Again everybody loves turner. Simon schama almost pissed himself over JMWT. Didn't Turner win that competition over the favorite painting in England. Yea he did
I don't love all his paintings. Some look almost saccharine to me. But others, like the one here, have the kind of light/dark romanticism that I love. And the unabashed attempt to depict the presence of God through some kind of alchemy of light color and otherness, what's better than that? Like any great artist, what is perceived as his radicalness came about organically, in an attempt to find a way to express the inexpressible, not as a self-conscious construct.
But I'm supposed to be saying something more formalist than this, right? He made paintings that managed to maintain thrilling structure despite being nearly completely atmospheric. I think it's rare to find this kind of raw rapturous passion stopping short (usually) of sentimentality, remaining somehow disciplined.
That gets back to the 7th deadly sin of sloth that Ive been thinking about. "A refusal to enjoy the goodness of God and the world he created". I don't actually believe in God's creation and I think Turner had his doubts but he did paint what he saw and felt.
I would say that he showed the power of chaos in nature and how it manifests in human society.
And goodness, mae west, had nothing to do with it.
I think it's rare to find this kind of raw rapturous passion stopping short (usually) of sentimentality, remaining somehow disciplined.
I should say rare in the modern age. Less rare when most all painting was religious. (Less rare in numbers, not proportion, as I assume that the majority of painters, those whose names we do not know, did not go beyond the sentimental.)
I wish I lived in nyc,I'd take my butt to the holiday inn with the 89 yr old bartender-find the cool while you can-right now,i got a choice of spoiled hiopsters/tourists-bar-an im going there-see how they like Turner
ah. high-tragedy pushed from primetime in favor of serialized tragicomedy.... I think I'll start painting scenes from the Office.
RE the turner exhibit... did a quickie, but will prob revisit later... I was moved by how those cathedral (chapter house?) renderings eventually morphed into a a life's work of painting sky.
I'm an artist without an art history degree and much of my Turner education came from this visit. From this brief day of information, I think Turner would have been an art blogger with a web site promoting his art. I'm an art blogger and I think I know one when I see one. He embraced the technology at the time and was a canny business man. While other artists would wait until their painting was hung to put on the final varnish, Turner opted to do some actual painting on his, in other words a short free demo and then varnish causing more hype. Usually his paintings included some descriptive statement with a few lines of poetry and sometimes the poetry was written by him. Sounds like a blogger to me.
Turner's technique evokes an expansive dramatic landscape - what's great is that it's just paint, brush texture and not a lot of detail. Fairly impressive really and not at all pretentious. To me this work has apocalyptic overtones - the hands lifted up and the omen sun.
I think its hard to look at them and not think about power. Formless shapeless immense power. Somehow nature's power is acceptable and I guess some people think it's comforting to be submissive to it. Basis of religion and all. But the forms of power that we are dealing with currently? Even our collective heat, our collective carbon footprints, our collective greed. Stunning. Out of control.
But Duncan couldn't understand why people would say they were interested in her projects and then suddenly flake out. She wondered why her time was being wasted. Scientology, who has saved many an artist's career, offered to help but Duncan was too rebellious and high-strung to submit to a cult. With money troubles and the scientologists after them, Blake and Duncan decided to return to New York. But even back home, the golden couple didn't find peace. It was as if their time in Los Angeles had let a perennial sun upon their souls and they woke up from a champagne-laced dream covered with cancer. That summer, the golden couple took their own lives and only a small article in Vanity Fair proved anyone had ever heard of them - or even cared. But to Fawn, they were artists and friends who met a tragic end and she wondered if such a fate, both fame and suicide, would happen to her.
2. Pink & girlie with a sense of humor (kind of like Paris Hilton): Celebrity blog 'Pink Is The New Blog' and the super cute packaging on Stila cosmetics are styles dialed into our concept but we're open to your genius!
3. Clean almost corporate format like 'This Is Love & War' site to make it easier to read. Format will be story introduction, description of characters (pictured in anime), seasons 1-6 (20 episodes each season), and a section where readers can give reviews or ask the girls questions.
4. Run video on our website for our national film contest to shoot episodes from Season 1 coming up on YouTube.
5. Target audience are viewers of Gossip Girl, The Hills or E! Channel, people who love Sex & The City, Entourage or Californication, and all music + luxury brand advertisers.
If this sounds like your kind of project, we look forward to working with you!
First, props to painter, everyone who’s in the city should drop by to see “Admirer” at 31 Grand, 143 Ludlow, curated by our very own. That’s tomorrow July 10, 7-9pm
Second, I popped in for this show between the Louise Bourgeois at the Gugg and Bucky Fuller and Paul McCarthy at the Whit. For paintin’ Turner takes the cake. Admittedly some of his early stuff is sweet, a common affliction of academicians at the time (they had to please the socialites) and there’s more that a whiff of what we’d call kitsch now (like a tiny figure praying to a cross in a high Alpine ravine, or the misty silhouette of a miniature elephant in “Hannibal Crossing the Alps) but these were all affectations of the times, and made me laugh. His influence on the early Impressionists seems more potatoes and gravy than fruit salad in flavor. A couple of the large navel scenes were obvious commissioned pieces, and were more intent on showing the detail and mass of the British Fleet, that capturing the atmospheric and dynamic action of the sea. There was a great Tuner documentary on PBS about six months ago that is worth seeing. In the ark of his career he was the hottest artist in England at a fairly young age with his own gallery and work shop, but he eventually fell out of fashion and ended up alone, an eccentric shut in with stacks of moldering paintings in a decrepit hulk of a building, good stuff. Also I Ran into Philip Roth at the members preview.
Gossip Girl: love it The Hills: hate it E! Channel: love Talk Soup Sex & The City: hate it Entourage: sausage fest Californication: LOVE it, did u see the one where Duchovney throws up on the painting? great stuff all music + luxury brand advertisers: all?
Archived from May 31. That's a quick jump into development. Anyway, just sex up the Roxy blog and make some quick dough. Probably would be hard getting paid, tho.
Set in Paris, the story revolves around three friends—Serge, Marc and Yvan—who find their previously solid 15-year friendship on shaky ground when Serge buys an expensive painting. The canvas is white, with a few white lines...
Serge is proud of his 200,000 franc acquisition fully expecting the the approval of his friends.
Marc scornfully describes it as "a piece of white shit,"
Im watching cage matches. Californication sounds allright. Im trying to watch more tv, you know, stop and smell the ozone.
cahs is real tight - Im going to sell "a bottle and some voyages" - a book of Claus oldenberg's stuff. I never look at it anyways. I think its worth 10 bucks - that will get me there and back and buy a slice and a beer to boot. Tres romantique, no? God I fucking love bohemian life.
I'm with the Iranians or who ever does their photoshop. Crutches are good when you are down. Try a thin glaze (or gradient layer set to overlay in photoshop) This can fix flaws in exposure time or tonal range no prob - like when you are shooting at night with a cell phone.
Glazes also unify the picture - so thats a huge crutch right there. Just say no to varnish! Let it Rot! Grow your own!
Speaking of scale, namely "economies of scale"
“The accumulated data from all investigations indicate that jalapeño peppers caused some illnesses but that they do not explain all illnesses,” the agency said in a statement. Tomatoes, however, remained under investigation along with serrano peppers and fresh cilantro.
Do you think its a governement plot to cover up the shortages? An experiment in marketing psychology? How much did McD's save by not serving tomatoes?
I love scale. Someone like Benjamin Edwards (who saltz likes) uses it - though I think more ironicly in a superflat and "conceptual" way - definitely not taking advantage of atmosspheric perspective - its more digital or "virtual" so no dust involved. No cat hairs or hog bristles either. Where's the humanity?
Will Goya stock go down - El Coloso of foods? What about the Jolly Green Giant? Am I whistling dixie?
Seems like there are a lot of vocano paintings with simular ash fall motif - sort of Jungian or maybe just in the air like the environment.
TYPHOEUS (or Typhon) was a monstrous immortal storm-giant who was defeated and imprisoned by Zeus in the pit of Tartaros. He was the source of devastating storm winds which issued forth from that dark nether realm.
"All four items cited today are common ingredients in some of the building blocks of Mexican cuisine, and the C.D.C. told consumers to stay away from fresh salsa, guacamole and pico de gallo if they wish to reduce the risk of infection.
laying back samples, cutting and driving adding and lacking, taking and, stealer, buyer, dealer, remade her, takers... givers on the edge, end of this, never end of that, forrrrrr suuuuuure the end starts here speedy stretched out over yonder makes it's way back round that way meanwhile... keep it wheel
laying back samples, cutting and driving adding and lacking, taking and, stealer, buyer, dealer, remade her, takers... givers on the edge, end of this, never end of that, forrrrrr suuuuuure the end starts here speedy stretched out over yonder makes it's way back round that way meanwhile... keep it wheel
laying back samples, cutting and driving adding and lacking, taking and, stealer, buyer, dealer, remade her, takers... givers on the edge, end of this, never end of that, forrrrrr suuuuuure the end starts here speedy stretched out over yonder makes it's way back round that way meanwhile... keep it wheel
laying back samples, cutting and driving adding and lacking, taking and, stealer, buyer, dealer, remade her, takers... givers on the edge, end of this, never end of that, forrrrrr suuuuuure the end starts here speedy stretched out over yonder makes it's way back round that way meanwhile... keep it wheel
laying back samples, cutting and driving adding and lacking, taking and, stealer, buyer, dealer, remade her, takers... givers on the edge, end of this, never end of that, forrrrrr suuuuuure the end starts here speedy stretched out over yonder makes it's way back round that way meanwhile... keep it wheel
scale gives you hope. like i said B4 i feel too old for hope, but the question is how little scale can i get away with? i don't know if i'll even be able to convince myself?
the tiniest thing can kill ya yeah or the last wave. does it matter which?
Excessive use of high rising terminal. Statements have rising intonation, causing normal declarative language to appear to the listener as interrogative. Also known as "uptalking" or the "moronic interrogative."
Surfs up. Might buy some paints and taste some tasty waves. Fractals brah.
1. A Million Miles Away - The Plimsouls 2. Johnny, Are You Queer? - Josie Cotton 3. Eyes Of A Stranger - Payolas 4. Angst In My Pants - Sparks 5. Who Can It Be Now? - Men At Work 6. Everywhere At Once - The Plimsouls 7. I La La La Love You - Pat Travers' Black Pearl 8. He Could Be The One - Josie Cotton 9. Love My Way - Psychedelic Furs 10. Jukebox (Don't Put Another Dime) - The Flirts 11. The Fanatic - Felony 12. She Talks In Stereo - Gary Myrick & The Figures 13. Oldest Story In The World - The Plimsouls 14. School Is In - Josie Cotton 15. I Melt With You - Modern English
Shelleys Boyfriend didnt make the soundtrack it seems. Love that song. Oh 2nd soundtrack yeah, even better...
