at the best of times and the worst of times.
Went to the deck of the Met and saw the Koons. Not bad.
In a way I see the connection between Koons and Courbet - both playing the game. All great artists do, I suppose.
Courbet at the Met didn't appear conceptual (neither does Koons, really - he seems more and more phenomenological to me - like a WYSIWYG kind of guy - take him at face value, he does) Neither are social commentators like, say, Gericault.
The sun hit the Koons's like a big cyclopean eye, and each hot spot on the baloon dog reminded me to not take pictures, even though I did, what could be more banal than taking a picture? Right Koons? OR was I stealing the soul of the image? Cheating the potential viewer of the immediacy of direct experience?
In the same way, the pictures of female genitalia were really well painted, had a lot of soul, as they say - where the portraits were sometimes somewhat perfunctory - as if Boris Valejo had traveled back in time and done some off the cuff studies for Williamsburg dandies at 50 dollars a pop, no doubt.
In the reviews they make a lot of hoo ha about the optical viewer thing and I wonder about the connections to Duchamp's keyhole piece.
Also the reviews talk about the picture of the dead bride - its a slap dash painting, showing signs of its age. I didn;t find it that compelling, though if you put it on the wall liek a roman fresco in the atrium with a statue or two, you might achieve a sort of uncanny faded aristocratic melancholy.
this is a portrait of irish girl Joanna Hiffernan who is most likely also the model for L'Origine du monde. Courbet had a real sense of duty, did he really invent the term realism? I wonder what he would have thought of reality TV. In fact i'd love to give him a laptop and see what he did with it. Would he log on to modern socialist dot com. I guess it was really valiant of him to come from wealth and devote his time to the people or whatever he pitied them as.
I don't see Courbet as really playing 'the game' - in the sense of going along with the status quo, or academy. To me he's the ultimate I-did-it-my-way guy.
Take-it-or-leave-it stuff. The Realist tag does look funny now, but I suppose the difference between him and preceding Romantics was the absence of literary or historical incident. I guess that's what he meant by painting what he 'saw' - rather than imagined.
But of course, you can't help but be struck by the liberties he takes anyway.
It's fun to look at this stuff now, but I still found myself thinking, sooner or later John Currin is going to plunder these as well - like that one The Desperate Young Man - it already looks half Currin. This one too, which could be titled A Young Painter Struggles to Find the Next Post for Her Blog.
I can't look at these kind of facial expressions and gestures now without thinking of JC.
A rebel? Ah yes polite society! those were different times I guess. I wasn't there though. I wonder what the audio tour does for people - maybe its just a bunch of hot panting.
I like car stereos more than big breasts, but I like cars with stereos and women with big breasts about the same. Real, not paintings of car stereos.
Re Orlan: A severed penis whould be funnier would it not? Everyone likes horror movies, right? I know I do. I'm accepting orders now - any style - though I might prefer expressionist as its easier than glazing and I'm not really into painting penises, truth be told.
There's a long running commercial for penis size enhancement on late night TV that must be pushing a lot of pills - one wonders what the demographic of that is exactly? Like a gag executive gift Could it be cross branded with Rohypnol? Has Damien Hirst comissioned a rohypnol-severed penis painting? To edgy?
severed penis funnier? i dont know, i dont think so, did u read the title? but i dont really like horror movies either. or car stereos. and big breatss, well they are a pain but what can u do?
I found this - but I don;t hink war is the result of population. Ithink people get bored = ambition. Wars are fought for entertainment (loosely defined) same goes for museum shows and art. How do you occupy your time? What will they let you do? Why are you here? Where are you going?
According to the epic tradition, the protest Gaïa about the uncontrolled increase in human population is at the root of the war. Souffrant du poids de son chargement, la déesse exprime ses plaintes à Zeus . Suffering the weight of its load, the goddess expresses his complaints to Zeus. Le père des dieux, constatant la nécessité de diminuer le nombres d'êtres humains sur terre, provoque les guerres. The father of the gods, noting the need to reduce the numbers of human beings on earth, causing wars. L'expédition de Troie comme d'autres conflits sanglants s'étalant sur une longue période est, d'après Hésiode , la raison pour laquelle la génération des héros est exterminée. The shipment of Troy as other bloody conflicts over a long period, according to Hesiod, the reason for the generation of heroes is exterminated.
I loved seeing this show,and was really moved.... it contained that timeless power that alot of work from that era possesses. I especially loved the mood of the landscapes, with the little caves and caverns that I wanted to wander into..
Is this a Picabia thing again, cuz I don't get it. This new-found popularity. Like Picabia, his canvasses suffered from lack of --- Well he couldn't draw, much less paint in any way I would deem as being unlabored. And now he's become the king of Bad Paint...In a ... 'good way'. So at least labor accounts for something, eh?
I remember the show at the Brooklyn Nochlin and Fried's positioning of that show -- figuring courbet as a sort of political evangelistic communard and pro-feminist badboy. Well that makes some sense... That strategy makes us more forgiving of his actual work. And of course Origin held a better spot (best spot in the room if I remember). -- but what's this interest now? How he influenced bob ross's bladework to such a degree as to become the cultural giant that he is this year? How his kitch ticked John Currin enough to grace the show with an interview of how effectively kitch tickles? I could've gotten that from a motel 6 wallhanging, which is about as indebted to Courbet than any of Currin's work.
Granted, I'm still fond of Courbet, but to this degree? (this months list of publications in which Courbet art-stars is astounding!)
Thanks cap. I realize I was a bit harsh on picabia. That was the brown stuff speaking. (bourbon). no more of that stuff. I'm off to see the rauch show at zwirner.
well to answer everyone's question, the NYT comes through:
In addition to the sculptures, which are on view through Oct. 26, Met visitors can also sample a bit of Mr. Koons’s taste in art. Hanging in the Dutch painting galleries is “Hercules and Achelous,” a 1590 painting by Cornelis van Haarlem that old master experts say Mr. Koons bought for $8.1 million in April at Christie’s in New York.
I'm still cloudy on what constitutes Realism as oposed to romanticism, but at least I get money, which seems to talk, just like in a Hans Christian Anderson Story of the same name, which I will write.
Also, jpg critic et al should drink pilsener and margeuritas, as it is summer, and the streets are burning.
"In his Swiss exile, well-wishing friends unwisely supplied Courbet with barrels of brandy, which seem to have gone down at an alarming rate; he was also now onto absinthe. Toward the very end his once-fine body had become grotesquely inflated, and he cherished the fantasy that if only he could be lowered into the cold waters of the lake that lay below him, things might still come right for him. He died on December 31, 1877, of dropsy, induced by drink.
Read Kenneth Clark's book, "The Romantic Rebellion : Romantic versus Classic Art." for a good analysis of classic and romantic art. I liked it when I read it ten years ago.
Courbet was good. Koons upstairs was awful. Koons seems to secretly collect old masters (he recently bought a $8 million Cornelis van Haarlem). The joke is on us - I guess.
8.1 mil at auction. He got a box full of blowm fuses and mason jars too - thats the way these auctions work, wheat with the chaff, clears the room out like a good fart.
I disagree about the koons - the dog should be a permanent installation on the far side of the deck. Inside? Meh.
yall understand new found popularity as much as you understand why koon buys old masters. simply market manipulation
but what soul nourishment are you going to find looking at some delightfully tired slut that courbet painted such a long time ago? that pathos is eternal? that people dont change? that it sucks getting old? that an artist can look at something, deconstruct it in their mind, and then recreate it in paint? that you can measure a person by the way they do that?
There was a good article I think in the NYT about how doctors lie to cancer patients about their prognosis. It was totally true. I think its not a good idea to give people false hope, I think it is for the doctors benefit, not the patient. I can understand that. But in art, i think its what people want.
I feel that paint had a heartfelt effect upon Koons. In the form of Dali -- Koon's catalyst, no?
Incidentally I can't stop thinking of Dali's language in that little book he wrote about technique in painting. An alchemical language, Flowery and resisting and all, but also sound advice... Book's called "50 Secrets of Magic Craftsmanship" And it really is a great booklet about paint.
The same author who designed the Chupa logo. Whatever Moves Your World™ yo.
I come back to the thought of Koons, in some pub, praising how nobody painted bread better than Dali. But the low countries definately had a way with bread. Perhaps this is where his interest led.
The thing about High and Low art is that one is supposed to be understood by everybody, a “real for the people” dealio, and the other under the crude and nuance-free divide a specialized and self-reflexive elitist undertaking. It is unfortunate that art suffers this 2-speed division, in a way. I can’t imagine what it would do to science if everyone expected that they should understand it’s highest complexities in common terms. The split is implying some kind of threat to concentration. New High has to avoid absorbtion into the total entertainment industry (and other musuem values) to program programmes and measure relevance by the door count. Old high is now kinda Low status quo, with traces of itself marred by common categorization. One inverts the common and the other is aloof beyond measure, they can both freely interpret each other for their own ends, nice dichotomy, and everyone is happily trapped. Roaming free is overrated. Narcissus lives in a cranium or something.
Was that one of a nude lying on her back with a parrot on her raised hand, in the show? I think it was the same model. It always cracked me up. There’s probably some fascinating story behind it, but just the zany composition does it for me.
I don't remember it if it was. Also I don't remember any still lifes - all overshadowed by the comissioned nudes I'm afraid.
I guess people would bring food to Courbet when he was in prison and he would paint that. I guess they let him have paint and visitors while languishing in jail. Why didn't he just transform into a giant or something? No one knows.
The guy who worked on the movie Pumkinhead died recently - an animatronic genius. Would Courbet have been a photographer or a director? Probably.
Cap, i believe the met owns that girl/parrot piece (unless they sold it recently)... I think I remember seeing it. It was a really crowded day.
And to be quite honest -- though it is a scrumptious piece for many reasons, it is not one that looks good behind a mass of people.
It's all there though. What is there to go into? Erotic symbolism, great rendering of flesh, subject completely involved in her own action. Courbet once again takes us thru the backside --but this time without depicting a backside. She is in fact, pictorially upside down. How erotic.There are 2 posts.. one that rises out of the bush of hair, one that is empty....( that perch from which the parrot glides.) When manet decided to paint a kind of response, it was through the frontal gaze of the beholder. A quite different effect, but a good illustration of the contrast between two ways of seeing. But really now, ontological thought takes away from the baseness of the picture, does it not? It's an exceptional pic as far as good porn goes.
Courbet can be quite obvious when it comes to the theatricality of his erotic pics, but it doesn't take away from the enjoyment. "Sleep" that pink underside of the sheets, lower left. Well done C.
Yes, Courbet would've probably been a director. DP, perhaps? Or a Greenaway? Not quite Greenaway... Fried commented about the difference in skin coloring between the two chicks in Sleep... That's not symbolism -- it's about readheads vs. brunettes.
it's funny how people, but especially femme get broken down into hair color.
"in our so very civilized society it is necessary for me to live the life of a savage. I must be free even of governments. The people have my sympathies, I must address myself to them directly." GC
the Courbet retrospective that was at the Brooklyn Museum earlier this winter [written in 1989].
i always thought the parrot one looked like she was in the hull of a ship and somehow attached pirate free vibes. apparently back in the day the word pirate in dutch was something close to janke, or yankee. european ideas pirated elsewhere to avoid licensing fees and other barriers. now it's china's turn few hundred later, same deal. if it's jo again, or ;slut' as no rush calls her, the irish were great ship builders. when whistler saw jo's bits in a courbet their friendship was over.,
I wondered about the Whistler - Courbet friendship. It seems so unlikely. But I suppose we stereoptype these guys by their styles and forget that the art world is not that vast. It's like seeing photos of Beuys and Warhol together and I always think "huh?" -like they would have nothing to say to one another.