1. Girls Like Me - Bonnie Hayes With The Wild Combo 2. Eaten By The Monster Of Love - Sparks 3. Mickey - Toni Basil 4. Zero Hour (Original Version) - The Plimsouls 5. He Was Really Sayin' Somethin' - Bananarama 6. In The Name Of Love - Thompson Twins 7. The Earthquake Song - Little Girls 8. Do You Really Want To Hurt Me - Culture Club 9. Cool Places - Sparks & Jane Wiedlin 10. Town Called Malice - The Jam 11. I Eat Cannibals - Total Coelo 12. Time To Win - Gary Myrick & The Figures 13. Voo Doo - Rachel Sweet 14. Marina Men - Valley Girls 15. Pocket Pool - Killer Pussy 16. Shelly's Boyfriend - Bonnie Hayes With The Wild Combo
1. Repo Man - Iggy Pop Listen 2. TV Party - Black Flag Listen 3. Institutionalized - Suicidal Tendencies Listen 4. Coup d'Etat - The Circle Jerks Listen 5. Clavo y la Cruz - The Plugz Listen 6. Pablo Picasso - Burning Sensations Listen 7. Let's Have a War - Fear Listen 8. When the Shit Hits the Fan - The Circle Jerks Listen 9. Hombre Secreto (Secret Agent Man) - The Plugz Listen 10. Bad Man - Juicy Bananas Listen 11. Reel Ten - The Plugz Listen
Apophenia is the experience of seeing patterns or connections in random or meaningless data. The term was coined in 1958 by Klaus Conrad, who defined it as the "unmotivated seeing of connections" accompanied by a "specific experience of an abnormal meaningfulness".
Pray don’t talk to me about the weather, Mr Worthing. Whenever people talk to me about the weather I always feel quite certain that they mean something else. And that makes me feel so nervous.
The mobs of Downtown and ‘Burg hipsters were sweating profusely. Beer was flowing and conversations were lively. I could hardly elbow my way through the crowds to see the art. Finally got to meet some very interesting artists whose work I’ve been following for years. Kudos on “Admirer” painter!
Pink is a nice touch. K-os should write another album. Cap, I have that same problem with McGinley/McGuiness. What'll happen when youth erodes to scratchy leathering MCs?
Just don't make it like your last one. khev. We need some new old blood.
I love how advertising is seamless nowadays. Kinda sorta Orwellian. Shouldn't the drugs be free? Shouldn't I be working in the industry?
I got their message, but I didn't reply. I got the application But I didn't apply. I can't fail if I don't even try.
How come the pie doesn't have slices? How many times is the knife gonna dice us? How can I drink without any ices? Get me a job that doesn't use 13 spices? Worked in a factory now I thought that was nicer - No skills no bother health care no crisis.
Got to apprentice yourself to a disaster Gotta get wise like the old task master gotta get a job for a human being class conscious alternatives denied the dream Lose all your friends as they ascend the beam Lose my mind cuz I can;t be seen Lost all my drive now I'm a pale rider Failure to thrive is like a disease No one cares Im just a cool breeze Break it down.
InBev SA announced its intent to try and purchase Anheuser-Busch on June 11. The Anheuser-Busch board initially voted against the merger, calling the initial $65 per share offer too low.
That prompted much squabbling between the companies over the past few weeks. InBev filed a motion seeking the removal of all 13 Anheuser-Busch board members; Anheuser-Busch filed suit calling the InBev effort an "illegal scheme" that threatened to defraud Anheuser-Busch shareholders. Among other things, the suit noted that InBev failed to disclose it operates a brewery in Cuba.
In other news, sources close to Absolut said that there is indeed a pill that can turn an average Joe into Kanye for 4 hours. That.... "This is is not just a viral marketing scheme as it may seem, but a product of many years of intense research".
Those same sources also disclosed that this is the very pill that they actually used to create the initial Kanye West.
No, no.. What Ahmadinejad meant was: He would use an Adobe Illustrator scissor weapon to cut the path of any attacker. Not actually cut the hands of someone.
Only their bezier trigger finger! It's all in the translation.
Turner was one of the most amazing painters in art history. He went from being a barbers son to art star of his day by the time he was 24.
He also transformed landscape painting and color use in this genre.
Was a master of drawing perspective, color theory, and painting.
He also painted one of the most politically charged paintings of his day: Slavers throwing overboard the Dead and Dying — Typhoon coming on ("The Slave Ship") 1840
I love the story behind The Raft of the Medusa - glad I wasn't there, though I dare say I haven't done well in positions of authority, or even decision making or planning. I'm just not that person. Sorry. I hope its ok, I'm living in the moment, off the sweat of our soldiers in uniform, for one. That and migrant labor. I;m incompetent and also, I;m not that impressed with Turner's star status. WHat has he done for me lately?
Was Turner really all that amazing? I guess you had to be there.
There is more to painting than verisimilitude or mimesis.
But like a good belgian beer, I am open to hearing the brand story.
I like the Raft of Medusa which is a great painting. The Turner, which is a small painting in comparison to Géricault's masterpiece, the Turner packs a lot of punch for a such a small painting. It was hanging in the MFA in Boston but they took it down for some reason.
I read that Géricault had severed limbs and heads in his studio to paint as studies.
I can admire Turner’s contribution to landscape – wild weather! – and the way he ties that right into a process of depiction, but I’m sick of the comparisons with Rothko. It’s a way for Rothko fans to approach Turner, I guess, maybe, and vice versa, but they’re in denial really.
The idea is that Turner’s preliminary studies and stages to work begin from a similar blur of colors – a Rothko-like abstraction. Turner then inflects these broad areas with more detail, gradually builds up a scene, perspective, and inevitably hazy atmosphere. Rothko meanwhile confines himself to modulations within a single color, their relation to others within the picture frame/shape.
Turner builds a picture, Rothko a color swatch. They don’t share the same ideals at all, much less experiences. Turner admits to phase; Rothko to pigment chemistry and various application. I don’t see the comparison as valid because I don’t see what this devotion to color establishes – what parameters it sets for pigment or application. I don’t see the priority for color, anymore than I see the eye’s inclinations detached from the rest of the brain’s.
Turner points to the world and often urgent issues – even if cautiously revealed – but what is the red of Rothko? Even when allowed vagueness to shape or proportion, inconstancy of instrument or pigment? The red of sunsets and rises, roses and rubies, all rolled into one? If all he can take from them is color then he’s leaving too much, rolling too far. And where will that leave him? What comprehensive digest of color instances does he hope to record on a given support with given pigments/application and surrounding colors? There is no isolating color in some absolute purity, no thrill of the chase really. Color has to be of something. Rothko’s reluctant divisions and contrasts are not a more basic or abstract world but a retreat from it.
Turner may have been in love with unpredictable weather, but at least he could see beyond the fog of a busy hand steered by dogma.
Yeah that's pretty stupid, comparing to Rothko. It would be just as easy to do a Malevitch-Rothko comparison.
Like people who see faces in everything. " Oooh I think I see a face" - which is a biological hard wired response anyways, I hear.
The historical references are interesting. Were any volcanoes blowing up when Rothko was painting? Lots of dust in the air? No, I don't think so, not really, no.
SO the quality of the light, you knwo, historicly, and geographicly was probably a bit different. that would be an interesting chart to graph - particulate in the air to palette choices of landscape painters. The Scream for example - influenced by the fiery apocalyptic sunsets of dust laden skies.
Why do people relate to Rothko as a landscape painter? Because abstraction is alienating? Because they just aren't capable of seeing a flat abstraction as a flat abstraction? Because the horrible truth of reality must be masked by the fiction of imagined space and time? I think the proper way to relate to paintings such as Turner and Rothko is as a surface on a plane, and nothing more.
In art school I was taught that those horizontals in Rothko automatically signal landscape - that we're hardwired to read them as horizons (hence horizontal).
I think it's more likely that the logic is that you can't imagine/abstract something that doesn't have a basis in reality. You can abstract from landscape but that's all it can ever be - there is no exclusive realm of the 'purely' abstract waiting for you to get sufficiently far from reality. You just drag along some newly reinforced element - like an horizon - as you go.
I think Rothko's choice of color combinations were supposed to neutralise the landscape projection, but again that just points to how flexible colors in sky or land or sea can be - depending on light and weather!
For many years I saw Rothko in books - so the landscape connection wasn;t aparent to me. I saw squares - but like the rabbit/man/moon thing I also saw a rabbit before I saw a man. But I saw "nothing" for a long time before that.
But when I stand in fron tof a rothko, well, then, I am standing on a plane and I see a horizon. Its like a turells installation - you sort of fall into it. I get the impression turner was supposed to be like that for people - though I think fdor many people it becomes dated wall paper - sort of like the stuff in a fifties kitchen - where for the person who pasted it up it was a great change, a step towards the future. Polishing the turd gets harder and harder - though the turd is a fine specimine. Reminds me of the poop smeared walls you get sometimes in bathrooms.
Rothko was painting his empty modern soul. Duh. So you dont have to.
What about the big waterfall of Eliason? I think it's funny that OE's sending up the East River. (I always think of Kramer swimming in the East River on Seinfeld). Is OE a reformer, oxygenating the pollution? Will that work? Can Obama do something like that?
If you had Rothko and Turner in a room and they had to talk about their work I think one would find that there is nothing in Rothko that is found in a Turner other than they both use oil paint.
Turner was a cockney East End Londoner. He was a tough hard scrabble man who was extremely ambitious and he had his own gallery. Very modern in a lot of ways they way he would sometimes come in to finish a painting on the day of an opening at the Royal Academy is all about spectacle and showmanship.
cap clearly you do not (want to) understand abstraction, think more emotional/gastronomic/musical, but good points about turner no less. there is nothing between the two of them, save for the hardwired facts of perception, but if that's the case the comparative list would stretch down to the toes of it. the best thing about turner was that he wandered around the countryside and said his best asset, or secret, was "hard work". The mythical proletariat always imparts a sense of duty/pain=beauty. Hard work impresses everyone, that shit is hardwired too. So what is it, faces, horizons and hardwork. Secret formula revealed!
I am hoping to pass thru boston sometime next week. I am hoping the MFA has some Rajput paintings up. I have read they have quite a collection of miniatures.
Snow Storm: Hannibal and his Army Crossing the Alps, 1812. Oil on canvas, 57 ½ x 93 ½ inches. Tate, London, Bequeathed by the Artist, 1856.
"this mighty work of art is more a demonstration of the dark vision of Romanticism than an allusion to a specific contemporary event. As the promise of liberty represented by the French Revolution faded and the malign effects of the parallel Industrial Revolution became manifest, a bleak note of fatalism crept into the art and writings of the Romantic Generation."
We’re seeking the following individuals: • PAIN MANAGEMENT SPECIALIST, such as a PHYSICAL THERAPIST or a NURSE o You have experience with a range of pain sufferers, e.g. sports medicine and eldercare o You manage others’ pain medications, or help them manage their own
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• SOMEONE WHO TAKES PILLS 4 OR MORE TIMES PER DAY, INCLUDING OUTSIDE YOUR HOME o You take pills (could include vitamins or medications) at 4 or more times during the day, and need to bring them with you wherever you go o You also frequently take pain medications
What you think is what you think what you think is what you think what you think is what you think if only you could think
Neen is something that a very few people or objects have in common, but still it is so clear and recognizable that even someone who had never heard this word before can easily pin point. Neen is a frame of mind, it talks about a new type of feelings that we have through videogames and computers. But even if Neen grown mostly online, is not “net art”. In old Greek, Neen means “exactly now”: this moment and not a second later so now Neen comes mostly in form of peculiar websites such as fataltotheflesh.com but tomorrow it maybe found in certain characteristics of our genetically engineered bodies. Neen fashion doesn’t really exist yet apart of some clothes that Nicolas Ghesquiere designs for Balenciaga.