It's still a crazy angle and idea for a painting (the parrot one) and I guess Heffernan was up for it, and must have known that she was kissing JMW goodbye when she shed the rest of her kit. But this one definitely shows a sober and pensive side. Courbet had really met his match there, a bit like Manet and that model he used in Olympia and other key works. It's sort of like the film director and star thing - if and when you hit on it - JACKPOT - the sum is way greater than the parts.
yeah whistler was there, oscar wilde in tow in the paris cafe often, degas and manet present. they were friends enough for jo to be recommended to courbet by whistler. the only way we know that du monde was of probably her is by how sharply their contact stopped after it. can't hide that shit with flame. Legion d'Honneur. but they probably had little more than a few things to impart. mutual arrogance would have put a stop to anything further.
u do appear rather heartless, but you seem to be quite practiced at writing it up that way
i'll say this. u seem to be a little in love with the subject of this painting. Id extrapolate that its courbet himelf that we fall in love with when we see the painting. he's pirated a face, body and wavy red hair, but it's him all right.
who among our contemporary portraitists can make us fall in love with their subject/self? would they want to, even?
i like waht hollie hobbies dotter is doing with skin and hair and especially those watery eyes. with a nod to sailor moon right? good example peg. there is seductive beauty there even tho there is also a huge wink. freuds got the realism but not the empathy or sensuality.
Hosfelt is a good gallery, nice space. Jim Campbell has done some nice shows there. They opened a nyc outpost and it looks like Naomie Kremer hopped over from Modernism? Dont know, she's still on the Modernism site. Aug 10-Sept 11 at Hosfelt NYC. Love her stuff
Well then to be fair, every gallery develops a certain look by organic means. Or memes rather.
I do consider Zach Feuer to be cousin to Jack 'Paper & Gouache' Hanley. The current Danica Phelps show at Feuer could easily be fit in Hanley (if hanley had higher ceilings)... even though DP has nothing to do with Mission, geographically speaking. Deitch, also a cousin -- from the other side of the familia...
I don't know, No Rush... Threat Of Chance looks es-ef to me. I will contrast this with last year's the installation by Nick Z and Kai Althoff at Gladstone-- both constructed interiors with street-cred signification....
Wood vs. Carpet... Hmmmm.
Had the show been at Deitch, then of course we would've had more wood.
But alas we had carpet and the results were funky fresh.
Wood was a meme passed down via Margaret Kilgallen.
Hosfelt. I just can't get over the similarity btween Reed Danziger's early work and Julie Chang's new work. Memes are passed.... And will they infect NY via Hosfelt NY and newly opened Garson Baker (julie baker coming from cali.)? Not sure... Patterns patterns patterns. Hosfelt should've paired up with Baker to corner the pattern market, and leave the figurative painting to dolby chadwick -- known for their strong cocktails and hot thursday night chicks -- all that a figurative painter needs to survive (besides a projector)
Was it Catherine Clark who really got the Mcgee/mission school going? I believe so -- Back then i remember it was called the Morphos gallery on hayes. My point is that Catherine Clark has really grown into it's own, with a different voice... Julie Heffernan... good painter in my book hey isn't she brooklyn-based? A reverse-osmosis is at play, yo.
AND...! we're back to Heffernan (hefferman hiffernan, the Heff, etc.).
Nice. What a way to stay on topic!
Looks good. There's an Amy-Cutler-curated exhibit based on henry darger showing somehere (midtown?), that features several photogs of which this reminds me. Perhaps you might look it up. It's on my list of things to see. (Henry darger was up last month in chelsea i forgot where but it was nice.)
Like it liek a bowl full of hard candy on a hot saturday afternoon and nothing to wash it down with but sugarless (not free) koolaide.
Very academic, like at a faculty show.
Hillary Harkness has the same obsessive gene, but better tonal range and of course lots of chicks doing it and shit. I;m fond of the cutaway view, I used to use it myself, but I'll retire it in deference, like jersy number 69. Or whatever maybe I;ll do the dollhouse dealio again, she doesn't own it does she? I hope not.
no theres some historical reference I forget. Like Archiboldo's vegie faces. Cornucopia and shit. She should change it up though, the composition sucks. Like portraiture in the met - dark or blurred grounds, more attention on the face, photo9graphy took care of depth of field a long time ago - i liek the student pics with the double exposure for the yearbook.
Courbet got the photgraphic crop down - I think thats significant, if not entirely engaging.
dhalias are bombastic and take a lot of water. WIlfowers are nice, but the sunflower is not "high class" like the orchid - i hate orchids as well as hot house flowers in genreal. Give me a marigold or jack in the pulpit any day.
flowers became a democratic thing when plastic came along. But sadly it didn't catch on. Zirconium dioxide didn't eitther.
Ever go into those midtown hotels?
No plastic. One arrangement would probably cost several years worth of my paint supplies alone. Such excess is not for painters and actors who would sadly spend that kind of money on food gas or rent.
The paradox is that they're free if you have the time.
The time.
I dream of time, good fish and flowers. And and endless supply of brushes that wash themselves. And a rib-eye once a week. And a better movie selection on iTunes.
Ok i'm being dramatic. I really don't need movies on iTunes and flowers are a bourgeois commodity that really don't have a place on my table.
But put em on a the heads of nekkid women and well...
i like tha tpainting a lot. It has a hot chick with perfect breasts - as if her husband was a plastic surgeon, and now, she is cheating on him with a cave man. That is hot, like the torch, with its supernatural/symbolic flame. WOwo. And wqhat is that face in the abackgroun\d? ANd why are they on a cliff? Its as if god made a still life adn pronounced it good, as I do.
But unlike traditional cavemen, today's cavemen keep a distance from pabst blue ribbon and trucker hats.... As those are now signs of bankers in disguise.
Birk again not a fave. I dont bother looking close. But prison is a theme thats dear. Theme or meme? Yknow SB did the landscapes with tiny prisons in the background.
Any way I like those guys that do art from prison. Theres one death row guy that Braunstein Quay showed, but that was too exploitational. Theres a phtotgrapher in the Mission that has a magazine about prison artists that is astounding. Not sure I can find that on the web. May not even be on the web. Also love Sterling Ruby's stuff about prisons/gangs.
Thing about Birk is his style is too copied, could be Bierstadt, or any of a number of painters. I think that's the joke. Just doesnt interest me.
Rausch I love because he assimilated a bunch of styles and made an all new one. I was buzzing in that low ceilinged room at the Met.
One thing that's very important about flowers, y'all. You don't want to crush them. Cuz then it's no more fun. Especailly those exotics. You can always try apologizing tho. Amazing how often it works...
Dennis Miller: I don't want to go on a rant, here, but America's foreign policy makes about as much sense as Beowulf having sex with Robert Fulton at the first battle of Antietam. I mean when a neo-conservative defenestrates it's like Raskolnikov filibuster deoxymonohydroxinate...
Robert Fulton (November 14, 1765 – February 24, 1815) was a U.S. engineer and inventor who is widely credited with developing the first commercially successful steam-powered steamboat. He also designed a new type of a steam warship. In 1800 he was commissioned by Napoleon Bonaparte to design Nautilus, which was the first practical submarine in history.[1]
The Battle of Antietam (also known as the Battle of Sharpsburg, particularly in the South), fought on September 17, 1862, near Sharpsburg, Maryland, and Antietam Creek, as part of the Maryland Campaign, was the first major battle in the American Civil War to take place on Northern soil. It was the bloodiest single-day battle in American history, with about 23,000 casualties.[1] An anachronism (from the Greek "ανά", "against", and "χρόνος", "time") is anything that is temporally incongruous in the time period it has been placed in—that is, it appears in a temporal context in which it seems sufficiently out of place as to be peculiar, incomprehensible or impossible. The item is often an object, but may be a verbal expression, a technology, a philosophical idea, a musical style, a material, a custom, or anything else closely enough bound to a particular period as to seem odd outside it.
No new thoughts -- it's already been covered in so far as the femme fatale goes. Remember the two artists knew Rosetti and his application of Lilith...
Whistler and C loved her hair above all.... But for the motif of jo looking at the mirror, well i thnk Rosetti would be the target of further research or speculation.
Cap -- there's a new interpretation i thought of just now. Jo's hair is a fuckin mess, and probably gets all over the place. His numerous portraits are very un-lilith like. In that they stress the stress that hair-entropy evokes. You know hair-entropy... She's cute and all, but her hair ends up sticking to your paintings... and on the carpet in and in the bathroom.
Hair entropy. Compare Courbet's painting above with Lady Lilith. Rossetti's Lilith: All contained. Brush, flowers, Peaceful wash from her eyes. Nice.
and so is a proposed narrative about how draino came to the rescue? dunno -- have no information on how heff exited courbets life, or vice versa. and/or who ultimately drained who from who.
But certainly to piece together a courbet perspective, it seems a narrative about hair.
Wash your stupid hair Change the clothes you wear I never really cared Comb your stupid hair How long 'till you see clearly? It's on you see softley, How long? Quite on time Can't make up your mind I never really cared How you wear Lady kept me waiting, for an hour I started facing and steppin' on the flowers I got to lookin' in a matter I saw the answer on why you're not here You kept me waiting , for an hour In my hand, In my hand You No Show, you Know Show, I know you wouldn't go You Know Show, you Know Show You don't go, You're a No Show
I appreciate Courbet and the Weezer dude's attempts at realism. Courbet I think really nails it. The Weezer dude is lying about what he cares about but probably on purpose so you see (realistically/ironically) that he's a liar. That's good too.
Rosetti Ive always loved, I had a poster of his Proserpine in my bedroom when I was a (weird) teenager. But his depiction of Lilith is so far off any description or idea of what she was about, that its almost laughable.
EEEK! Been looking in the mirror too long? Concrete hair
___ Outside in the hall theres a catfight Its well after midnight I guess Ill be allright Im laid out on the floor Drunk and poor How much longer how much more
Rock me to sleep Strong & deep. The screaming cats they give me the creeps But aside from all that I feel no pain Staring up at the ceiling stains ...neon in the window ...sirens far away ...news on the radio happy birthday happy birthday happy birthday
Theyre at it again next door This whole floor I swear Theyre out to drive me crazy Not right now Im high as a cloud Im soft and gray and lazy ...neon in the window ...sirens far away ...news on the radio happy birthday happy birthday happy birthday
Fly me Out the window. Somewhere far away Singing on the radio
HOLD it up sternly! See this it sends back! (Who is it? Is it you?) Outside fair costume—within ashes and filth, No more a flashing eye—no more a sonorous voice or springy step; Now some slave’s eye, voice, hands, step, A drunkard’s breath, unwholesome eater’s face, venerealee’s flesh, Lungs rotting away piecemeal, stomach sour and cankerous, Joints rheumatic, bowels clogged with abomination, Blood circulating dark and poisonous streams, Words babble, hearing and touch callous, No brain, no heart left—no magnetism of sex; Such, from one look in this looking-glass ere you go hence, Such a result so soon—and from such a beginning!
and in a hallway toward the drawing section, there was the rosettti -- awatercolor of the oil that resides somewhere else.
and then I walked thru Whistler and realized how much of a fuckin genius he was... follow me now...
There's a new(ly rotated) degas there at the met. with crazy RED ibises or birds or something that he added later. Crazy. Had the style of his spartans, but the red birds were just bizzarre... As if the chapman bros did a thing on an early degas. But only better. Cuz degas did it.
No rush it reminds me of the fuckin weird lizard-man of Whistler's that the DeYoung owns. Such weirdnesses are singularities.