If you don't like Tuner or painters from the past what's the point of commenting on them in ways that bring nothing but flippant asides.
He was a great painter if you can't see this then that's your problem.
To say he was playing it up the society of the day is absurd, he was a man of his time and he was ambitious. He never compromised. He kept going even though he became destitute.
Go to any gallery in New York today and what do you see, artist playing to the market. Give me a break.
Destitution sounds so Dickensian. What bactrian conveyances must we rope together to cross your dry desert of words with its no flippancy zone? Liberate yourself with libation!
Your means of dialogue reeks of forms long since lapsed in desuetude!
It's like drinking Frangelico, you know it's based on some monk's recipe from 1455 and it's all dressed up as the past but really what you're drinking is a bottle from the 80's. Experiencing history unsentimentally is fraught from the get go. There's no need to bring history into disrepute as much in equal measures as to exalt it. Stuck in the middle with you and other lamentable soliloquies. Turner was a fantastic painter, but when I say that it has to be tempered against the present, or else you sit at the bottom of the time trap while all the little furries are running around above in the forest without you. And believe me, they're running! Just ask Pol Pot.
The mole is an animal that digs tunnels under the ground, searching for the sun. Sometimes his journey brings him to the surface. When he sees the sun, he is blinded.
Critic’s Notebook Heavy Weather by Peter Schjeldahl July 28, 2008
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Keywords Turner, J. M. W.; Metropolitan Museum of Art; Retrospectives; Watercolors; Hazlitt, William; Hirst, Damien
The huge J. M. W. Turner retrospective at the Met is no relaxing summer show. Hot and bothersome, it is a barrage of guileful effects, surveying the artist’s lifelong campaign to surprise and impress—when not shocking and awing—British sensibility. Indisputably masterful, Turner invested little watercolors of quotidian subjects with tonal sparkle, and bombastic battle and disaster canvases with lyrical dash. But unlike John Constable, his quieter, more profound peer, Turner conveys only irritable ambition. We must never forget to admire him. This tires. Turner’s style is synthetic, leaning on picturesque convention (never more so than when most nearly abstract) while brazening arbitrary audacities. He overlays splooshes of paint with passages of tidy drawing like bathtub decals. He did not anticipate Impressionism, which would submerge drawing in painting. William Hazlitt cited a view of his work as “pictures of nothing, and very like.” Actually, it is a congeries of misty, fiery, surfy, sunset stunts—an art less to contemplate than to talk about, calculated to jazz the talkiest of nations. Turner was the Damien Hirst of his day. ♦
ART: J. M. W. TURNER, “PEACE-BURIAL AT SEA” (1842), METROPOLITAN MUSEUM OF ART
Although I sort of forget to read Schjeldahl these days. He's smart but often he's just not paying attention. When he says stuff like Turner is just too tricky, I can't help thinking he just doesn't know that much about technique.
I mean Turner is a great technician, granted, but no more than Van Eyck, Poussin, Titian, Velasquez etc. You've got to have the chops, no question. But that doesn't give you how and where they're used.
Turner didn't invent the storm landscape, the storm seascape (see 17th century Dutch painting) but he did invent a storm that goes all the way to and from the artist's brush, even at its brushiest.
anyway my devil is only the trickster...the good devil. The trickster is here to confound the real devil...
The DOL’s Apparel Industry & Fair Wages Task Force found factory workers worked 12-hour days, often six or seven days a week. Employees were paid on a piece-rate basis and were instructed to fill out two time cards — one for Monday through Wednesday and a second card for theremainder of the week — ensuring that no more than 40 hours of work would show on any card. According to the timecards and the factory's production, workers were completing an entire item of clothing in less than a minute. Investigators even found a question-and-answer sheet meant to coach workers on how to respond to labor investigators without raising suspicions.
I was shocked to read that the U.S. Army is shooting live pigs with M16A2 and M4 rifles at the U.S. Army Garrison at Schofield Barracks in Hawaii. There is no justification for this cruelty. The majority of medical schools in North America no longer use animals for medical training, and more effective humane alternatives are readily available. Please adopt PETA’s recommendations, and take immediate action to end the needless suffering of animals for the U.S. Army’s trauma-management training exercises.
"Turner is positioned by Godard in an astute shuffling of the cards: Peace—Burial at Sea, 1842, coincides with the recitation of Baudelaire’s poem “Le Voyage” (1859). The dark, terminal stasis of the ship, set off against beams of illumination, parallels Baudelaire’s evocation of unprecedented voyages that can be undertaken without movement in space. Falling out of sleep, I hit the floor Put on some rock tee and I'm out with the door From Bowery to Broome to Greene, I'm a walking lizard Last night's dream was a talking baby lizard All comin' from hu-man imagination Day dreaming days in a daydream nation Smashed-up against a car at three A.M. Kids just up for basketball, beat me in my head There's bum trash in my hall and my place is ripped I've totaled another amp, I'm calling in sick It's an anthem in a vacuum on a hyperstation Day dreaming days in a daydream nation
Saw turner's slave ship at the MFA today. Those fishies lower left are weird indeed. They were the same species of fishies in the last room of the ny turner show (the unfinished pieces). They look like a species Redon might cook up in his mind.
Back to the boston mfa -- didn't care for the el greco / velazquez show. To end with still life painting seemed odd. But it did end with velazquez's old woman cooking eggs. Should've been on it's own free standing wall.
my greatest battle is fighting my own nostalgia. what would happen if I were to submit? maybe tarkovsky had the answer. in any case, three things travel not back, the spoken word, the sped arrow, and time passed. is it sad? probably not. take it easy Turner.
I suppose looking back can be a trap, especially when there’s not much to look forward to. Faced with steady decline and death, for instance, it seems only natural to reflect on the highlights, whether it’s all been worthwhile. Or does the future look so bleak only because the past looks so good? But sometimes things really were better ‘back then’. Sometimes resources are actually finite and dwindling. You can resist nostalgia but that won’t necessarily make the future any brighter, you can deny the future but that won’t necessarily make the past any less rosy.
The sheer weight of the past after a while ought to make judgments more refined, more acute, many perspectives on a given event, or many events from a given perspective. How to tell, which? And is it the same for cultures and nations, movements and groups, as persons? Do 'they' sense the end this way, cling to the past?
I always wondered what the big deal was with Turner. I though it had something to do with a requirement to have another British artist to admire. But after watching Schama talk about him I was convinced that he did a lot for painting. It would be interesting to see how his political environment affected/inspired his work. Personally I believe this nature as emotional force is absent in today's art world. I wonder why that is. Can we blame our workaholic ways or the iPhone?
But who exactly is sensing the end? Is a five year old sensing the end? I don't think so. It's very relative to sense ends and beginnings, tied deeply to your own position in your end or beginning of your life. Doomsaying is as old as the emotional mind, and yet each and every time it yields no result. It might seem like it's ending but it fails to. The endgame is where most professional chess players resign early, after a serious blunder or setback, whereas novice players will refuse to accept the end. In this way the trajectory always ends up in the hands of the apprentice, under direct influence or even denial of the master. And while there is no avant garde, that is only a term. There is always change, and there are always the harbingers of that change. Yes there is absence of the emotional gravitas that appears present in the works of Turner for example, in painting today. But I resist aligning myself to either the past or the future of the medium, as they are abstract linear notions, when there is only ever truly a present, a comlex present that contains all three aspects of time at any given moment in relative factions to a very personal and subjective worldview. Nature repeats itself blindly but at the same time is mutating the design so so slightly. To understand that is a kind of quantum parallel. This presence is always influenced greatly by it's forebears, but at the same time it wants to break like Oedipus, only to end up realizing that breaking was just a passage or a veil that when lifted reveals the tragedy of knowing the truth. The truth is when you walk forwards, you are actually walking backwards. Spiritual negotiation begins at that point. The Stoics had some nice practical ways of tackling it. But in tragedy there is a sublime beauty and pathos, something which most people are unwilling to confront today, in the pursuit of a 'good life'. A good life that is light and easy, reduced salt, fat, sugar. Focus on health, mental asides. Essentially culture is undergoing a flattening effect, where the cruel laws of the jungle are being quashed by a bevy of equal socialistic moral imperatives, disguising the nature of the beast which hasn't changed much at all. I hate to generalize, but it does appear that on the whole developed society is more or less happier, more complacent, flatter, even numb, than ever previously before, given that there have been no real major collective uprisings for some time. Everyone being too tired for a revoltion, or too wise, or too entertained. The flatness of acceptance leads to a lighter form of art production in some ways, but that's not bad. It's not good either. To really make good history painting, one has to suffer a lot. I'm sure that's the case, a few still do. We don't see their work because it wouldn't sell, art has become an industry, and there are more artists than ever before. It's harder to suffer these days when it seems everybody has some strange hindsight of where it will lead them and a contradictory viewpoint unwitting of itself, so focused on self-achievement rather than collective achievement. If you look at most of the work on the PNYC page at present, the majority can be read as expressing some form of lament, except Nozkowski, and he is painting currently, and his work is fantastic, the sentiment in it being very difficult to overtly lean to any particular point in the emotional gamut. It's my favourite work on the page. Turner is Turner, impossible to forget, and largely operating presently as the Prize, the accolade of achievement. Rightly so. But, there's just so much more going on. He has his place now in the annals of history, everybody knows. The technique is stunning, I have stood before one for a long time. How things have changed. We needed Turner, but if he were here now his ipone would be ringing and his dealer would be talking. He would paint differently. But speculation is for brokers. I'm happy to accept the past but always wary of letting it draw me in and manipulate the scales. Weight and measure is a fools comparative when it comes to the ongoing presence of art, as much as it is all we have got. I like to resist pure definition. All the notes are not the chord, and other german ideals.
Before the idea of painting, there was still the act of painting. It is an essential process and I check up on how it is faring, so do you. But really, the death cry is just marketing. Maybe I said it before but painting does not die unless humanity does. It's intrinsic to the Nth degree. To me it's like saying, The Death Of Language, in the future we will not Communicate! Bshit.
Actually I think the closest equivalent to Turner these days is Kiefer.
And yeah, people need pictures, and pictures need painting for reasons too complex to go into here.
All the same, nothing lasts for ever. People die, others are born, never quite the same. Empires decline and fall. Cultures and nations lapse or alter beyond recognition. Entropy, decay, corruption - sooner or later we sense them close to home. We grow up is all it takes. There is only so much oil in the earth… trees… drinking water... The more we exploit the more uncertain the atmosphere becomes. The planet can support only so many humans at any one time. Competition for favour is rigged and the greater the rigging and re-rigging, the more rickety the whole picture, never mind painting, becomes.
It’s interesting to see the current PNYC page as a lament – in Nozkowski’s case – denial. It grinds on. The past is to be lived up to or down, but there is no doing without it.
Nozkowski's work is not in denial Cap. It's just that not every painting need be about the trauma and scare-mongering pedalled onto us by the present media machine, or in the past the revered scriptures. There is still beauty. There will have to be a resource shift, politically drenched and slow, shortages appear but it's not the first time, and even so it will still take an extremely long time to run it's course. I'm betting that it's very manageable. These overarching pains are not exclusively the subject of the reflection art offers. It's also not where the most powerful statements in art resonate, though it can be. All encompassing statements of the human condition are important, but no more than small and sundry ones, because in the end they are all statements of the human condition whether or not they are overtly implying this. I like it better when it doesn't try so hard to publish that ideal. In the end we need the spectrum of both forms, and more. I like to believe that we have a will to survive, and will, at the mercy of universe. A key part of getting to that point is being able to see the flickering pilot that stays on inside many hearts, artists are often good for society in that way and play a key part in reminding us of that with their work, well, at least some do. Not all should. Greatness appears greater when ossified, the mystery is so enchanting.
I like the reference to Keifer, personally I prefer the less fantastic nature of Keifer to Turner. Both vital painters. Keifer's recent cosmos work is absolutely incredible. Though he even says himself he has no idea why he's here and so tends to latch onto things that seem real, like flowers. I understand but I also like the brave who can transcend recognizable reality, are unafraid to not represent anything directly, speaking in a more primal feature set. One way we were able to fabricate most of the world around us today was by melting stuff. In the alchemy of this process one thing is for a time not what it was until it becomes something else. But there is much in the transition.
What's being talked about here? Change We Can Believe In? Culture is a broad term.
I like chess, especially endgames. I like the iphone. especially because it's a game changer. I like systems-on-chips and fpga's and parallelism in algorithmic synthesis because they change the culture who play games. They also change human life. I like painting because you don't need electricity or war to turn anything on to play.
But as beautiful and vital as painting can be, I think it's important to define which culture find's it vital and what role 'change' plays in the culture, and what role that culture plays in the enclosing culture. Otherwise, the words 'culture' and 'vitality' and 'change' and 'cosmos' seem empty and flat to me.
There was a time in our history when painters or paintings had an actual role to play in the trajectory of ideological spiritual, technological and cultural hegemonies/soverenties. That time has.. uhhem.... passed.
Ours is a glass bead game. And Change is just a canon: A rule for a game that keeps things exciting.
Indeed, in chess, it'd be no fun if the king could move more than one square at a time. He's a formalist after all, even at the time of impending death.
peg you might be projecting a value onto history that wasn't there until we decided it was, recently.
ends and beginnings are dissolved in that fluid, the fluid that carries all of these binary or factioned templates we apply to reality. In essence there are no divisions until language creates them.
One way would be to see games ending and beginning, another to sense a total game but only ever be able to see a part of it, and another to see no game at all. The role of painting alters from the various vantage points. It depends on who and when it is being read.
All the global anxiety around and media panic and even apocalyptic musical views like Becks new album - it all points to the beginning of the 21st century. It's so similar to the early 1900's that it's kinda funny. And we even have remodernism, which has something valuable within it. I mean really, in the universe, on earth, it is not the year 2008, especially not in china - but by living by these ;cultural; applications, we give ourselves a momentum and a rhythm to align the pulse to. I just smile coz I think it's funny. I see right through it, but I don't feel cold or left out by the transparency. Nature brought us into the void, and how we love to fill it! Sittin' round the campfire with qwerty.
qwerty technique in some applications is probably as much of a glaze as stand oil and damar. Hopefully it won't yellow too much. However Querty activity pretty active shit.
I agree with you about this remodernism as you call it. Bauhaus fell out of favor... Perhaps linen and dirt has a chance.
... but webthing, tonight my association of painting with history (disclaimer: the association prob won't be there tomorrow) was in thinking of the Hapsburgs or the Hague or Henry's court placed value on painting as representations or even ambassadors of power. Historical in these cases, not subjective musings of the role of painting in hegemony. I don't think I need to touch on painting's role as spiritual instruments...
All cultural production is tied to it's relationship time and the world. As such, painting is a mere curio. I think it's architecture's time to sing.
Oh no i didn't call it that, Billy did back in 2000. But only recently has it started to get a grip, tied up in stuff like New Sincerity movements n all that jazz. I just can't understand why people keep saying, it's alive, it's dead, it's back, it's gone - it makes me laugh like, fuck, Wanted: Dead or Alive. Waves are produced by the ocean but still the ocean remains, sometimes without the waves, we love to focus on the waves!
I often get the sense we're all sitting around a boiling cauldron, peering in, and shouting out the names of the bubbles as they surface and resurface - but unknowing of this, most of the time we're acting like we're walking across a tightrope, or down the plank... as if there is some kind of finality just up ahead. Sorry to say, nope.
To break it down, scientific time permits me to say that there are 365 days in a year, but there is no place to decide the start or the end of that cycle, other than in various cultural templates. we are often fooled by our mortality.
peg if you won't think it tomorrow there's no need to now? painting isn't a curio, unless you want it to be. to me it's close to the origin of all communication, it's not a substance, it's not pigment, it's not paint, it's meaning has gone way beyond that into an act with a surface. i would laugh if many thousands of years were to suddenly vanish. architecture can be monumental and even speak broadly about its times now and then, but still it has one vital thing in it's way that blocks it from ever coming close the resonance of painting - function.
'All cultural production is tied to it's relationship time and the world.'
So JPEG - are you saying that 'time' (some version of) and 'the world' (some version of) are not cultural productions? If they are not, then why not art?
For that matter, what is more 'cultural' than the construct of 'culture'?
Magister Ludi man, that shit is so art school, all that remodernism and shit, man that shit, that, fuck man, that's just not really dealing with my problems man, that's like totally abstract and shit. Like for academic wankers if you ask me.
I'm all for like, getting to the root of the problem, and seeing the bigger picture - that's pretty good shit, being all zen or whatever, dropping into the blue room, or being above it all, like hitchcock in the birds, just a force of nature, but brah, I'm like stoked to just sort of chill in the hood and not deal with all those uptight motherfuckers in their bubblicious art world fuck that noise you know?
And then I get the sense that so would they, too, like to get the fuck out. And I'm totally down with that - but it takes consensus - you can change.
But then there are people who say no JWM Turner is an absolute watershed benchmarket moment, you ignore him at your peril, the whole house comes down, or at least you miss out on something beautifull, like a marketing anle or claim to authority, and I'm like, ok, yeah, but you miss out on the sun if you go inside, you miss out on QUERTY if you leave the hive but do you miss your mind if you lose your life?
No, and that's why we will contiunue to corrupt the young - life is too precious not too.
Like when the Dadaists had no profit model - or governemnt funding - would they have done better with government funding? It's debatable, but I know their QWERTY wasn't better than say, Queequegs's qwerty. Or mine, actually, now that I think of it.
The dada people had trust funds and patrons - so I wonder also if they wouldn't have made better work if they had been living in the gutter. Probably not. Most of the most revered poets died young anyways. Its like whats this myth of the artist anyways?
oh yeah we all die in the end, right? I think thats clue numero uno I don;t have to care too much what the moderators of the pool hall have to say about deep pockets and public figures - like that means anything on the microeconomic scale most peopel live on anyways. So what if you aren;t in the history books? There are plenty of syphalytic aparatchiks who are. Thats good company!
"are you saying that 'time' (some version of) and 'the world' (some version of) are not cultural productions? If they are not, then why not art"
hmmm... Cap I never said that time and the world are not cultural productions. And as much as I love paintng, I don't see it as an essential part of human activity. I do see painting as being essential to painting culture -- which is very specific.
When you piss on the urinal wall and suddenly decide to start coloring in a patch of the aluminum or make a shape - that's a part of painting. When you talk on the phone and doodle some crazy thing and then hang up and see it sitting there still looking back at you - painting. Or painting is like when you elevate those things to the strecther. It's like jarring pickles. Some people say drawing but whatever. Drawing the start of painting. Pretty much any visual still, built through hand movement on a surface - yep. This isn't painting on the wall in the gallery, but it's where it begins in life that is most of what painting is. Massive human process of reflection action, that thing on the wall is just the record of the act. It's essential and everywhere, though only painting culture keeps the act up to keep walling it/buying/collecting/copying/ripping/gesticulating/preserving/analyzing/measuring/laughing/crying on it.
i know remodernism is too conceited, but like it has anti-academic sentiments in it anywayz.
The Remodernism Manifesto This Website is Best Viewed Using Firefox
Remodernism
'towards a new spirituality in art'
A Stuckist Document: The first Remodernist art group (est. 1999)
Through the course of the 20th century Modernism has progressively lost its way, until finally toppling into the pit of Postmodern balderdash. At this appropriate time, The Stuckists, the first Remodernist Art Group, announce the birth of Remodernism.
1. Remodernism takes the original principles of Modernism and reapplies them, highlighting vision as opposed to formalism. 2. Remodernism is inclusive rather than exclusive and welcomes artists who endeavour to know themselves and find themselves through art processes that strive to connect and include, rather than alienate and exclude. Remodernism upholds the spiritual vision of the founding fathers of Modernism and respects their bravery and integrity in facing and depicting the travails of the human soul through a new art that was no longer subservient to a religious or political dogma and which sought to give voice to the gamut of the human psyche.
3. Remodernism discards and replaces Post-Modernism because of its failure to answer or address any important issues of being a human being. 4. Remodernism embodies spiritual depth and meaning and brings to an end an age of scientific materialism, nihilism and spiritual bankruptcy.
5. We don't need more dull, boring, brainless destruction of convention, what we need is not new, but perennial. We need an art that integrates body and soul and recognises enduring and underlying principles which have sustained wisdom and insight throughout humanity's history. This is the proper function of tradition.
6. Modernism has never fulfilled its potential. It is futile to be 'post' something which has not even 'been' properly something in the first place. Remodernism is the rebirth of spiritual art.
7. Spirituality is the journey of the soul on earth. Its first principle is a declaration of intent to face the truth. Truth is what it is, regardless of what we want it to be. Being a spiritual artist means addressing unflinchingly our projections, good and bad, the attractive and the grotesque, our strengths as well as our delusions, in order to know ourselves and thereby our true relationship with others and our connection to the divine.
8. Spiritual art is not about fairyland. It is about taking hold of the rough texture of life. It is about addressing the shadow and making friends with wild dogs. Spirituality is the awareness that everything in life is for a higher purpose.
9. Spiritual art is not religion. Spirituality is humanity's quest to understand itself and finds its symbology through the clarity and integrity of its artists.
10. The making of true art is man's desire to communicate with himself, his fellows and his God. Art that fails to address these issues is not art.
11. It should be noted that technique is dictated by, and only necessary to the extent to which it is commensurate with, the vision of the artist.
12. The Remodernist's job is to bring God back into art but not as God was before. Remodernism is not a religion, but we uphold that it is essential to regain enthusiasm (from the Greek, en theos to be possessed by God).
13. A true art is the visible manifestation, evidence and facilitator of the soul's journey. Spiritual art does not mean the painting of Madonnas or Buddhas. Spiritual art is the painting of things that touch the soul of the artist. Spiritual art does not often look very spiritual, it looks like everything else because spirituality includes everything.
14. Why do we need a new spirituality in art? Because connecting in a meaningful way is what makes people happy. Being understood and understanding each other makes life enjoyable and worth living.
Summary
It is quite clear to anyone of an uncluttered mental disposition that what is now put forward, quite seriously, as art by the ruling elite, is proof that a seemingly rational development of a body of ideas has gone seriously awry. The principles on which Modernism was based are sound, but the conclusions that have now been reached from it are preposterous.
We address this lack of meaning, so that a coherent art can be achieved and this imbalance redressed.