Whenever I go to the new deyoung I spend the whole time in the oceania collection. It's killer. Love whistler tho. The green lizard man is a hoot. Last fall when we were in ny we had to go to the frick bcuz the old man loves that place. Those two big portraits they have there--the pinkish brown one of the woman from behind-Mrs Leyland. With red hair no less. I remember loving the mucky color of it. "The portrait is in fact so totally a work of exquisite design that Whistler’s contemporary Dante Gabriel Rossetti wrote of it, with some reason: 'I cannot see that it is at all a likeness.'”
Anybody see JKalm's YouTube video of the Koons baloonz? JK's all excited that he got mentioned in the Pink Section. Top of the Pops in SF. Koons made a GREAT comment about his surfaces and the surfaces of all the other paintings below in the Met. Is that guy a genius or what? I wasn't actually buying zips idea that he was wysiwyg straightforward, but he really is earnest and trying to tell u something. I'm gettin it Jeff!
and the fabric is just -- if ever one could command a mastery of limpness it would be whistler. (oppose with bernini or sargent who made use of fabric in a more dramatic-- dare i say comic-booky way).
Limpness in and wanness in a good way. It's a challenge -- when the urge is to smack viewers with prowess or excess (not to say that's bad -- i'm a big fan of bernini)
I could only imagine a painter like Luc Tuymans wishing he could approximate Whister's subtelty in color and mark making and interplay of light. Wanness is something of a holy grail in painting. But even now, whistler makes even robert ryman seem heavy handed.
You've either got it or you don't. Tuymens is some kind of what Calvinist or something. He hasnt got it in him and I dont think he would aspire to the BOHO ELEGANCE which is my words for it.
Speaking of rosen, I think Gillian Carnegie on good days approaches whistler's sensibility -- I think she's got it in a kind of in a slade-gwen-johnian kind of way -- not in palette, but in her ability to understate. And she does so quite well.
I don't like her butt paintings (i've read art-writing that tries to relate them with Courbet's origin) -- to that I say: Pfff!)
I like whistler. Courbet meets him a few feet on the way in the met show - though they dont get medieval with quarterstaves that I can see.
Japanese zen ink drawings aren't heavy handed, have clean lines, nods to chaos, conformity, control, submission, denial (Calvinist or otherwise - its secular). Traditional, open to "the hand" but not to radical change (why should one?)
I like that better than Tuymans or Carnegie - maybe because I am a cool six degrees below.
I have noticed a trend in restaurant decor - towards victorian era gas-electric switchover on to deco. Reminds me of tourist towns and nostalgia for pre-digital days. Analog over syth - lo fi and superflat are boring. Bring on the worms!
Or is that just wishfull thinking - gen y has a text message culture simular to the note passing/calling card culture of the victorians - maybe that's where it will all align. Voice of the master. Courbet fits in the pardadigm, Koons is outside the gates pedantically highlighting the strength and the futility of style over substance.
if whistler work was wan to begin with think of what a slap 1-- years has done to help it faaaaade (forget museum conservation - it does well but suffers the weather like we all do). just like photographs from grandparents, things that have evidence of having aged carry loss, like gaps in the story, mystery, loss equals poetry, poetry equals soulful, NOSTALGIA is the primary state. japanese idea of beauty in wabi-sabi, time rust decay balance old new nothing lasts ephemera etc, tuymans going straight for the jugular and trying to make it look 100 years old even though he made it yesterday, looks good next to the real thing above the period mahogany bookcase, neo does it as well. it's easy on the eye, it whispers, it whistlers. i've said this before. i love it a lot the fade, especially on my jeans, but still i don't buy the nostalgia too much because it's explicitly a pedestal maker. i'm tired of present kickers, future beating is for retirees. are we still carrying the torch or not? if it aint old, it aint old, so let recent surfaces gleam, polish em up koonstyle. both fade and gloss are pretense gimmick when forced, but in the laws of nature, both make sense under the weather. let the weather work it out, ruins are puzzles. puzzles are myths. mythological pathos is EVERYTHING. there are other ways to make understatement, like looking into spiderwebs.
paint in oils, leave to dry and then sandpaper as much of it off as you can. actually no paint in acrylic and then wash most of it off in the spa bath. actually no, buy a giant solid chinese imitation italian provincial dining table, replete with fresh chain bashing to give it that beaten PERIOD look. bleh. fading is eurolust.
Encouraged to identify himself with some other time and some other person, today's individual has managed to have his present stolen from him under the illusion of gaining a historical perspective. In a spectacular space-time ("You are entering history, comrades.") he loses the taste of authentic life. Yet, those who refuse the heroism of historical action are warped by the complementary mystification that the psychological sector bestows on them. These two categories rub shoulders, and fuse in the extreme poverty of recuperation. You choose: either history or a nice quiet life.
when you buy paint from the shop, it is new. it will look delicious. to counter it's delicious look, one will have to tarnish it. this will produce an effect that the painting is not brand new, among other things. look at the paint on vehicles. the 15 magazines devoted entirely to wrinkle spotting. ageism is real. too real. when diluting and tarnishing, who are they trying to please? is it a statement of auto-accelerated erosion and entropy? an attempt to join or enter into a point in history where that fade is already apparent, or is it just to be quieter as a painting. I like quietness. Neo's paintings do look almost as perfectly faded as any of the old german books he derives those images from. But once upon a time the prints in those books gleamed. If that's where he wants to enter it, then it becomes vital to the work. But there has to be a point to do so. To be quiet, or to choose the history that chose you. So right now there is no excuse not to shine, unless there is one.
Webthing, I don't buy it. It's just way too commonplace for art writers to spot a decrease in chroma in figurative painting and immediately flag it for being overly-nostalgic or attach it to history -- though that may be true in some cases. It's such a lazy oversimplification and rehash of the gravy/no-gravy arguement of the 19th cent painters when new pigments became available.
And so what do propose for a more contemporary -- and thus less pedestrian treatment of palette? The converse? As if we haven't seen saturated and gleaming chroma in figurative work of past. Just one example: Illustrated manscripts and raginis of 15th - 18th century India.
In other mediums like photography, palette may be swinging the other way. Fake Velvia colors of the film days are giving way to the understated Creamsickle palettes of Canon digital signal processor design.
No rush I like. I do think the crumpled paper thing is making it's way through the country. Sean Raspet's early work made use of the language. http://www.danielreichgallery.com/raspet01.html
I also know a guy in vancouver that has taken that on. (Raspett no longer seems to be doing the volumetric thing anymore)
How do we pick through the Nostalgia when looking at this Courbet? Does it align with the remodernist manifesto of March, 2000? Is it in some way free from the nihilism and oft cynical grips of postmodernism, the movement that fractured everything (or at least thought it did)? Is the return to Victorian decor and style a throwback to a romantic version of a romantic ideal lost in space? Where is Sofia Coppola? Why is carbon fibre so much uglier than teak? Is it? Some people really don't care and are going forth.
jpc i dis/agree with you buddy, just playing d'advocate. the truth is i'd rather spend more time with any of the fader painters works. hmmm, actually maybe not, they burn so slow as to spend a life with, not a night on the bubbles in the stockroom. i just pick at myself for this fadelust, i've got it bad. why? hi-chroma has been done wayyback i know. but if you look at all the paintings that have been on this page of pnyc, most of the works have that light and beautiful treatment and handling. i know it's gorgeous. it is. it's gentle. or something. delicate and peaceful, that's what it's supposed to be mostly about. but not all about. that's be too one dimensional. color really is such a magical phenomenon.
hi lo = 2 dimension.
hi med lo = 3 dimension.
hi med-hi lo = 3 dimension.
hi med-hi med-lo lo = 3 dimension.
point A--------------->point B = the necessity of and basis of VERBAL/SEXUAL language.
All the truth is in between. ie/ there is no truth absolute.
Diaphanous material always costs a lot of money. IS APPRECIATION ABOUT HOW REFINED SOMETHING IS? petrol is worth more than crude. Point A, Point B.
Lust to consume tactile or sensuous layered and well-considered output should never be systemically omitted by culture in any point in history.
Because Gravy is sometimes just gravy-licious.
Sometimes though, the vernacular becomes more important and fussed-over than the form from which the vernacular sprang.
Take food culture and it's vocabulary. Ever notice how the word 'comfit' is a word used to describe everything from common fruit jam to anything braised, tossed or chopped? At some point it became an empty free-floating signifier.
This word -- enjoying it's pedestal for a few years now, described a technological limitation in which meat had to be preserved in it's own fat and gelatin. And you point that out to someone about to consume some mint/melon comfit and they say 'yuck ... fat and gelatin....' You have to remind them that it's rally not comfit. What they're consuming is a word with less calories.
While once signifier with deep historical anchor, it has since branched off to serve a branding purpose of describing high-class food preparation, when what you really have is jam, jelly, chopped fruit, food cooked in a crockpot, garlic cooked in foil, salsa for your tostidos, you name it).
Comfit.
Now my point is: For those who want to really cook a duck or short rib comfit, prepare yourself to savor the fat and gelatin on your tounge.
Mmmmm.
Yeah, I know we have things called freezers and refrigerators and irradiators, and comfit as a Food Preparation isn't really needed these days, and is antiquated and probably irresponsible from a modern health-conscious perspective... but Mmmm.
No rush. that was weak. It's not even hdr. And aching for a reference to clyfford still and Stan Brakhage. How historical can a motion-graphics person get?
I'm not sure what Koons has to do with this painting, but he seems Bobo to me not Boho. GC was Boho as well as "Soci;" he ended depressed mostly due to the failure of his political ideals, not due to Boho alcoholism for its own sake. The painting is indeed weirdly wonderful.
More than other sins, the definition of sloth has changed considerably since its original inclusion among the seven deadly sins. In fact it was first called the sin of sadness or despair. It had been in the early years of Christianity characterized by what modern writers would now describe as melancholy: apathy, depression, and joylessness — the last being viewed as being a refusal to enjoy the goodness of God and the world he created. Originally, its place was fulfilled by two other aspects, acedia and sadness. The former described a spiritual apathy that affected the faithful by discouraging them from their religious work. Sadness (tristitia in Latin) described a feeling of dissatisfaction or discontent, which caused unhappiness with one's current situation. When Thomas Aquinas selected acedia for his list, he described it as an "uneasiness of the mind", being a progenitor for lesser sins such as restlessness and instability. Dante refined this definition further, describing sloth as being the "failure to love God with all one's heart, all one's mind and all one's soul." He also described it as the middle sin, and as such was the only sin characterised by an absence or insufficiency of love. In his "Purgatorio", the slothful penitents were made to run continuously at top speed.
The modern view of the vice, as highlighted by its contrary virtue of zeal or diligence, is that it represents the failure to utilize one's talents and gifts. For example, a student who does not work beyond what is required (and thus fails to achieve his or her full potential) could be labeled slothful.