Let there be no doubt, there will be a spiritual renaissance in art because there is nowhere else for art to go. Stuckism's mandate is to initiate that spiritual renaissance now.
you can concern yourself with history and be endlessly playing the endgame loop-like cap with whos more like turned keifer or rothko. zzz. or you can go with the self-help like becks scientology. (my darling friend was a crank head but she finally got off the stuff by going to NA, and they want you to aplolgize to people you wronged, but i said bayby dont apologize to me. did you think i didnt know you were lying?)but the one thing that was said that i like is "an act with a surface". isn't that what jeff koons was talking about? anyway, its all about what you share. like with my friend. we shared bigtime, and it lasts forever. the love i mean. if you can get that act onto a surface you're all the way home.
Im gonna go see the xfiles movie. this one up and coming looks good too:
Ricky plays Mark Billison - a very unsuccessful screenwriter in his forties with average looks, moderate intelligence and little hope for the future. He's basically a nice chap, but a bit of a loser.
In a world without fiction, film entertainment consists of unembellished readings of historical facts, and since Mark is saddled with writing about a particulary uneventful period of history he finds himself in the doldrums career-wise.
However, Mark is about to make a momentous discovery - the intentionally false statement.
if you need any post production just email me, I work for lo/no cuz I'm a shitty businessperson and my quixotic ideals let me keep my head in the ground. And I'm almost good enough.
hired guns man, or seven samurai. THey got your back to the future right here, like a Cuisinart attached to a Delorean. The Stuckists need to let it go, like Zen adn shit, breathe in, breathe in the air. Warm yourself beside the fire and listen to the giant tolling bell. Like if you think of the sta puft marshmallow man, that's what will come to destroy you - so true, and in the same way, if you think about sharks they will come to your funeral - it is your funeral, even if you can't see it because it takes your entire life to see it, it's so big. You can gold plate it, but that wont make it better - like you can't even ski in Iran anymore because they just don't care about art theory on the main. But is it art? Are you in or out? I personally think I'm in, but that's hubris, and obviously I know less about art history than your average believer, but I don't believe so much as perceive, and I think that's better than chewing on lies your whole life or trivia - which is like reading about roller coasters in order to better appreciate gravity. You can't really get there - its more like reading a travelogue or theory - if you never apply it what are you? A professor or something - but not like hogworts where you are a practicing practitioner, besides that stuff is a rehash of older better stories without the anachronisms - stuff needs no update so I guess I'm sort of a conservative but not a reactionary, nor a stuckist though I do sympathize with the struggle. Why would you join a group anyways? Strength in numbers? Seems like the whole let a thousand flowers bloom - that's a lot of dandelions - I've evolved shorter if you know what I mean. I want to believe the truth is out there right? Fuck that variable, its in here, like Chairman Mao would say - and then tell farmers to be politicians as if they were more pure - that's what class issues will do to you. Mao never was a real boy.
YGirlfriend in a coma, I know I know - its serious My, my, my, my, my, my baby, goodbye. This has often signalled [sic] a backward crouch preceding a forward leap. I think of Picasso’s world-weary blue period, T. S. Eliot’s “Gerontion” and “Prufrock,” and the budding Abstract Expressionists’ wallows in Jungian mythology. The syndrome announces the exhaustion of a received cultural situation, whose traditions are slack and whose future is opaque. It typically entails nostalgia for real or fancied past ages that dealt—successfully, in retrospect—with similar crises.
“When, for example, I said that I did not like a certain dog, there was always some overambitious person ready to shoot that dog,” he said. “And that bothered me.”
I was challenged on two posts I had made here regarding a lecture on color by Graydon Parrish that I attended. In an excess of enthusiasm, I had shared my lecture notes on this blog, even though attendees were asked to be discreet. I was asked in no uncertain terms to take the posts down, which I did immediately because it was Graydon’s stuff and he did not want it out there. I received considerable criticism on the Cennini Forum for having posted in the first place, which I accepted because I was wrong to have done so without asking permission first. I would describe the experience as an excellent character-building exercise, but no fun at all.
Totally off-topic question but need artistic advice and the saatchi orgy site is too retarded for me. A friend of my cousin's wants to buy 3 of my oil paintings. I've never been represented by a gallery or anything like that. I had one student group show years ago at SVA and graduated with Honors. Blah Blah. So how much should I charge for averaged-labored paintings all 12 inches square. One of them took weeks to create. The buyer is a Columbia student but her folks have ok money. She's a great network friend and has even offered to manage/promote my career. I'm a painter not a business man but I don't want to give them away either. What would you do? Thanks
You could approach this from many angles, all of them sound.
Your friend might be with you for the rest of your career - or you might lose touch - however your work will be with her for as long as she values the work.
You should charge enough that if she falls out of love with you or your work or both, that she will want to sell it or at least find a home for it (as it is apparent you value the work). This is what is known as a "divorce."
Now much is enough to ensure the work will not be discarded like a wet diaper?
Olav Velthius says art is priced with arbitrary means ("scripts" in the parlance of sociology). He's right. Many people go by size, and as you intimated, reputation, schooling and other indicators of seriousness.
For a small painting we could put the price in a gallery in New York at somewhere between 500 and 2,500 - the high end assuming you are notorious for something (famous for being famous, a musician, a criminal, some kind of prodigy).
That said, you want to keep your prices competitive and gradually grow them. 2,500 assumes you are poised for a breakthrough to star status or already there.
If your friend is serious about your work, she will get other customers, you will throw parties, it will become a social phenomena and you will end up selling more work as word of mouth.
In theory. Are you a charismatic "party motivator" is your friend?
We are talking about making rain - and there are many variables.
How "strong" is the work?
You could go for as much as you think your friend will pay - you need it! Do not negotiate - this will make the price seem arbitrary. Come prepared with arguments - you need the work for a show, you really like the work in question - it helps you in the studio, its one of a kind...you need paint supplies, your mother is sick...etcetera...
Or you could offer her one for free, and then apologetically say you are asking 1000 for the one that took you a while (its like what $10/hr after overhead, right?)
And 500 for the other one.
These are reasonable prices after all.
Above all, do not "lend" the work - and I argue against payments in installments less than half the ticket price -installments tend to dry up or get misplaced in the hurly-burly of vacations in St. Tropez, day trading losses, the vicissitudes of taste and mood.
Why' were off topic, does anyone know how well clove oil works to combat the fast drying time of paint layers in ny summers? In the past I got slimed by it and swore it off as bad magic.
Turner @
ReplyDeleteThe Metropolitan Museum of Art
1000 Fifth Avenue.
New York, New York 10028
hi-drama
ReplyDeleteAgain everybody loves turner. Simon schama almost pissed himself over JMWT. Didn't Turner win that competition over the favorite painting in England. Yea he did
ReplyDeleteI love him. It's OK to be everybody sometimes.
ReplyDeletewhy do you love him NL? what's he got?
ReplyDeleteI don't love all his paintings. Some look almost saccharine to me. But others, like the one here, have the kind of light/dark romanticism that I love. And the unabashed attempt to depict the presence of God through some kind of alchemy of light color and otherness, what's better than that? Like any great artist, what is perceived as his radicalness came about organically, in an attempt to find a way to express the inexpressible, not as a self-conscious construct.
ReplyDeleteBut I'm supposed to be saying something more formalist than this, right? He made paintings that managed to maintain thrilling structure despite being nearly completely atmospheric. I think it's rare to find this kind of raw rapturous passion stopping short (usually) of sentimentality, remaining somehow disciplined.
That gets back to the 7th deadly sin of sloth that Ive been thinking about. "A refusal to enjoy the goodness of God and the world he created". I don't actually believe in God's creation and I think Turner had his doubts but he did paint what he saw and felt.
ReplyDeleteI would say that he showed the power of chaos in nature and how it manifests in human society.
And goodness, mae west, had nothing to do with it.
I think it's rare to find this kind of raw rapturous passion stopping short (usually) of sentimentality, remaining somehow disciplined.
ReplyDeleteI should say rare in the modern age. Less rare when most all painting was religious. (Less rare in numbers, not proportion, as I assume that the majority of painters, those whose names we do not know, did not go beyond the sentimental.)
I wish I lived in nyc,I'd take my butt to the holiday inn with the 89 yr old bartender-find the cool while you can-right now,i got a choice of spoiled hiopsters/tourists-bar-an im going there-see how they like Turner
ReplyDeleteComplaint #223
ReplyDelete“I know people are reading it, but no one EVER leaves comments on my blog!”
-Whine by Adam Temple
8 Comments
Whoah!
ReplyDeleteGnarly!
the drama of the sky to turner was not explicitly god, but an older divination that our human template upon everything sought to claim. much older.
ReplyDeletethanks painter!
ReplyDeleteNothing is funnier than unhappiness.
ReplyDelete-endgame
ah.
ReplyDeletehigh-tragedy pushed from primetime
in favor of serialized tragicomedy....
I think I'll start painting scenes from the Office.
RE the turner exhibit... did a quickie,
but will prob revisit later...
I was moved by how those
cathedral (chapter house?) renderings
eventually morphed into a a life's work
of painting sky.
ah.
ReplyDeletehigh-tragedy pushed from primetime
in favor of serialized tragicomedy....
that's what she said
I'm an artist without an art history degree and much of my Turner education came from this visit. From this brief day of information, I think Turner would have been an art blogger with a web site promoting his art. I'm an art blogger and I think I know one when I see one. He embraced the technology at the time and was a canny business man. While other artists would wait until their painting was hung to put on the final varnish, Turner opted to do some actual painting on his, in other words a short free demo and then varnish causing more hype. Usually his paintings included some descriptive statement with a few lines of poetry and sometimes the poetry was written by him. Sounds like a blogger to me.
ReplyDeletethe more i look, the more i like.
ReplyDeleteThis comment has been removed by the author.
ReplyDeleteJoseph Mallord William Turner.. He makes me happy
ReplyDeleteTurner was rich!
ReplyDeleteDoes that sound like a blogger?
ReplyDeleteThis comment has been removed by the author.
ReplyDeleteThis comment has been removed by the author.
ReplyDeleteThere is some writing that explores the
ReplyDeletepossibility that Turner's effects were the
results of cataracts and not ectoplasm
Turner 1775 – 1851
ReplyDeleteCourbet 1819 – 1877
Goya 1746-1828
Delacroix 1798-1863
Ingres 1780 – 1867
Blake 1757 – 1827
David 1748-1825
Constable 1776-1827
how time flies.
ReplyDeleteHow time files.
ReplyDeletesuch a nice link, peg. and RIP bruce connor. now he's one with always, like he always was.
ReplyDeleteHuh, Ingres and Turner almost the same moment.
ReplyDeleteTurner's technique evokes an expansive dramatic landscape - what's great is that it's just paint, brush texture and not a lot of detail. Fairly impressive really and not at all pretentious. To me this work has apocalyptic overtones - the hands lifted up and the omen sun.
ReplyDeleteIt's hard to look at them these days without getting eco.
ReplyDeleteI think its hard to look at them and not think about power. Formless shapeless immense power. Somehow nature's power is acceptable and I guess some people think it's comforting to be submissive to it. Basis of religion and all. But the forms of power that we are dealing with currently? Even our collective heat, our collective carbon footprints, our collective greed. Stunning. Out of control.
ReplyDeleteI guess you could contrast this with Eliason's Waterfalls. Ill think about that and get back to it later
ReplyDeletei like how he always paints thin washes on top of thick globs of paint.
ReplyDeleteBut Duncan couldn't understand why people would say they were interested in her projects and then suddenly flake out. She wondered why her time was being wasted. Scientology, who has saved many an artist's career, offered to help but Duncan was too rebellious and high-strung to submit to a cult. With money troubles and the scientologists after them, Blake and Duncan decided to return to New York. But even back home, the golden couple didn't find peace. It was as if their time in Los Angeles had let a perennial sun upon their souls and they woke up from a champagne-laced dream covered with cancer. That summer, the golden couple took their own lives and only a small article in Vanity Fair proved anyone had ever heard of them - or even cared. But to Fawn, they were artists and friends who met a tragic end and she wondered if such a fate, both fame and suicide, would happen to her.
ReplyDeleteConcept:
ReplyDelete1. L.A. look for an L.A.-based blog.
2. Pink & girlie with a sense of humor (kind of like Paris Hilton): Celebrity blog 'Pink Is The New Blog' and the super cute packaging on Stila cosmetics are styles dialed into our concept but we're open to your genius!
3. Clean almost corporate format like 'This Is Love & War' site to make it easier to read. Format will be story introduction, description of characters (pictured in anime), seasons 1-6 (20 episodes each season), and a section where readers can give reviews or ask the girls questions.
4. Run video on our website for our national film contest to shoot episodes from Season 1 coming up on YouTube.
5. Target audience are viewers of Gossip Girl, The Hills or E! Channel, people who love Sex & The City, Entourage or Californication, and all music + luxury brand advertisers.
If this sounds like your kind of project, we look forward to working with you!
First, props to painter, everyone who’s in the city should drop by to see “Admirer” at 31 Grand, 143 Ludlow, curated by our very own. That’s tomorrow July 10, 7-9pm
ReplyDeleteSecond, I popped in for this show between the Louise Bourgeois at the Gugg and Bucky Fuller and Paul McCarthy at the Whit. For paintin’ Turner takes the cake. Admittedly some of his early stuff is sweet, a common affliction of academicians at the time (they had to please the socialites) and there’s more that a whiff of what we’d call kitsch now (like a tiny figure praying to a cross in a high Alpine ravine, or the misty silhouette of a miniature elephant in “Hannibal Crossing the Alps) but these were all affectations of the times, and made me laugh. His influence on the early Impressionists seems more potatoes and gravy than fruit salad in flavor. A couple of the large navel scenes were obvious commissioned pieces, and were more intent on showing the detail and mass of the British Fleet, that capturing the atmospheric and dynamic action of the sea.
There was a great Tuner documentary on PBS about six months ago that is worth seeing. In the ark of his career he was the hottest artist in England at a fairly young age with his own gallery and work shop, but he eventually fell out of fashion and ended up alone, an eccentric shut in with stacks of moldering paintings in a decrepit hulk of a building, good stuff. Also I Ran into Philip Roth at the members preview.
Gossip Girl: love it
ReplyDeleteThe Hills: hate it
E! Channel: love Talk Soup
Sex & The City: hate it
Entourage: sausage fest
Californication: LOVE it, did u see the one where Duchovney throws up on the painting? great stuff
all music + luxury brand advertisers: all?
Archived from May 31. That's a quick jump into development. Anyway, just sex up the Roxy blog and make some quick dough. Probably would be hard getting paid, tho.
Schama is so chav.
ReplyDelete'Here', resumed Porbus, touching
ReplyDeletethe canvas, 'here is the end of art
on earth'.
'Henceforth it will lose itself
in the heavenly spheres', said Poussin.
'What enjoyments there are upon that
piece of canvas', exclaimed Porbus.
'But soomer or later he will
discover there is nothing on his
canvas', cried Poussin.
Set in Paris, the story revolves around three friends—Serge, Marc and Yvan—who find their previously solid 15-year friendship on shaky ground when Serge buys an expensive painting. The canvas is white, with a few white lines...
ReplyDeleteSerge is proud of his 200,000 franc acquisition fully expecting the the approval of his friends.
Marc scornfully describes it as "a piece of white shit,"
Im watching cage matches. Californication sounds allright. Im trying to watch more tv, you know, stop and smell the ozone.
steamy
ReplyDelete"I am fond of standing by a bright Turner
ReplyDeletein the Academy." mused Ruskin.
He continued, "To listen to the unintentional
compliments of the crowd—'What a glaring thing!’
‘I declare I can’t look at it!’"
Merleau-Ponty responded, "All painting
appears therefore as an abortive attempt
to say something which always
remains to be said".
congrats painter!
ReplyDeletez, if you go to the opening i will...
cahs is real tight - Im going to sell "a bottle and some voyages" - a book of Claus oldenberg's stuff. I never look at it anyways. I think its worth 10 bucks - that will get me there and back and buy a slice and a beer to boot. Tres romantique, no? God I fucking love bohemian life.
ReplyDeleteCELANT, GERMANO A Bottle of Notes and Some Voyages, Claes Oldenburg & Coosje Van Bruggen
ReplyDeleteRizzoli. 1988. 4to. Ill.: Illustrated. Softbound, NF/NF !.
Offered for US$ 20.00 by: Hawthorne Blvd Books - Book number: 017640
yep 10 bucks. Its worth it for the picture of "Cinderblock and mortar fragment" 1987.
Scale man, packs a punch - Turner, or the Hudson River dudes.
Albrecht Altdorfer even.
This comment has been removed by the author.
ReplyDeleteIm trying to remove scale from my work. people are hatin me for it. but its a crutch.
ReplyDeleteI'm with the Iranians or who ever does their photoshop. Crutches are good when you are down. Try a thin glaze (or gradient layer set to overlay in photoshop) This can fix flaws in exposure time or tonal range no prob - like when you are shooting at night with a cell phone.
ReplyDeleteGlazes also unify the picture - so thats a huge crutch right there. Just say no to varnish! Let it Rot!
Grow your own!
Speaking of scale, namely "economies of scale"
“The accumulated data from all investigations indicate that jalapeño peppers caused some illnesses but that they do not explain all illnesses,” the agency said in a statement. Tomatoes, however, remained under investigation along with serrano peppers and fresh cilantro.
Do you think its a governement plot to cover up the shortages? An experiment in marketing psychology? How much did McD's save by not serving tomatoes?
I love scale. Someone like Benjamin Edwards (who saltz likes) uses it - though I think more ironicly in a superflat and "conceptual" way - definitely not taking advantage of atmosspheric perspective - its more digital or "virtual" so no dust involved. No cat hairs or hog bristles either. Where's the humanity?
ReplyDeleteWill Goya stock go down - El Coloso of foods? What about the Jolly Green Giant? Am I whistling dixie?
ReplyDeleteSeems like there are a lot of vocano paintings with simular ash fall motif - sort of Jungian or maybe just in the air like the environment.
TYPHOEUS (or Typhon) was a monstrous immortal storm-giant who was defeated and imprisoned by Zeus in the pit of Tartaros. He was the source of devastating storm winds which issued forth from that dark nether realm.
"All four items cited today are common ingredients in some of the building blocks of Mexican cuisine, and the C.D.C. told consumers to stay away from fresh salsa, guacamole and pico de gallo if they wish to reduce the risk of infection.
laying back samples, cutting and driving
ReplyDeleteadding and lacking, taking and,
stealer, buyer, dealer, remade her, takers...
givers on the edge,
end of this, never
end of that, forrrrrr suuuuuure
the end starts here speedy
stretched out over yonder
makes it's way back round that way
meanwhile...
keep it wheel
and you, turner brings it out in you
true such
laying back samples, cutting and driving
ReplyDeleteadding and lacking, taking and,
stealer, buyer, dealer, remade her, takers...
givers on the edge,
end of this, never
end of that, forrrrrr suuuuuure
the end starts here speedy
stretched out over yonder
makes it's way back round that way
meanwhile...
keep it wheel
and you, turner brings it out in you
true such
laying back samples, cutting and driving
ReplyDeleteadding and lacking, taking and,
stealer, buyer, dealer, remade her, takers...
givers on the edge,
end of this, never
end of that, forrrrrr suuuuuure
the end starts here speedy
stretched out over yonder
makes it's way back round that way
meanwhile...
keep it wheel
and you, turner brings it out in you
true such
laying back samples, cutting and driving
ReplyDeleteadding and lacking, taking and,
stealer, buyer, dealer, remade her, takers...
givers on the edge,
end of this, never
end of that, forrrrrr suuuuuure
the end starts here speedy
stretched out over yonder
makes it's way back round that way
meanwhile...
keep it wheel
and you, turner brings it out in you
true such
laying back samples, cutting and driving
ReplyDeleteadding and lacking, taking and,
stealer, buyer, dealer, remade her, takers...
givers on the edge,
end of this, never
end of that, forrrrrr suuuuuure
the end starts here speedy
stretched out over yonder
makes it's way back round that way
meanwhile...
keep it wheel
and you, turner brings it out in you
true such
fukn safari
ReplyDeletescale gives you hope. like i said B4 i feel too old for hope, but the question is how little scale can i get away with? i don't know if i'll even be able to convince myself?
ReplyDeletethe tiniest thing can kill ya yeah or the last wave. does it matter which?
Excessive use of high rising terminal. Statements have rising intonation, causing normal declarative language to appear to the listener as interrogative. Also known as "uptalking" or the "moronic interrogative."
ReplyDeleteSurfs up. Might buy some paints and taste some tasty waves. Fractals brah.
fractals, cages, systems...let me go???
ReplyDelete1. A Million Miles Away - The Plimsouls
2. Johnny, Are You Queer? - Josie Cotton
3. Eyes Of A Stranger - Payolas
4. Angst In My Pants - Sparks
5. Who Can It Be Now? - Men At Work
6. Everywhere At Once - The Plimsouls
7. I La La La Love You - Pat Travers' Black Pearl
8. He Could Be The One - Josie Cotton
9. Love My Way - Psychedelic Furs
10. Jukebox (Don't Put Another Dime) - The Flirts
11. The Fanatic - Felony
12. She Talks In Stereo - Gary Myrick & The Figures
13. Oldest Story In The World - The Plimsouls
14. School Is In - Josie Cotton
15. I Melt With You - Modern English
Shelleys Boyfriend didnt make the soundtrack it seems. Love that song. Oh 2nd soundtrack yeah, even better...
ReplyDelete1. Girls Like Me - Bonnie Hayes With The Wild Combo
2. Eaten By The Monster Of Love - Sparks
3. Mickey - Toni Basil
4. Zero Hour (Original Version) - The Plimsouls
5. He Was Really Sayin' Somethin' - Bananarama
6. In The Name Of Love - Thompson Twins
7. The Earthquake Song - Little Girls
8. Do You Really Want To Hurt Me - Culture Club
9. Cool Places - Sparks & Jane Wiedlin
10. Town Called Malice - The Jam
11. I Eat Cannibals - Total Coelo
12. Time To Win - Gary Myrick & The Figures
13. Voo Doo - Rachel Sweet
14. Marina Men - Valley Girls
15. Pocket Pool - Killer Pussy
16. Shelly's Boyfriend - Bonnie Hayes With The Wild Combo
Punks vs Preps. Yeah baby. After Hours.