Current interpretations are therefore much less stringent and comprehensive than they were in medieval times, and portray sloth as being more simply a sin of laziness or indifference, of an unwillingness to act, an unwillingness to care (rather than a failure to love God and his works). For this reason sloth is now often seen as being considerably less serious than the other sins, more a sin of omission than of commission.
who white? i love that shit. but i don't know if it will be timeless. it will be very of it's time coz it holds a rear-view mirror thats catching glimpses of the kids on the street as you look back. she's old enough to have seen it all twice though.
pppppppppainting to reflect the times. ppppppppppainting to transcend the times.
to make a classic record the musician must speak in a new language that wasn't being spoken at the time. to make a hit record the musician must speak in the language going around at the time. it's all derivative in the end, but there's nothing like being surprised. especially when it lasts a while, opposite of dour tannins.
well i do know she's older than emerged but not old enough to be on the hind-sighted twice-cooked list of menu entrées. -- where history's to judge whether or not there'll be a real connection with street and WW.
so, don't want to start a street fight here, webthing. I defer to you.
by street i meant fashioniable retrograde , the similar color cycle now having spun three times at the beginning to middle of each decade in perfect sequence. on the fm, playing the greatest hits of the 80's, 90's and today. i still don't mind WW coz she's at the party. but we gotta do something deeper, it's on its way, out here on the culture flats. society is feeling lite. art goes there. wait for the pullback and hey, there might not be one. up, up, and away!
i once took the class of a famous poet and he liked to use the metaphor of curry. personally i like to call it gumbo. immanent or transcendent. or not there at all. i can never decide.
beck is so way ahead of weezer, i hear you - but its both derivative crap 9whaqt you meant right?) . I do like the music though. I was singing some lyrics tonight. Bottles and cans and just clap your hands. Should I go do shots at the local bar or stay in and post to a stupid blog. I dont know. People out here feel trapped. I guess its all relative. got to get back to brooklyn - this shit is bringing me down.
Those connections arent conscious although concerns might be similar. I think some of what balincourt does that might be perceived as consumed really happened simultaneously. Tuymans is a funny one. Never thought about that but a few people I respect have mentined it to me. Giotto, Haley,Smithson, lewitt, these are the shoulders i want to stand on. Chowhound? not sure what that is.
chowhound is simply delish... (not really i refer only to CH when i'm in the bush and want to avoid getting the runs). Just wash your chow from all culture before entering your studio.
Your cage iterations prob predates tuymans's 'Within' but since your online pics recall 'Within', perhaps it's an online brand-saturation issue more than it is an artistic one. Your 2007 sf arts commision pics clarify your use of the cage in contrast from that one LT 'Within'.
I thought at one point you must've been into Borges's Map but now I think probably not. More like cage as coordinates stemming from some sort of a digital experience. (professional, consumer pedestrian? dunno.) But you're clearly into artficial experience.
Ive read a good deal of Borges. i enjoy. the one to one scale... the sense of absurd. celebration.
I'm interested in landscape as the carrier of time. landscape as crystalline fabric. haptic navigation of visual space. a thousand video games all at once from all times fitting on one screen creating a space outside of time. horizontal organization. no drawers. everything visible.
munch a bunch of crunch-a-munch
Dunkin donuts is a stink bomb left unattended in your car. sticky sweet.
Derivation is the only way it can be, so no problem with it but...
OMG, DT you said too much (like in that woody allen movie where diane weist keeps saying to john cusak, "don't speak"). Being fascinated with the fat kid. That bursts the bubble. Now I see the NPR-ness of what you're doing. Boo-hoo. I always get fooled by elegance.
I am the fat kid. Fighting for my life to get out of this prison. I think that's why I feel so sympathetic to Koons. Maybe his solution is impure, but its as real as the day is long, and you know he had to do it. Nothing to fall back on in his case.
NPR doesn't deal with the devil to well, if you've noticed.
I am a boring writer-flat.Regarding wendy w,at least the work is ugly,asphalt and gatorade windex,magic markers-slack and blare-most see this enough as it is -and its like a smart girl in a class of stoners-and the stoners say'yeah,you are so smart-but suzanne doesnt take you down to the river,because shes really really straight and repressed,after all-chick needs some ayahuasca or something-maybe get out of the east coast
For those still in NY, don't miss the (mostly) Rajput manuscript paintings at the met. You'll be blown away, and won't be surrounded by the throng too busy with theTurner show.
not to dump on her,but her work is so agressively ugly,it should get something more than"the work looked great"-which means what,anyway-it "looked" great,or was-and am i just saying this because we have a pact to be frenz ?But am always curious to see what comes next-seems like an end game,yet agnes matin went along with few elements-hope this doesnt pollute the purity of this blog
areborurs, I am glad you pointed out this issue of painting as an end-game. It is something of which have been obsessing of late, but have no defining thought about how to deal with it.
Ugliness has been just one of many strategies, of play -- the kip and jorg brought good play but then Oehlen made ugliness-is- beautiful 'sike' kind of basketball move that powned. -- and left Messe wondering w/the fuck just happened?
yeah. wow. im standing up applauding. just when i thought hip hop was dead. you go and bus it in.
I havent been back here in a couple years. and its still the same blow-- hard time, same blow-- hard channel. maybe youre a nice guy. what the hell do i know. but youre fucking exhausting 'naw mean?
oh yeah and your rap sucked. if art isnt working out dont make hip hop your next victim.
get awesome.
you may be morfe bored than me.. i think that was exactly my point. so much for reading comprehendo amigo.
ok danny boy, so you are the great assimilator? Good for you. Your loosey goosey painting mojo might work on lesser mortals, but where I come from thats old hat art school slack. I mean, you sweat, but we see a uniformity based on your all over the mapness. That may slide on by, but like I said, even a donkey could do it, given the paint. Like threaading a doughnut or maybe bbqing rimbauds cancerous leg. Makes as much sense to me as anything.
I was never fat. Beck got a writeup in the times did you see that? or were you responding to the zeitgeist? beck is as boring as I am, but oh, he sings it and uses puppets or whatever. good for him. Dance monkey dance.
exhausting. Thats a good one you know? And you want reading comprehension at one oclock int he morning my god i feel like I'm a cow, and you are an ant, and we are having a conversation, only I can;t even see you.
218 comments:
1 – 200 of 218 Newer› Newest»Gustave Courbet was at the Met. Did you see it?
Yes! I thought the show was great, had fun. I went to the Met and the Vet (for the pet) again wednesday and it was hot and it wasn't as good, of course, everything closed for instalation. So I guess I saw the met at the best of times and the worst of times.
Went to the deck of the Met and saw the Koons. Not bad.
In a way I see the connection between Koons and Courbet - both playing the game. All great artists do, I suppose.
Courbet at the Met didn't appear conceptual (neither does Koons, really - he seems more and more phenomenological to me - like a WYSIWYG kind of guy - take him at face value, he does) Neither are social commentators like, say, Gericault.
The sun hit the Koons's like a big cyclopean eye, and each hot spot on the baloon dog reminded me to not take pictures, even though I did, what could be more banal than taking a picture? Right Koons? OR was I stealing the soul of the image? Cheating the potential viewer of the immediacy of direct experience?
In the same way, the pictures of female genitalia were really well painted, had a lot of soul, as they say - where the portraits were sometimes somewhat perfunctory - as if Boris Valejo had traveled back in time and done some off the cuff studies for Williamsburg dandies at 50 dollars a pop, no doubt.
In the reviews they make a lot of hoo ha about the optical viewer thing and I wonder about the connections to Duchamp's keyhole piece.
Also the reviews talk about the picture of the dead bride - its a slap dash painting, showing signs of its age. I didn;t find it that compelling, though if you put it on the wall liek a roman fresco in the atrium with a statue or two, you might achieve a sort of uncanny faded aristocratic melancholy.
But I already have that.
'uncanny faded artistocratic melancholy', nice one.
this is a portrait of irish girl Joanna Hiffernan who is most likely also the model for L'Origine du monde. Courbet had a real sense of duty, did he really invent the term realism? I wonder what he would have thought of reality TV. In fact i'd love to give him a laptop and see what he did with it. Would he log on to modern socialist dot com. I guess it was really valiant of him to come from wealth and devote his time to the people or whatever he pitied them as.
ouch! Courbet was a REAL painter no doubt. (damn irony)
i know how she feels.
did u guys ever see orlan's version?
bigger is better
Orlan “L’Origine de la Guerre”, 1989
I don't see Courbet as really playing 'the game' - in the sense of going along with the status quo, or academy. To me he's the ultimate I-did-it-my-way guy.
Take-it-or-leave-it stuff. The Realist tag does look funny now, but I suppose the difference between him and preceding Romantics was the absence of literary or historical incident. I guess that's what he meant by painting what he 'saw' - rather than imagined.
But of course, you can't help but be struck by the liberties he takes anyway.
It's fun to look at this stuff now, but I still found myself thinking, sooner or later John Currin is going to plunder these as well - like that one The Desperate Young Man - it already looks half Currin. This one too, which could be titled A Young Painter Struggles to Find the Next Post for Her Blog.
I can't look at these kind of facial expressions and gestures now without thinking of JC.
I'm just happy to see this
A rebel? Ah yes polite society! those were different times I guess. I wasn't there though. I wonder what the audio tour does for people - maybe its just a bunch of hot panting.
I like car stereos more than big breasts, but I like cars with stereos and women with big breasts about the same. Real, not paintings of car stereos.
Re Orlan: A severed penis whould be funnier would it not? Everyone likes horror movies, right? I know I do. I'm accepting orders now - any style - though I might prefer expressionist as its easier than glazing and I'm not really into painting penises, truth be told.
There's a long running commercial for penis size enhancement on late night TV that must be pushing a lot of pills - one wonders what the demographic of that is exactly? Like a gag executive gift Could it be cross branded with Rohypnol? Has Damien Hirst comissioned a rohypnol-severed penis painting? To edgy?
Uh... the Orlan, not... I think... painted from the model, shall we say...
severed penis funnier? i dont know, i dont think so, did u read the title? but i dont really like horror movies either. or car stereos. and big breatss, well they are a pain but what can u do?
not from the model, do tell?
I found this - but I don;t hink war is the result of population. Ithink people get bored = ambition. Wars are fought for entertainment (loosely defined) same goes for museum shows and art. How do you occupy your time?
What will they let you do? Why are you here? Where are you going?
According to the epic tradition, the protest Gaïa about the uncontrolled increase in human population is at the root of the war. Souffrant du poids de son chargement, la déesse exprime ses plaintes à Zeus . Suffering the weight of its load, the goddess expresses his complaints to Zeus. Le père des dieux, constatant la nécessité de diminuer le nombres d'êtres humains sur terre, provoque les guerres. The father of the gods, noting the need to reduce the numbers of human beings on earth, causing wars. L'expédition de Troie comme d'autres conflits sanglants s'étalant sur une longue période est, d'après Hésiode , la raison pour laquelle la génération des héros est exterminée. The shipment of Troy as other bloody conflicts over a long period, according to Hesiod, the reason for the generation of heroes is exterminated.
I loved seeing this show,and was really moved.... it contained that timeless power that alot of work from that era possesses.
I especially loved the mood of the landscapes, with the little caves and caverns that I wanted to wander into..
Is this a Picabia thing again, cuz I don't get it.
This new-found popularity. Like Picabia, his
canvasses suffered from lack of --- Well he
couldn't draw, much less paint in any way I would
deem as being unlabored. And now he's become the
king of Bad Paint...In a ... 'good way'. So at
least labor accounts for something, eh?
I remember the show at the Brooklyn Nochlin and
Fried's positioning of that show -- figuring
courbet as a sort of political evangelistic
communard and pro-feminist badboy. Well that makes
some sense... That strategy makes us more
forgiving of his actual work. And of course Origin
held a better spot (best spot in the room if I
remember). -- but what's this interest now? How he
influenced bob ross's bladework to such a degree
as to become the cultural giant that he is this
year? How his kitch ticked John Currin enough to
grace the show with an interview of how
effectively kitch tickles? I could've gotten that
from a motel 6 wallhanging, which is about as
indebted to Courbet than any of Currin's work.
Granted, I'm still fond of Courbet, but to this
degree? (this months list of publications in
which Courbet art-stars is astounding!)
Hey welcome back Jpeg!
Thanks cap. I realize I was a bit harsh
on picabia. That was the brown stuff speaking.
(bourbon).
no more of that stuff.
I'm off to see the rauch show at zwirner.
well to answer everyone's question, the NYT comes through:
In addition to the sculptures, which are on view through Oct. 26, Met visitors can also sample a bit of Mr. Koons’s taste in art. Hanging in the Dutch painting galleries is “Hercules and Achelous,” a 1590 painting by Cornelis van Haarlem that old master experts say Mr. Koons bought for $8.1 million in April at Christie’s in New York.
be enlightened
I'm still cloudy on what constitutes Realism as oposed to romanticism, but at least I get money, which seems to talk, just like in a Hans Christian Anderson Story of the same name, which I will write.
Also, jpg critic et al should drink pilsener and margeuritas, as it is summer, and the streets are burning.
I saw this painting a few days ago at the Nelson Atkins in KC, her face and structure are so off but it is the most beautiful painting.
Those fingertips of the hand running through the hair are so quickly and easily handled.
She, the poser, was somebody's mistress, I can't remember whose though.
Anyway, nice post after peyton.
She looks stoned, sunday morning.
If it really is Jo Heffernan, then she was Whistler's mistress, I think.
I'm on the Pol Roger.
I think this painting is called "Trilby"
"In his Swiss exile, well-wishing friends unwisely supplied Courbet with barrels of brandy, which seem to have gone down at an alarming rate; he was also now onto absinthe. Toward the very end his once-fine body had become grotesquely inflated, and he cherished the fantasy that if only he could be lowered into the cold waters of the lake that lay below him, things might still come right for him. He died on December 31, 1877, of dropsy, induced by drink.
yes, i got to see this on the last day! great show. i liked how he really screwed up on scale sometimes.
Absinthe makes the heart grow Fonda.
Read Kenneth Clark's book, "The Romantic Rebellion : Romantic versus Classic Art." for a good analysis of classic and romantic art. I liked it when I read it ten years ago.
Then you broke the sacred circle right?
Courbet was good. Koons upstairs was awful. Koons seems to secretly collect old masters (he recently bought a $8 million Cornelis van Haarlem). The joke is on us - I guess.
8.1 mil at auction. He got a box full of blowm fuses and mason jars too - thats the way these auctions work, wheat with the chaff, clears the room out like a good fart.
I disagree about the koons - the dog should be a permanent installation on the far side of the deck. Inside? Meh.
NO PICTURES!
yall understand new found popularity as much as you understand why koon buys old masters. simply market manipulation
but what soul nourishment are you going to find looking at some delightfully tired slut that courbet painted such a long time ago? that pathos is eternal? that people dont change? that it sucks getting old? that an artist can look at something, deconstruct it in their mind, and then recreate it in paint? that you can measure a person by the way they do that?
Im not old yet. Got somr cavities filled. I dunno, entropy is weird. I changed man. I totally did.
There was a good article I think in the NYT about how doctors lie to cancer patients about their prognosis. It was totally true. I think its not a good idea to give people false hope, I think it is for the doctors benefit, not the patient. I can understand that. But in art, i think its what people want.
I feel that paint had a heartfelt effect upon Koons.
In the form of Dali -- Koon's catalyst, no?
Incidentally I can't stop thinking of Dali's
language in that little book he wrote about
technique in painting. An alchemical language,
Flowery and resisting and all, but also sound advice...
Book's called "50 Secrets of Magic Craftsmanship"
And it really is a great booklet about paint.
The same author who designed the Chupa logo.
Whatever Moves Your World™ yo.
I come back to the thought of Koons, in some pub, praising how nobody painted bread better than Dali. But the low countries definately had a way with bread. Perhaps this is where his interest led.
man if I could buy that
Cornelis van Haarlem painting
-- the monk and the nun -- (or some such),
I would.
Now that's some eternal pathos.
The thing about High and Low art is that one is supposed to be understood by everybody, a “real for the people” dealio, and the other under the crude and nuance-free divide a specialized and self-reflexive elitist undertaking. It is unfortunate that art suffers this 2-speed division, in a way. I can’t imagine what it would do to science if everyone expected that they should understand it’s highest complexities in common terms. The split is implying some kind of threat to concentration. New High has to avoid absorbtion into the total entertainment industry (and other musuem values) to program programmes and measure relevance by the door count. Old high is now kinda Low status quo, with traces of itself marred by common categorization. One inverts the common and the other is aloof beyond measure, they can both freely interpret each other for their own ends, nice dichotomy, and everyone is happily trapped. Roaming free is overrated. Narcissus lives in a cranium or something.
Visual apartheid? Or is it more like a brief history of time for the masses?
A leap of memes; fleas freezing!
Ah... to get back to Courbet, just for a moment -
Was that one of a nude lying on her back with a parrot on her raised hand, in the show? I think it was the same model. It always cracked me up. There’s probably some fascinating story behind it, but just the zany composition does it for me.
I don't remember it if it was. Also I don't remember any still lifes - all overshadowed by the comissioned nudes I'm afraid.
I guess people would bring food to Courbet when he was in prison and he would paint that. I guess they let him have paint and visitors while languishing in jail. Why didn't he just transform into a giant or something? No one knows.
The guy who worked on the movie Pumkinhead died recently - an animatronic genius. Would Courbet have been a photographer or a director? Probably.
http://www.youtube.com/watch?v=1m-JYut7GSQ
Cap,
i believe the met owns that girl/parrot piece (unless they sold it recently)... I think I remember seeing it.
It was a really crowded day.
And to be quite honest -- though it is a scrumptious piece for many reasons, it is not one that looks good behind a mass of people.
It's all there though. What is there to go into? Erotic symbolism, great rendering of flesh, subject completely involved in her own action. Courbet once again takes us thru the backside --but this time without depicting a backside. She is in fact, pictorially upside down. How erotic.There are 2 posts.. one that rises out of the bush of hair, one that is empty....( that perch from which the parrot glides.)
When manet decided to paint a kind of response,
it was through the frontal gaze of the beholder. A quite different effect, but a good illustration of the contrast between two ways of seeing. But really now, ontological thought takes away from the baseness of the picture, does it not? It's an exceptional pic as far as good porn goes.
Courbet can be quite obvious when it comes to the theatricality of his erotic pics, but it doesn't take away from the enjoyment. "Sleep" that pink underside of the sheets, lower left. Well done C.
Yes, Courbet would've probably been a director. DP, perhaps? Or a Greenaway? Not quite Greenaway... Fried commented about the difference in skin coloring between the two chicks in Sleep... That's not symbolism -- it's about readheads vs. brunettes.
Or redheads with brunettes. Yum.
Oh please, not Greenaway.
it's funny how people, but especially femme get broken down into hair color.
"in our so very civilized society it is necessary for me to live the life of a savage. I must be free even of governments. The people have my sympathies, I must address myself to them directly." GC
the Courbet retrospective that was at the Brooklyn Museum earlier this winter [written in 1989].
i always thought the parrot one looked like she was in the hull of a ship and somehow attached pirate free vibes. apparently back in the day the word pirate in dutch was something close to janke, or yankee. european ideas pirated elsewhere to avoid licensing fees and other barriers. now it's china's turn few hundred later, same deal. if it's jo again, or ;slut' as no rush calls her, the irish were great ship builders. when whistler saw jo's bits in a courbet their friendship was over.,
I wondered about the Whistler - Courbet friendship. It seems so unlikely. But I suppose we stereoptype these guys by their styles and forget that the art world is not that vast. It's like seeing photos of Beuys and Warhol together and I always think "huh?" -like they would have nothing to say to one another.
It's still a crazy angle and idea for a painting (the parrot one) and I guess Heffernan was up for it, and must have known that she was kissing JMW goodbye when she shed the rest of her kit. But this one definitely shows a sober and pensive side. Courbet had really met his match there, a bit like Manet and that model he used in Olympia and other key works. It's sort of like the film director and star thing - if and when you hit on it - JACKPOT - the sum is way greater than the parts.
She was never a slut.
gestalt
yeah whistler was there, oscar wilde in tow in the paris cafe often, degas and manet present. they were friends enough for jo to be recommended to courbet by whistler. the only way we know that du monde was of probably her is by how sharply their contact stopped after it. can't hide that shit with flame. Legion d'Honneur. but they probably had little more than a few things to impart. mutual arrogance would have put a stop to anything further.
No much has changed.
arent u chivilrous today. craptastic!
Yeah but chivalrous in a heartless kind of way, right?
My MC:
Guys who are chivilrous on the L.
from 1st to bedford.
I saw you looking, jerk.
BJEDBNEFDFKJH
u do appear rather heartless, but you seem to be quite practiced at writing it up that way
i'll say this. u seem to be a little in love with the subject of this painting. Id extrapolate that its courbet himelf that we fall in love with when we see the painting. he's pirated a face, body and wavy red hair, but it's him all right.
who among our contemporary portraitists can make us fall in love with their subject/self? would they want to, even?
freud?
kurt kauper?
kehinde wiley?
stella vine?
I'm in love with Jocelyn Hobbie's Warm Girl.
Though Girl with Spider Web is pretty hot.
great point...
pretty girl with a zit--blue girl
those are some awesome jpegs on the bellwether site.
88 degrees 35 percent humidity lagunitas maximus. mmmmmm im in love with the day.
i wish
http://www.tate.org.uk/images/cms/12685w_nude_2.jpg
Be careful what you wish for.
I wish for tickets
cap i thought you liked redheads
That's more of a calling than a hobbie.
i like waht hollie hobbies dotter is doing with skin and hair and especially those watery eyes. with a nod to sailor moon right? good example peg. there is seductive beauty there even tho there is also a huge wink. freuds got the realism but not the empathy or sensuality.
i think humanism has been left to photographers?
Don't get me started...
belle laide
Pronunciation:
\bel-led\
Function:
foreign term
Etymology:
French
: beautiful ugly woman : woman who is attractive though not conventionally beautiful
anything interesting in sf no rush?
the beautiful hot weather.
big frieda show though i've seen tons of frieda.
straight outta sf-->I mentioned before I'm crazy about the work of Leslie Shows. Jack Hanley was showing her in NYC recently.
good galleries keep on truckin in oakland--ego park curated by adam hatch, johanssen projects, others too
im too busy to go out much
wow.
Leslie Shows has developed quite a bit
since her SECA debut. (I've been a fan since then)
btw,
I normally stay away from
Jack Hanley. There seems to
be a 'style' that doesn't stray
from the mission school canon.
But I may be wrong.
Ever check out Hosfelt (SF)?
haven't in a while.
Mission school is in diaspora. who made more money offa that joint--jules de b? barry mcgee? jack? who knows but we're movin on arent we?
this looks like a great gallery. anybody get over to that "threat of chance show"? great pics up on fecal face. gotta scroll down a bit
Hosfelt is a good gallery, nice space. Jim Campbell has done some nice shows there. They opened a nyc outpost and it looks like Naomie Kremer hopped over from Modernism? Dont know, she's still on the Modernism site. Aug 10-Sept 11 at Hosfelt NYC. Love her stuff
Deitch made a fair amount i'm sure.
Well then to be fair, every gallery develops a
certain look by organic means. Or memes rather.
I do consider Zach Feuer to be cousin to Jack
'Paper & Gouache' Hanley. The current Danica Phelps
show at Feuer could easily be fit in Hanley (if
hanley had higher ceilings)... even though DP has
nothing to do with Mission, geographically
speaking. Deitch, also a cousin -- from the other
side of the familia...
I don't know, No Rush... Threat Of Chance looks
es-ef to me. I will contrast this with
last year's the installation by Nick Z and Kai
Althoff at Gladstone-- both constructed interiors
with street-cred signification....
Wood vs. Carpet... Hmmmm.
Had the show been at Deitch, then of course
we would've had more wood.
But alas we had carpet and the results were funky fresh.