ReplyDelete1. Repo Man - Iggy Pop Listen
2. TV Party - Black Flag Listen
3. Institutionalized - Suicidal Tendencies Listen
4. Coup d'Etat - The Circle Jerks Listen
5. Clavo y la Cruz - The Plugz Listen
6. Pablo Picasso - Burning Sensations Listen
7. Let's Have a War - Fear Listen
8. When the Shit Hits the Fan - The Circle Jerks Listen
9. Hombre Secreto (Secret Agent Man) - The Plugz Listen
10. Bad Man - Juicy Bananas Listen
11. Reel Ten - The Plugz Listen
don't listen to people no rush, unless you aim to please them. do you mean scale inside the work or scale of the support?
ReplyDeleteinside.
ReplyDeletesometimes i listen to people and sometimes i dont. but i always do what i gotta do.
its all rock and roll to me
ReplyDeletePlay Misty For Me
ReplyDeleteSometimes you feel like a nut.
ReplyDeleteSometimes you sing the blues.
I guess thats why I watch the skies too
Do you think Beck really believes an OT is something to be? I mean really?
Apophenia is the experience of seeing patterns or connections in random or meaningless data. The term was coined in 1958 by Klaus Conrad, who defined it as the "unmotivated seeing of connections" accompanied by a "specific experience of an abnormal meaningfulness".
ReplyDeletePray don’t talk to me about the weather, Mr Worthing. Whenever people talk to me about the weather I always feel quite certain that they mean something else. And that makes me feel so nervous.
ReplyDeleteThe mobs of Downtown and ‘Burg hipsters were sweating profusely. Beer was flowing and conversations were lively. I could hardly elbow my way through the crowds to see the art. Finally got to meet some very interesting artists whose work I’ve been following for years. Kudos on “Admirer” painter!
ReplyDeletekaw kaw kaw
ReplyDeleteYou've been fooling around in ai with those axial flips again, haven't you, Lane Twitchell?
ReplyDeletehe's not coming back. and they're not either.
ReplyDeletetake swan to know swan
ReplyDeleteLane Twitchel and Ryan McGuiness should have a design off with access to each other's brush libraries and clip art. Whos battleship would sink first?
ReplyDeleteI get Ryan McGuiness mixed up with Ryan McGinley. Now there’s a software standoff.
ReplyDeleteBut there’s just too many Ryans these days. Ryans are like the new Aarons. I say we need a cull. Bring in the Canadians!
Pink is a nice touch.
ReplyDeleteK-os should write another album.
Cap, I have that same problem
with McGinley/McGuiness.
What'll happen when youth
erodes to scratchy leathering MCs?
Just don't make it like your last one. khev.
We need some new old blood.
This is like Cheers.
ReplyDeleteBourbon neat!
You can't possibly know that was me Jpeg.
ReplyDeleteAnd the pink is floyed.
How's that reasearch on optics goin guv?
ReplyDeletebit spotty?
ReplyDeleteblimey.
Optics? I'm just keeping an eye on the medication.
ReplyDeleteCheers!
ReplyDeleteI should do that too.
Guiness. Skip the MC
ReplyDeleteSounds like yall been Up On Bardo Pond too long.
ReplyDeletey;all fakin it right
ReplyDeleteslick editing = fail, riiiiite
ReplyDeleteno comply no absorber
ReplyDeleteall you can eat, fai11.
ReplyDeleteI love how advertising is seamless nowadays. Kinda sorta Orwellian. Shouldn't the drugs be free?
ReplyDeleteShouldn't I be working in the industry?
I got their message, but I didn't reply.
I got the application But I didn't apply.
I can't fail if I don't even try.
How come the pie doesn't have slices?
How many times is the knife gonna dice us?
How can I drink without any ices?
Get me a job that doesn't use 13 spices?
Worked in a factory now I thought that was nicer -
No skills no bother health care no crisis.
Got to apprentice yourself to a disaster
Gotta get wise like the old task master
gotta get a job for a human being
class conscious alternatives denied the dream
Lose all your friends as they ascend the beam
Lose my mind cuz I can;t be seen
Lost all my drive now I'm a pale rider
Failure to thrive is like a disease
No one cares Im just a cool breeze
Break it down.
InBev SA announced its intent to try and purchase Anheuser-Busch on June 11. The Anheuser-Busch board initially voted against the merger, calling the initial $65 per share offer too low.
ReplyDeleteThat prompted much squabbling between the companies over the past few weeks. InBev filed a motion seeking the removal of all 13 Anheuser-Busch board members; Anheuser-Busch filed suit calling the InBev effort an "illegal scheme" that threatened to defraud Anheuser-Busch shareholders. Among other things, the suit noted that InBev failed to disclose it operates a brewery in Cuba.
In other news, sources close to Absolut
ReplyDeletesaid that there is indeed a pill that can
turn an average Joe into Kanye for 4 hours.
That.... "This is is not just a viral marketing
scheme as it may seem, but a product of
many years of intense research".
Those same sources also disclosed that this
is the very pill that they actually used
to create the initial Kanye West.
have you noticed what a punk Ahmadinejad is (?)
ReplyDeleteOh God save history
God save your mad parade
Oh Lord God have mercy
All crimes are paid
No, no..
ReplyDeleteWhat Ahmadinejad meant was: He would
use an Adobe Illustrator scissor weapon
to cut the path of any attacker.
Not actually cut the hands of someone.
Only their bezier trigger finger!
It's all in the translation.
Anyways, no worry no rush.
ReplyDeleteBarack will handle it.
we answer to a higher authority
ReplyDeletefor all you do, this bud's for you
i'm lovin it
A jpg was overun by the Taliban using lossy compression?
ReplyDeleteI;ll have to go to the Giglio and have some more zepolis.
The sausage and pepper samiches are just so so and overpriced at six bucks. But there is beer, but only inside the church.
hmmm...
ReplyDeletefrom Turner to Anheuser-Busch?
Interesting but pointless.
Turner was one of the most amazing painters in art history. He went from being a barbers son to art star of his day by the time he was 24.
He also transformed landscape painting and color use in this genre.
Was a master of drawing perspective, color theory, and painting.
He also painted one of the most politically charged paintings of his day:
Slavers throwing overboard the Dead and Dying — Typhoon coming on ("The Slave Ship") 1840
Slave-ship
sorry the link did not work...
ReplyDeletehttp://en.wikipedia.org/wiki/Image:Slave-ship.jpg
http://en.wikipedia.org/wiki/The_Raft_of_the_Medusa
ReplyDeleteI love the story behind The Raft of the Medusa - glad I wasn't there, though I dare say I haven't done well in positions of authority, or even decision making or planning. I'm just not that person. Sorry. I hope its ok, I'm living in the moment, off the sweat of our soldiers in uniform, for one. That and migrant labor. I;m incompetent and also, I;m not that impressed with Turner's star status. WHat has he done for me lately?
ReplyDeleteWas Turner really all that amazing? I guess you had to be there.
There is more to painting than verisimilitude or mimesis.
But like a good belgian beer, I am open to hearing the brand story.
I like the Raft of Medusa which is a great painting. The Turner, which is a small painting in comparison to Géricault's masterpiece, the Turner packs a lot of punch for a such a small painting. It was hanging in the MFA in Boston but they took it down for some reason.
ReplyDeleteI read that Géricault had severed limbs and heads in his studio to paint as studies.
I heard they were unsuccessful critics and dealers.
ReplyDeleteit would suck to have your sex organs eaten by a shark or tarpin or whatever. OW.
ReplyDeleteI can admire Turner’s contribution to landscape – wild weather! – and the way he ties that right into a process of depiction, but I’m sick of the comparisons with Rothko. It’s a way for Rothko fans to approach Turner, I guess, maybe, and vice versa, but they’re in denial really.
ReplyDeleteThe idea is that Turner’s preliminary studies and stages to work begin from a similar blur of colors – a Rothko-like abstraction. Turner then inflects these broad areas with more detail, gradually builds up a scene, perspective, and inevitably hazy atmosphere. Rothko meanwhile confines himself to modulations within a single color, their relation to others within the picture frame/shape.
Turner builds a picture, Rothko a color swatch. They don’t share the same ideals at all, much less experiences. Turner admits to phase; Rothko to pigment chemistry and various application. I don’t see the comparison as valid because I don’t see what this devotion to color establishes – what parameters it sets for pigment or application. I don’t see the priority for color, anymore than I see the eye’s inclinations detached from the rest of the brain’s.
Turner points to the world and often urgent issues – even if cautiously revealed – but what is the red of Rothko? Even when allowed vagueness to shape or proportion, inconstancy of instrument or pigment? The red of sunsets and rises, roses and rubies, all rolled into one? If all he can take from them is color then he’s leaving too much, rolling too far. And where will that leave him? What comprehensive digest of color instances does he hope to record on a given support with given pigments/application and surrounding colors? There is no isolating color in some absolute purity, no thrill of the chase really. Color has to be of something. Rothko’s reluctant divisions and contrasts are not a more basic or abstract world but a retreat from it.
Turner may have been in love with unpredictable weather, but at least he could see beyond the fog of a busy hand steered by dogma.
Yeah that's pretty stupid, comparing to Rothko. It would be just as easy to do a Malevitch-Rothko comparison.
ReplyDeleteLike people who see faces in everything. " Oooh I think I see a face" - which is a biological hard wired response anyways, I hear.
The historical references are interesting. Were any volcanoes blowing up when Rothko was painting? Lots of dust in the air?
No, I don't think so, not really, no.
SO the quality of the light, you knwo, historicly, and geographicly was probably a bit different. that would be an interesting chart to graph - particulate in the air to palette choices of landscape painters. The Scream for example - influenced by the fiery apocalyptic sunsets of dust laden skies.
Why do people relate to Rothko as a landscape painter? Because abstraction is alienating? Because they just aren't capable of seeing a flat abstraction as a flat abstraction? Because the horrible truth of reality must be masked by the fiction of imagined space and time? I think the proper way to relate to paintings such as Turner and Rothko is as a surface on a plane, and nothing more.
In art school I was taught that those horizontals in Rothko automatically signal landscape - that we're hardwired to read them as horizons (hence horizontal).
ReplyDeleteI think it's more likely that the logic is that you can't imagine/abstract something that doesn't have a basis in reality. You can abstract from landscape but that's all it can ever be - there is no exclusive realm of the 'purely' abstract waiting for you to get sufficiently far from reality. You just drag along some newly reinforced element - like an horizon - as you go.
I think Rothko's choice of color combinations were supposed to neutralise the landscape projection, but again that just points to how flexible colors in sky or land or sea can be - depending on light and weather!
For many years I saw Rothko in books - so the landscape connection wasn;t aparent to me. I saw squares - but like the rabbit/man/moon thing I also saw a rabbit before I saw a man. But I saw "nothing" for a long time before that.
ReplyDeleteBut when I stand in fron tof a rothko, well, then, I am standing on a plane and I see a horizon. Its like a turells installation - you sort of fall into it. I get the impression turner was supposed to be like that for people - though I think fdor many people it becomes dated wall paper - sort of like the stuff in a fifties kitchen - where for the person who pasted it up it was a great change, a step towards the future. Polishing the turd gets harder and harder - though the turd is a fine specimine. Reminds me of the poop smeared walls you get sometimes in bathrooms.