Wood was a meme passed down via Margaret Kilgallen.
Hosfelt. I just can't get over the similarity
btween Reed Danziger's early work and Julie Chang's
new work. Memes are passed....
And will they infect NY via Hosfelt NY and
newly opened Garson Baker (julie baker coming from cali.)?
Not sure... Patterns patterns patterns.
Hosfelt should've paired up with Baker to corner the pattern market,
and leave the figurative painting to dolby chadwick -- known for
their strong cocktails and hot thursday night chicks -- all that
a figurative painter needs to survive (besides a projector)
Was it Catherine Clark who really got the Mcgee/mission
school going? I believe so -- Back then i remember it was called the Morphos
gallery on hayes. My point is that Catherine Clark has really grown into it's own,
with a different voice... Julie Heffernan... good painter in my book
hey isn't she brooklyn-based?
A reverse-osmosis is at play, yo.
heffernan i can really do without. zip likes her too. but I don't get it. doesnt move me. up close it looks waxy dead.
saw a photo show of ellen kooi over at clark that I really liked.
AND...!
we're back to Heffernan
(hefferman hiffernan, the Heff, etc.).
Nice. What a way to stay on topic!
Looks good. There's an Amy-Cutler-curated
exhibit based on henry darger showing
somehere (midtown?), that features several
photogs of which this reminds me. Perhaps
you might look it up. It's on my list of things
to see. (Henry darger was up last month in
chelsea i forgot where but it was nice.)
Darger is a great meme of course.
up close it looks waxy dead.
is why I like it.
Like it liek a bowl full of hard candy on a hot saturday afternoon and nothing to wash it down with but sugarless (not free) koolaide.
Very academic, like at a faculty show.
Hillary Harkness has the same obsessive gene, but better tonal range and of course lots of chicks doing it and shit. I;m fond of the cutaway view, I used to use it myself, but I'll retire it in deference, like jersy number 69. Or whatever maybe I;ll do the dollhouse dealio again, she doesn't own it does she? I hope not.
ok, thats all I got for H, anyone got a C?
Julie Heffernan's PNYC post - even on a triple bill - garnered exactly zilch comments in 05.
Ah the early days.
Looking at later stuff, it doesn't seem to change much - has she really just got the one painting? Slender topless maiden heaped in flowers?
I like flowers.
I just can't bring myself paint 'em.
This is we I need the Heff.
no theres some historical reference I forget. Like Archiboldo's vegie faces. Cornucopia and shit. She should change it up though, the composition sucks. Like portraiture in the met - dark or blurred grounds, more attention on the face, photo9graphy took care of depth of field a long time ago - i liek the student pics with the double exposure for the yearbook.
Courbet got the photgraphic crop down - I think thats significant, if not entirely engaging.
it's all about the bottom-heavy triangle.
An interrogaton of what that represents...
The origin.... Surplus meets distribution.
The Hapsburg empire.
WTF am I talking about? Me like flowers.
Flowers and flowers and flowers.
dhalias are bombastic and take a lot of water. WIlfowers are nice, but the sunflower is not "high class" like the orchid - i hate orchids as well as hot house flowers in genreal. Give me a marigold or jack in the pulpit any day.
flowers became a democratic thing
when plastic came along. But sadly it
didn't catch on. Zirconium dioxide
didn't eitther.
Ever go into those midtown hotels?
No plastic. One arrangement would
probably cost several years worth of my
paint supplies alone. Such excess is not
for painters and actors who would sadly
spend that kind of money on food gas or
rent.
The paradox is that they're free if you have
the time.
The time.
I dream of time, good fish and flowers.
And and endless supply of brushes that
wash themselves. And a rib-eye once a week.
And a better movie selection on iTunes.
Ok i'm being dramatic. I really don't need
movies on iTunes and flowers are a bourgeois
commodity that really don't have a place on my table.
But put em on a the heads of nekkid women and well...
Who commissions the representation
of flowers today?
Probably the [contemporaneous] likes of
Bey ( the bourgeois who commisioned Origin )
Someone looking to freeze that feeling of fruition and fruitfulness
into a timeless piece of plastic.
Liz Peyton was getting into flowers in her last show. I expect she's got a bit of a green thumb.
And whatever happened to Holly Coulis?
?
really, this is getting hopeless.
Here's the painting for you guys, I think I see a few flowers in there too
I think I saw that guy in bushwick.
i like tha tpainting a lot. It has a hot chick with perfect breasts - as if her husband was a plastic surgeon, and now, she is cheating on him with a cave man. That is hot, like the torch, with its supernatural/symbolic flame. WOwo. And wqhat is that face in the abackgroun\d? ANd why are they on a cliff? Its as if god made a still life adn pronounced it good, as I do.
I think cavemen are popular these days.
An alternative to the banker-type, i guess.
Isn't Dana Shutz's protagonist Frank a caveman?
I think he works for Geico now.
But unlike traditional cavemen,
today's cavemen keep a distance
from pabst blue ribbon and trucker
hats.... As those are now signs
of bankers in disguise.
but did you see how tight those pants
were in No Rush's jpeg?
Impressive.
Hey No Rush,
Speaking of painting that looks good in
concept but bad up close -- how's
Sandow Birk doin these days in the bay area?
If only Birk had the mastery of Rauch,
then we'd have something utterly spectacular!
I wonder if Rauch checked out the Courbet if/when he was in town?
He could have been awestruck by Krebber's remarks and thought - "Dang it! I just gotta see this!"
Stop the violence Zip!
Whoever maintains the Rosen website is now on my hate list.
Birk again not a fave. I dont bother looking close. But prison is a theme thats dear. Theme or meme? Yknow SB did the landscapes with tiny prisons in the background.
Any way I like those guys that do art from prison. Theres one death row guy that Braunstein Quay showed, but that was too exploitational. Theres a phtotgrapher in the Mission that has a magazine about prison artists that is astounding. Not sure I can find that on the web. May not even be on the web. Also love Sterling Ruby's stuff about prisons/gangs.
PS-Rosen website fucks me up every time
Thing about Birk is his style is too copied, could be Bierstadt, or any of a number of painters. I think that's the joke. Just doesnt interest me.
Rausch I love because he assimilated a bunch of styles and made an all new one. I was buzzing in that low ceilinged room at the Met.
One thing that's very important about flowers, y'all. You don't want to crush them. Cuz then it's no more fun. Especailly those exotics. You can always try apologizing tho. Amazing how often it works...
Top 10 little flowers
Dennis Miller: I don't want to go on a rant, here, but America's foreign policy makes about as much sense as Beowulf having sex with Robert Fulton at the first battle of Antietam. I mean when a neo-conservative defenestrates it's like Raskolnikov filibuster deoxymonohydroxinate...
I guess its not for just anyone.
Robert Fulton (November 14, 1765 – February 24, 1815) was a U.S. engineer and inventor who is widely credited with developing the first commercially successful steam-powered steamboat. He also designed a new type of a steam warship. In 1800 he was commissioned by Napoleon Bonaparte to design Nautilus, which was the first practical submarine in history.[1]
The Battle of Antietam (also known as the Battle of Sharpsburg, particularly in the South), fought on September 17, 1862, near Sharpsburg, Maryland, and Antietam Creek, as part of the Maryland Campaign, was the first major battle in the American Civil War to take place on Northern soil. It was the bloodiest single-day battle in American history, with about 23,000 casualties.[1]
An anachronism (from the Greek "ανά", "against", and "χρόνος", "time") is anything that is temporally incongruous in the time period it has been placed in—that is, it appears in a temporal context in which it seems sufficiently out of place as to be peculiar, incomprehensible or impossible. The item is often an object, but may be a verbal expression, a technology, a philosophical idea, a musical style, a material, a custom, or anything else closely enough bound to a particular period as to seem odd outside it.
Any thoughts on the narrative here with Heffer and the mirror?
dennis is a sellout, but surely the only actual comedian on fox. I mean he can construct a joke, and he does make me laugh, tho I hate his politics.
george carlin
No new thoughts -- it's already been
covered in so far as the femme fatale
goes. Remember the two artists knew
Rosetti and his application of Lilith...
Whistler and C loved her hair above all....
But for the motif of jo looking at the mirror,
well i thnk Rosetti would be the target
of further research or speculation.
george carlin said:
Instead of warning pregnant women not to drink, I think female
alcoholics ought to be told not to fuck.
ddoes that relate to your narrative
beata beatrix on a bad day?
just believe in your hair.
Believe in your hair.
personally i think lilith's hair
is nicer but courbet paints
better flowers.
i have always believed in my hair
Cap --
there's a new interpretation i thought of just now. Jo's hair is a fuckin mess, and probably gets all over the place. His numerous portraits are very un-lilith like. In that they stress the stress that hair-entropy evokes. You know hair-entropy... She's cute and all, but her hair ends up sticking to your paintings... and on the carpet in and in the bathroom.
Hair entropy. Compare Courbet's painting above with Lady Lilith. Rossetti's Lilith: All contained. Brush, flowers, Peaceful wash from her eyes. Nice.
and so is a proposed narrative about
how draino came to the rescue?
dunno -- have no information on how
heff exited courbets life, or vice versa.
and/or who ultimately drained who from who.
But certainly to piece together a courbet perspective,
it seems a narrative about hair.
Rossetti? - gotta be kidding
Why is her face distorted?
She looks in the mirror and sees Courbet looking back at her.
She asks:
Mirror mirror on the, erm, wall, who's the fairest of them all?
She's definitely not happy with what she sees there.
Who is?
When your hair gets really big it warps your face.
Wash your stupid hair
Change the clothes you wear
I never really cared
Comb your stupid hair
How long 'till you see clearly?
It's on you see softley, How long?
Quite on time
Can't make up your mind
I never really cared
How you wear
Lady kept me waiting, for an hour
I started facing and steppin' on the flowers
I got to lookin' in a matter
I saw the answer on why you're not here
You kept me waiting , for an hour
In my hand, In my hand
You No Show, you Know Show, I know you wouldn't go
You Know Show, you Know Show
You don't go, You're a No Show
http://static.boomkat.com/images/137680/333.jpg
I appreciate Courbet and the Weezer dude's attempts at realism. Courbet I think really nails it. The Weezer dude is lying about what he cares about but probably on purpose so you see (realistically/ironically) that he's a liar. That's good too.
Rosetti Ive always loved, I had a poster of his Proserpine in my bedroom when I was a (weird) teenager. But his depiction of Lilith is so far off any description or idea of what she was about, that its almost laughable.
joanna was known to frequent seances
down on www
floating
either, aether
push pull
push pull
push push
push
stop
the screen lights faces in the dark
peering
not peers
some
tap tap
tap space
tap think
stop
big leaves
big death
tiny heart so
love cleft
swipe card
swipe swipe
swipe sign
stop
altogether now
down on www
floating
either, aether
push pull
push pull
push push
push
stop
EEEK! Been looking in the mirror too long? Concrete hair
___
Outside in the hall theres a catfight
Its well after midnight
I guess Ill be allright
Im laid out on the floor
Drunk and poor
How much longer how much more
Rock me to sleep
Strong & deep.
The screaming cats they give me the creeps
But aside from all that I feel no pain
Staring up at the ceiling stains
...neon in the window
...sirens far away
...news on the radio happy birthday happy birthday happy birthday
Theyre at it again next door
This whole floor I swear
Theyre out to drive me crazy
Not right now Im high as a cloud Im soft and gray and lazy
...neon in the window
...sirens far away
...news on the radio happy birthday happy birthday happy birthday
Fly me
Out the window.
Somewhere far away
Singing on the radio
I should have said Concrete Redhead, eh? Need more coffee. Jo to Johnette, that's what I mean by people don't change.
See the breaking glass
In the underpass
See the breaking glass
In the underpass
Warm leatherette
Hear the crushing steel
Feel the steering wheel
Hear the crushing steel
Feel the steering wheel
Warm leatherette
Warm leatherette
Warm leatherette
Melts on your burning flesh
You can see your reflection
In the luminescent dash
Warm leatherette
A tear of petrol
Is in your eye
The hand brake
Penetrates your thigh
Quick - Let's make love
Before you die
On warm leatherette
Warm leatherette
Warm leatherette
Warm leatherette
Warm leatherette
Join the car crash set
grace jones dont get old
I get more depressed by bad art criticism than bad art.
Sometimes I wish I could stop myself reading.
HOLD it up sternly! See this it sends back! (Who is it? Is it you?)
Outside fair costume—within ashes and filth,
No more a flashing eye—no more a sonorous voice or springy step;
Now some slave’s eye, voice, hands, step,
A drunkard’s breath, unwholesome eater’s face, venerealee’s flesh,
Lungs rotting away piecemeal, stomach sour and cankerous,
Joints rheumatic, bowels clogged with abomination,
Blood circulating dark and poisonous streams,
Words babble, hearing and touch callous,
No brain, no heart left—no magnetism of sex;
Such, from one look in this looking-glass ere you go hence,
Such a result so soon—and from such a beginning!
Got me going around
Kinda going around
No, I don't mind waiting
Never tire of waiting
Wanting you around
I want you around
Deep fascination
Find inspiration
Find inspiration
When I walk alone
Never really alone
Never far away
Want you every day
Hey
Deep fascination
Find inspiration
verisimilitude
That's incredibly beautiful
Daniel Miller don't get old, either.
But Gary Numan does.
I like the Normal version too. But I thought it was a Jo-Jo-Jones ref. And Black Dont Crack.
today i revisited the above painting.
and in a hallway toward the drawing section,
there was the rosettti -- awatercolor of the oil
that resides somewhere else.
and then I walked thru Whistler and realized how
much of a fuckin genius he was... follow me now...
There's a new(ly rotated) degas there at the met.
with crazy RED ibises or birds or something that
he added later. Crazy. Had the style of his
spartans, but the red birds were just bizzarre...
As if the chapman bros did a thing on an early degas. But only better. Cuz degas did it.
No rush it reminds me of the fuckin weird
lizard-man of Whistler's that the DeYoung owns.
Such weirdnesses are singularities.
and yes they are singularities
as well as bad paintings...
but they are, in a hypermodern
kind of way.
Before Picabia.
Whenever I go to the new deyoung I spend the whole time in the oceania collection. It's killer. Love whistler tho. The green lizard man is a hoot. Last fall when we were in ny we had to go to the frick bcuz the old man loves that place. Those two big portraits they have there--the pinkish brown one of the woman from behind-Mrs Leyland. With red hair no less. I remember loving the mucky color of it. "The portrait is in fact so totally a work of exquisite design that Whistler’s contemporary Dante Gabriel Rossetti wrote of it, with some reason: 'I cannot see that it is at all a likeness.'”
Anybody see JKalm's YouTube video of the Koons baloonz? JK's all excited that he got mentioned in the Pink Section. Top of the Pops in SF. Koons made a GREAT comment about his surfaces and the surfaces of all the other paintings below in the Met. Is that guy a genius or what? I wasn't actually buying zips idea that he was wysiwyg straightforward, but he really is earnest and trying to tell u something. I'm gettin it Jeff!
very beautiful Leyland portrait no rush.
and the fabric is just -- if ever one could
command a mastery of limpness it would
be whistler. (oppose with bernini or sargent
who made use of fabric in a more dramatic--
dare i say comic-booky way).
Limpness in and wanness in a good way.
It's a challenge -- when the urge is to smack
viewers with prowess or excess (not to say that's
bad -- i'm a big fan of bernini)
I could only imagine a painter
like Luc Tuymans wishing he could approximate
Whister's subtelty in color and mark making
and interplay of light. Wanness is something
of a holy grail in painting. But even now, whistler
makes even robert ryman seem heavy handed.
You've either got it or you don't. Tuymens is some kind of what Calvinist or something. He hasnt got it in him and I dont think he would aspire to the BOHO ELEGANCE which is my words for it.
Speaking of rosen,
I think Gillian Carnegie on good days
approaches whistler's sensibility --
I think she's got it in a kind of in a
slade-gwen-johnian kind of way -- not
in palette, but in her ability to
understate. And she does so quite well.
I don't like her butt paintings (i've read
art-writing that tries to relate them with
Courbet's origin) -- to that I say: Pfff!)
But her other recent compositions are
quite nice.
I like whistler. Courbet meets him a few feet on the way in the met show - though they dont get medieval with quarterstaves that I can see.
Japanese zen ink drawings aren't heavy handed, have clean lines, nods to chaos, conformity, control, submission, denial (Calvinist or otherwise - its secular). Traditional, open to "the hand" but not to radical change (why should one?)
I like that better than Tuymans or Carnegie - maybe because I am a cool six degrees below.
I have noticed a trend in restaurant decor - towards victorian era gas-electric switchover on to deco. Reminds me of tourist towns and nostalgia for pre-digital days. Analog over syth - lo fi and superflat are boring. Bring on the worms!
Or is that just wishfull thinking - gen y has a text message culture simular to the note passing/calling card culture of the victorians - maybe that's where it will all align. Voice of the master. Courbet fits in the pardadigm, Koons is outside the gates pedantically highlighting the strength and the futility of style over substance.
if whistler work was wan to begin with think of what a slap 1-- years has done to help it faaaaade (forget museum conservation - it does well but suffers the weather like we all do). just like photographs from grandparents, things that have evidence of having aged carry loss, like gaps in the story, mystery, loss equals poetry, poetry equals soulful, NOSTALGIA is the primary state. japanese idea of beauty in wabi-sabi, time rust decay balance old new nothing lasts ephemera etc, tuymans going straight for the jugular and trying to make it look 100 years old even though he made it yesterday, looks good next to the real thing above the period mahogany bookcase, neo does it as well. it's easy on the eye, it whispers, it whistlers. i've said this before. i love it a lot the fade, especially on my jeans, but still i don't buy the nostalgia too much because it's explicitly a pedestal maker. i'm tired of present kickers, future beating is for retirees. are we still carrying the torch or not? if it aint old, it aint old, so let recent surfaces gleam, polish em up koonstyle. both fade and gloss are pretense gimmick when forced, but in the laws of nature, both make sense under the weather. let the weather work it out, ruins are puzzles. puzzles are myths. mythological pathos is EVERYTHING. there are other ways to make understatement, like looking into spiderwebs.
paint in oils, leave to dry and then sandpaper as much of it off as you can. actually no paint in acrylic and then wash most of it off in the spa bath. actually no, buy a giant solid chinese imitation italian provincial dining table, replete with fresh chain bashing to give it that beaten PERIOD look. bleh. fading is eurolust.
Encouraged to identify himself with some other time and some other person, today's individual has managed to have his present stolen from him under the illusion of gaining a historical perspective. In a spectacular space-time ("You are entering history, comrades.") he loses the taste of authentic life. Yet, those who refuse the heroism of historical action are warped by the complementary mystification that the psychological sector bestows on them. These two categories rub shoulders, and fuse in the extreme poverty of recuperation. You choose: either history or a nice quiet life.
Surface IS substance, not style. I'm liking that message. WYSIWYG
I didn't realize that light is made
of two primary colors: Old and Not-Old.
I should make a note of that the next
time I buy paint.
that would make sense webthing, except history is in our DNA
i mean history chooses you
gen y--my son is goin to ucla to study history, said he mite go to law school. dotter wants to be a beekeeper. we've got it covered.
also jpeg--really loving the work of this guy daniel tierney
when you buy paint from the shop, it is new. it will look delicious. to counter it's delicious look, one will have to tarnish it. this will produce an effect that the painting is not brand new, among other things. look at the paint on vehicles. the 15 magazines devoted entirely to wrinkle spotting. ageism is real. too real. when diluting and tarnishing, who are they trying to please? is it a statement of auto-accelerated erosion and entropy? an attempt to join or enter into a point in history where that fade is already apparent, or is it just to be quieter as a painting. I like quietness. Neo's paintings do look almost as perfectly faded as any of the old german books he derives those images from. But once upon a time the prints in those books gleamed. If that's where he wants to enter it, then it becomes vital to the work. But there has to be a point to do so. To be quiet, or to choose the history that chose you. So right now there is no excuse not to shine, unless there is one.
Ye no rush DT, seen the temples by these guys?
Webthing, I don't buy it. It's just way too
commonplace for art writers to spot a decrease
in chroma in figurative painting and immediately
flag it for being overly-nostalgic or attach it to history --
though that may be true in some cases.
It's such a lazy oversimplification and rehash
of the gravy/no-gravy arguement of the 19th cent
painters when new pigments became available.
And so what do propose for a more contemporary --
and thus less pedestrian treatment of palette?
The converse? As if we haven't seen saturated and
gleaming chroma in figurative work of past. Just
one example: Illustrated manscripts and raginis of
15th - 18th century India.
In other mediums like photography, palette may
be swinging the other way. Fake Velvia colors of
the film days are giving way to the understated
Creamsickle palettes of Canon digital signal processor design.
No rush I like. I do think the crumpled paper thing
is making it's way through the country. Sean Raspet's early
work made use of the language.
http://www.danielreichgallery.com/raspet01.html
I also know a guy in vancouver
that has taken that on. (Raspett no longer seems to
be doing the volumetric thing anymore)
How do we pick through the Nostalgia when looking at this Courbet? Does it align with the remodernist manifesto of March, 2000? Is it in some way free from the nihilism and oft cynical grips of postmodernism, the movement that fractured everything (or at least thought it did)? Is the return to Victorian decor and style a throwback to a romantic version of a romantic ideal lost in space? Where is Sofia Coppola? Why is carbon fibre so much uglier than teak? Is it? Some people really don't care and are going forth.
jpc i dis/agree with you buddy, just playing d'advocate. the truth is i'd rather spend more time with any of the fader painters works. hmmm, actually maybe not, they burn so slow as to spend a life with, not a night on the bubbles in the stockroom. i just pick at myself for this fadelust, i've got it bad. why? hi-chroma has been done wayyback i know. but if you look at all the paintings that have been on this page of pnyc, most of the works have that light and beautiful treatment and handling. i know it's gorgeous. it is. it's gentle. or something. delicate and peaceful, that's what it's supposed to be mostly about. but not all about. that's be too one dimensional. color really is such a magical phenomenon.
hi lo = 2 dimension.
hi med lo = 3 dimension.
hi med-hi lo = 3 dimension.
hi med-hi med-lo lo = 3 dimension.
point A--------------->point B = the necessity of and basis of VERBAL/SEXUAL language.
All the truth is in between. ie/ there is no truth absolute.
Diaphanous material always costs a lot of money. IS APPRECIATION ABOUT HOW REFINED SOMETHING IS? petrol is worth more than crude. Point A, Point B.
Edit undo?
fuck buttons agree beautiful camera phone abstract video. wish-i-did-that-beautiful.
Lust to consume tactile or sensuous
layered and well-considered output should
never be systemically omitted by culture in any
point in history.
Because Gravy is sometimes just gravy-licious.
Sometimes though, the vernacular becomes
more important and fussed-over than the
form from which the vernacular sprang.
Take food culture and it's vocabulary.
Ever notice how the word 'comfit' is
a word used to describe everything from
common fruit jam to anything braised, tossed
or chopped? At some point it became an
empty free-floating signifier.
This word -- enjoying it's pedestal for a few
years now, described a technological limitation
in which meat had to be preserved in it's own fat
and gelatin. And you point that out to someone
about to consume some mint/melon comfit and
they say 'yuck ... fat and gelatin....' You have
to remind them that it's rally not comfit.
What they're consuming is a word with less
calories.
While once signifier with deep historical
anchor, it has since branched off to serve a
branding purpose of describing high-class
food preparation, when what you really have
is jam, jelly, chopped fruit, food cooked in a
crockpot, garlic cooked in foil, salsa for your
tostidos, you name it).
Comfit.
Now my point is: For those who want to really
cook a duck or short rib comfit, prepare yourself
to savor the fat and gelatin on your tounge.
Mmmmm.
Yeah, I know we have things called
freezers and refrigerators and irradiators,
and comfit as a Food Preparation isn't really
needed these days, and is antiquated and
probably irresponsible from a modern
health-conscious perspective... but Mmmm.
gravy-licious
No rush. that was weak.
It's not even hdr.
And aching for a reference to
clyfford still and Stan Brakhage.
How historical can a motion-graphics
person get?
how old are you darling? that was fabulous. stan is, of course, the man.
did u mean confit?
yes. confit.
thank you no rush.
i'm older than emerging.
though i feel as if emerging
is a slippery subject.
I have a great recipe for slow cooking
if interested.
Now we're exchanging recipes.
duck soup. but i'm down with the gritty glitter too.
I'm not sure what Koons has to do with this painting, but he seems Bobo to me not Boho. GC was Boho as well as "Soci;" he ended depressed mostly due to the failure of his political ideals, not due to Boho alcoholism for its own sake. The painting is indeed weirdly wonderful.
new beck-chemtrailsmmmm
More than other sins, the definition of sloth has changed considerably since its original inclusion among the seven deadly sins. In fact it was first called the sin of sadness or despair. It had been in the early years of Christianity characterized by what modern writers would now describe as melancholy: apathy, depression, and joylessness — the last being viewed as being a refusal to enjoy the goodness of God and the world he created. Originally, its place was fulfilled by two other aspects, acedia and sadness. The former described a spiritual apathy that affected the faithful by discouraging them from their religious work. Sadness (tristitia in Latin) described a feeling of dissatisfaction or discontent, which caused unhappiness with one's current situation. When Thomas Aquinas selected acedia for his list, he described it as an "uneasiness of the mind", being a progenitor for lesser sins such as restlessness and instability. Dante refined this definition further, describing sloth as being the "failure to love God with all one's heart, all one's mind and all one's soul." He also described it as the middle sin, and as such was the only sin characterised by an absence or insufficiency of love. In his "Purgatorio", the slothful penitents were made to run continuously at top speed.
The modern view of the vice, as highlighted by its contrary virtue of zeal or diligence, is that it represents the failure to utilize one's talents and gifts. For example, a student who does not work beyond what is required (and thus fails to achieve his or her full potential) could be labeled slothful.
Current interpretations are therefore much less stringent and comprehensive than they were in medieval times, and portray sloth as being more simply a sin of laziness or indifference, of an unwillingness to act, an unwillingness to care (rather than a failure to love God and his works). For this reason sloth is now often seen as being considerably less serious than the other sins, more a sin of omission than of commission.
Here's my slow cooking recipe...
Served daily.
i know-- but you must ignore the ugliness
until the day after.
Only then do you finish with the grill.
Top w/truffles or saute in pancetta wrap.
Drizzle with reserved juice or, if available,
revisionist critical commentary. Mmmm.
There's nothing like food twice-cooked.
(btw, i'm jpegcritic -- just too
lazy to change the log-in as such.)
Hungry for a new post.
Isn't 31 grand coming up with
a new Maureen Cavanaugh show?
Perhaps one of them. I guess I should
finish something.
We love Mo. I guess she is busy. Did u see the Wendy White show?
i am not affiliated with ww nor
benjamin nor any manufacturers
of gold lame or mahl sticks.
I do love figurative painting.
I know how to make a mal stick.
ok. there -- i'll say it. I don't like her work.
that's ok. it's a little loose and crazy... for those who like such things.
who white? i love that shit. but i don't know if it will be timeless. it will be very of it's time coz it holds a rear-view mirror thats catching glimpses of the kids on the street as you look back. she's old enough to have seen it all twice though.
pppppppppainting to reflect the times.
ppppppppppainting to transcend the times.
to make a classic record the musician must speak in a new language that wasn't being spoken at the time. to make a hit record the musician must speak in the language going around at the time. it's all derivative in the end, but there's nothing like being surprised. especially when it lasts a while, opposite of dour tannins.
well i do know she's older than emerged
but not old enough to be on the
hind-sighted twice-cooked list of
menu entrées. -- where history's to judge
whether or not there'll be a real connection
with street and WW.
so, don't want to start
a street fight here, webthing.
I defer to you.
the thing is about the street.
white people are most assuredly
the last to get it, no?
but white cube i forgot
is a democratizing agent.
Yes. Look what happened to twist.
um i mean barry mcgee.
by street i meant fashioniable retrograde , the similar color cycle now having spun three times at the beginning to middle of each decade in perfect sequence. on the fm, playing the greatest hits of the 80's, 90's and today. i still don't mind WW coz she's at the party. but we gotta do something deeper, it's on its way, out here on the culture flats. society is feeling lite. art goes there. wait for the pullback and hey, there might not be one. up, up, and away!
i once took the class of a famous poet and he liked to use the metaphor of curry. personally i like to call it gumbo. immanent or transcendent. or not there at all. i can never decide.
so so happy to say goodbye to jesse helms today.
wwwwwwwwwwwww
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wwwwwwwwwwwww
wwwwwwwwwwwww
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wwwwwwwwwwwww
Formalist.
brilliant blog painting webthing. all the mighty mighty words of zip & cap combined dont add up to your achievement.
beck is so way ahead of weezer, i hear you - but its both derivative crap 9whaqt you meant right?) . I do like the music though. I was singing some lyrics tonight. Bottles and cans and just clap your hands. Should I go do shots at the local bar or stay in and post to a stupid blog. I dont know. People out here feel trapped. I guess its all relative. got to get back to brooklyn - this shit is bringing me down.
hey Daniel Tierney
beef up your blog.
Wanna see more.
your wish is granted. check the website again.
www.invincibleclock.com
ok saw ur site Daniel Tierney.
Very nice work!!
I see you've assimilated tuymans and de balincourt
and Plessen and Chowhound?
Those connections arent conscious although concerns might be similar. I think some of what balincourt does that might be perceived as consumed really happened simultaneously. Tuymans is a funny one. Never thought about that but a few people I respect have mentined it to me. Giotto, Haley,Smithson, lewitt, these are the shoulders i want to stand on.
Chowhound? not sure what that is.
then again... I am completely fascinated with the concept of "the fat kid". conspicous consumption. chocolate stains and all. paint debacles.
chowhound is simply delish...
(not really i refer only to CH when
i'm in the bush and want to avoid
getting the runs). Just wash your chow
from all culture before entering your studio.
Your cage iterations prob predates tuymans's
'Within' but since your online pics recall 'Within',
perhaps it's an online brand-saturation issue
more than it is an artistic one. Your 2007 sf arts
commision pics clarify your use of the cage in
contrast from that one LT 'Within'.
I thought at one point you
must've been into Borges's Map but now
I think probably not. More like cage as
coordinates stemming from some sort of
a digital experience. (professional, consumer
pedestrian? dunno.) But you're clearly into
artficial experience.
I suggest more dunkin donuts.
me likey.
Ive read a good deal of Borges. i enjoy. the one to one scale... the sense of absurd. celebration.
I'm interested in landscape as the carrier of time. landscape as crystalline fabric. haptic navigation of visual space. a thousand video games all at once from all times fitting on one screen creating a space outside of time. horizontal organization. no drawers. everything visible.
munch a bunch of crunch-a-munch
Dunkin donuts is a stink bomb left unattended in your car. sticky sweet.
all the kings men
yadda yadda yadda.
zip . im just curious if... at your best, do you strive to bore yourself when you write?
is it because the opposite is just too pedestrian?
Derivation is the only way it can be, so no problem with it but...
OMG, DT you said too much (like in that woody allen movie where diane weist keeps saying to john cusak, "don't speak"). Being fascinated with the fat kid. That bursts the bubble. Now I see the NPR-ness of what you're doing. Boo-hoo. I always get fooled by elegance.
I am the fat kid. Fighting for my life to get out of this prison. I think that's why I feel so sympathetic to Koons. Maybe his solution is impure, but its as real as the day is long, and you know he had to do it. Nothing to fall back on in his case.
NPR doesn't deal with the devil to well, if you've noticed.
gotta go, my popsicle is melting
I am a boring writer-flat.Regarding wendy w,at least the work is ugly,asphalt and gatorade windex,magic markers-slack and blare-most see this enough as it is -and its like a smart girl in a class of stoners-and the stoners say'yeah,you are so smart-but suzanne doesnt take you down to the river,because shes really really straight and repressed,after all-chick needs some ayahuasca or something-maybe get out of the east coast
For those still in NY,
don't miss the (mostly) Rajput manuscript
paintings at the met. You'll be blown away,
and won't be surrounded by the throng too
busy with theTurner show.
Krishna was one lucky gopi-soaked avatar.
not to dump on her,but her work is so agressively ugly,it should get something more than"the work looked great"-which means what,anyway-it "looked" great,or was-and am i just saying this because we have a pact to be frenz ?But am always curious to see what comes next-seems like an end game,yet agnes matin went along with few elements-hope this doesnt pollute the purity of this blog
Having to jump to another page really sucks. This is when even I am asking for a new post. Know you're busy PainterMo but please?
Hey Peg. He's a GOD. Luck does not apply.
Well at least Rama had to work a little
more for his putang.
areborurs, I am glad you pointed out
this issue of painting as an end-game.
It is something of which have been
obsessing of late, but have no defining
thought about how to deal with it.
Ugliness has been just one of many strategies,
of play -- the kip and jorg brought good play
but then Oehlen made ugliness-is- beautiful
'sike' kind of basketball move that powned.
-- and left Messe wondering w/the fuck just
happened?
sounds like he's been huffing the Dust Off again.
yeah. wow. im standing up applauding. just when i thought hip hop was dead. you go and bus it in.
I havent been back here in a couple years. and its still the same blow-- hard time, same blow-- hard channel. maybe youre a nice guy. what the hell do i know. but youre fucking exhausting 'naw mean?
oh yeah and your rap sucked.
if art isnt working out dont make hip hop your next victim.
get awesome.
you may be morfe bored than me.. i think that was exactly my point. so much for reading comprehendo amigo.
i understand turf wars and all but last
i remember coke's now cheap and this
turf's value just doesn't justify the strife,
now does it.
Google's gone all Chagall on me. I suspect the hand of The Zip!
ok danny boy, so you are the great assimilator? Good for you. Your loosey goosey painting mojo might work on lesser mortals, but where I come from thats old hat art school slack. I mean, you sweat, but we see a uniformity based on your all over the mapness. That may slide on by, but like I said, even a donkey could do it, given the paint. Like threaading a doughnut or maybe bbqing rimbauds cancerous leg. Makes as much sense to me as anything.
I was never fat. Beck got a writeup in the times did you see that? or were you responding to the zeitgeist? beck is as boring as I am, but oh, he sings it and uses puppets or whatever. good for him. Dance monkey dance.
exhausting. Thats a good one you know? And you want reading comprehension at one oclock int he morning my god i feel like I'm a cow, and you are an ant, and we are having a conversation, only I can;t even see you.
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