Rothko was painting his empty modern soul. Duh. So you dont have to.
ReplyDeleteWhat about the big waterfall of Eliason? I think it's funny that OE's sending up the East River. (I always think of Kramer swimming in the East River on Seinfeld). Is OE a reformer, oxygenating the pollution? Will that work? Can Obama do something like that?
Splish splash
If you had Rothko and Turner in a room and they had to talk about their work I think one would find that there is nothing in Rothko that is found in a Turner other than they both use oil paint.
ReplyDeleteTurner was a cockney East End Londoner. He was a tough hard scrabble man who was extremely ambitious and he had his own gallery.
Very modern in a lot of ways they way he would sometimes come in to finish a painting on the day of an opening at the Royal Academy is all about spectacle and showmanship.
cap clearly you do not (want to) understand abstraction, think more emotional/gastronomic/musical, but good points about turner no less. there is nothing between the two of them, save for the hardwired facts of perception, but if that's the case the comparative list would stretch down to the toes of it. the best thing about turner was that he wandered around the countryside and said his best asset, or secret, was "hard work". The mythical proletariat always imparts a sense of duty/pain=beauty. Hard work impresses everyone, that shit is hardwired too. So what is it, faces, horizons and hardwork. Secret formula revealed!
ReplyDelete“Park West has enough money to blot out the sun,” she said.
ReplyDeletejeff f
ReplyDeleteI am hoping to pass thru boston sometime
next week. I am hoping the MFA has some
Rajput paintings up. I have read they have
quite a collection of miniatures.
This comment has been removed by the author.
ReplyDeleteSnow Storm: Hannibal and his Army Crossing the Alps, 1812.
ReplyDeleteOil on canvas, 57 ½ x 93 ½ inches.
Tate, London, Bequeathed by the Artist, 1856.
"this mighty work of art is more a demonstration of the dark vision of Romanticism than an allusion to a specific contemporary event. As the promise of liberty represented by the French Revolution faded and the malign effects of the parallel Industrial Revolution became manifest, a bleak note of fatalism crept into the art and writings of the Romantic Generation."
here
Ce qui m'interesse, c'est Ingres
ReplyDeleteCe n'est pas Cezanne et les pommes
We’re seeking the following individuals:
ReplyDelete• PAIN MANAGEMENT SPECIALIST, such as a PHYSICAL THERAPIST or a NURSE
o You have experience with a range of pain sufferers, e.g. sports medicine and eldercare
o You manage others’ pain medications, or help them manage their own
• HOUSEHOLD CAREGIVER who CARES for multiple generations
o You manage pain relievers and other medications for one or more children AND one or more elderly people
• PERSON PREPARED FOR EVERYTHING, INCLUDING PAIN, such as a MOUNTAINEER, LONG-DISTANCE HIKER, or MILITARY PERSONNEL
o You have to be ready for anything but have limited space
o You experience pain-related issues and prepare for those
• A HYPOCHONDRIAC or SOMEONE OBSESSED WITH HEALTH-ORIENTED PREVENTION
o You are aware that you’re a hypochondriac – you think about many aspects of your health constantly and carry at least 5 items with you at all times to prevent or address those concerns
• SOMEONE WHO TAKES PILLS 4 OR MORE TIMES PER DAY, INCLUDING OUTSIDE YOUR HOME
o You take pills (could include vitamins or medications) at 4 or more times during the day, and need to bring them with you wherever you go
o You also frequently take pain medications
jouir sans entraves
ReplyDeleteclassicism
ReplyDeletehistory on a pedestal
lecturing the kids in the park
or history on the scales
outweighing the present
is it his story, or his story, or his?
i love history like it's my grandmother
old grandmother
you tell such sweet stories
that glint in your eye
i know you're still young
Don't be naughty.
ReplyDeleteWhat you think is what you think
ReplyDeletewhat you think is what you think
what you think is what you think
if only you could think
Neen is something that a very few people or objects have in common, but still it is so clear and recognizable that even someone who had never heard this word before can easily pin point.
Neen is a frame of mind, it talks about a new type of feelings that we have through videogames and computers. But even if Neen grown mostly online, is not “net art”. In old Greek, Neen means “exactly now”: this moment and not a second later so now Neen comes mostly in form of peculiar websites such as fataltotheflesh.com but tomorrow it maybe found in certain characteristics of our genetically engineered bodies.
Neen fashion doesn’t really exist yet apart of some clothes that Nicolas Ghesquiere designs for Balenciaga.
GMaj7 CMin3
ReplyDelete....................
I'm just moderating my comments so they don't offend anyone.
ReplyDeleteWouldn't want to abuse the enormous freedom at my disposal here.
If you don't like Tuner or painters from the past what's the point of commenting on them in ways that bring nothing but flippant asides.
ReplyDeleteHe was a great painter if you can't see this then that's your problem.
To say he was playing it up the society of the day is absurd, he was a man of his time and he was ambitious. He never compromised.
He kept going even though he became destitute.
Go to any gallery in New York today and what do you see, artist playing to the market. Give me a break.
Time and tide wait for no man!
ReplyDeleteDestitution sounds so Dickensian.
What bactrian conveyances must we rope together to cross your dry desert of words with its no flippancy zone? Liberate yourself with libation!
Your means of dialogue reeks of forms long since lapsed in desuetude!
I drink your milkshake!
It's like drinking Frangelico, you know it's based on some monk's recipe from 1455 and it's all dressed up as the past but really what you're drinking is a bottle from the 80's. Experiencing history unsentimentally is fraught from the get go. There's no need to bring history into disrepute as much in equal measures as to exalt it. Stuck in the middle with you and other lamentable soliloquies. Turner was a fantastic painter, but when I say that it has to be tempered against the present, or else you sit at the bottom of the time trap while all the little furries are running around above in the forest without you. And believe me, they're running! Just ask Pol Pot.
ReplyDeleteI can't Go On. I'll go on. But is it fit to print? No, but a million monkeys couldn't do better - not in a day nor even two.
ReplyDeleteS'il vous plait:
vivre l'histoire c'est vivre à la recherche du temps perdu!
Why worship the past? Is not the present more fair?
The mole is an animal that digs tunnels under the ground, searching for the sun. Sometimes his journey brings him to the surface. When he sees the sun, he is blinded.
ReplyDeleteIs there anyone who honestly hates Turner and everything he did?
ReplyDeletedamned if we do, damned if we don't
ReplyDeletebetter to bring the dark to the light
open up the volume, paper fades and disappears
you are now online
it's ok
the kids are still having as much fun
the philosophers have as much to ponder
the sufferers do
the painters outlive the death cry
it's ok
everything is absorbed into the next
lost but inherent
(cap you're gonna love this one...)
there's no Turning back
They would live by their wits, obviously.
ReplyDeleteoh yes, classical values
ReplyDeleteCritic’s Notebook
ReplyDeleteHeavy Weather
by Peter Schjeldahl July 28, 2008
Text Size:
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Keywords
Turner, J. M. W.;
Metropolitan Museum of Art;
Retrospectives;
Watercolors;
Hazlitt, William;
Hirst, Damien
The huge J. M. W. Turner retrospective at the Met is no relaxing summer show. Hot and bothersome, it is a barrage of guileful effects, surveying the artist’s lifelong campaign to surprise and impress—when not shocking and awing—British sensibility. Indisputably masterful, Turner invested little watercolors of quotidian subjects with tonal sparkle, and bombastic battle and disaster canvases with lyrical dash. But unlike John Constable, his quieter, more profound peer, Turner conveys only irritable ambition. We must never forget to admire him. This tires. Turner’s style is synthetic, leaning on picturesque convention (never more so than when most nearly abstract) while brazening arbitrary audacities. He overlays splooshes of paint with passages of tidy drawing like bathtub decals. He did not anticipate Impressionism, which would submerge drawing in painting. William Hazlitt cited a view of his work as “pictures of nothing, and very like.” Actually, it is a congeries of misty, fiery, surfy, sunset stunts—an art less to contemplate than to talk about, calculated to jazz the talkiest of nations. Turner was the Damien Hirst of his day. ♦
ART: J. M. W. TURNER, “PEACE-BURIAL AT SEA” (1842), METROPOLITAN MUSEUM OF ART
Cockamamie!
ReplyDeleteI'm sorry im confused. Is audacity supposed to be good or bad? The audacity of audacity.
ReplyDeleteBTW--I like Damian Hirst. You create your value, I'll create mine.
ReplyDeleteaudacious!
ReplyDeleteThe devil is never short of advocates.
ReplyDeleteAlthough I sort of forget to read Schjeldahl these days. He's smart but often he's just not paying attention. When he says stuff like Turner is just too tricky, I can't help thinking he just doesn't know that much about technique.
I mean Turner is a great technician, granted, but no more than Van Eyck, Poussin, Titian, Velasquez etc. You've got to have the chops, no question. But that doesn't give you how and where they're used.
Turner didn't invent the storm landscape, the storm seascape (see 17th century Dutch painting) but he did invent a storm that goes all the way to and from the artist's brush, even at its brushiest.
To say this is a trick is the word of a hick.
This comment has been removed by the author.
ReplyDeleteWho built the pyramids
ReplyDeleteI did, I did.
Turner sure was handsome in that self portrait, but, youknow
ReplyDeletefriend of the devil is a friend of mine.
ReplyDeleteThere's no possible way you can get what you want.
ReplyDeleteDamien Hirst
16:47 Ned Beatty Excerpt from Network
ReplyDeleteanyway my devil is only the trickster...the good devil. The trickster is here to confound the real devil...
ReplyDeleteThe DOL’s Apparel Industry & Fair Wages Task Force found factory workers worked 12-hour days, often six or seven days a week. Employees were paid on a piece-rate basis and were instructed to fill out two time cards — one for Monday through Wednesday and a second card for theremainder of the week — ensuring that no more than 40 hours of work would show on any card. According to the timecards and the factory's production, workers were completing an entire item of clothing in less than a minute. Investigators even found a question-and-answer sheet meant to coach workers on how to respond to labor investigators without raising suspicions.
Cliff!
ReplyDeleteI was shocked to read that the U.S. Army is shooting live pigs with M16A2 and M4 rifles at the U.S. Army Garrison at Schofield Barracks in Hawaii. There is no justification for this cruelty. The majority of medical schools in North America no longer use animals for medical training, and more effective humane alternatives are readily available. Please adopt PETA’s recommendations, and take immediate action to end the needless suffering of animals for the U.S. Army’s trauma-management training exercises.
ReplyDelete"Turner is positioned by Godard in an astute shuffling of the cards: Peace—Burial at Sea, 1842, coincides with the recitation of Baudelaire’s poem “Le Voyage” (1859). The dark, terminal stasis of the ship, set off against beams of illumination, parallels Baudelaire’s evocation of unprecedented voyages that can be undertaken without movement in space. Falling out of sleep, I hit the floor Put on some rock tee and I'm out with the door From Bowery to Broome to Greene, I'm a walking lizard Last night's dream was a talking baby lizard All comin' from hu-man imagination Day dreaming days in a daydream nation Smashed-up against a car at three A.M. Kids just up for basketball, beat me in my head There's bum trash in my hall and my place is ripped I've totaled another amp, I'm calling in sick It's an anthem in a vacuum on a hyperstation Day dreaming days in a daydream nation
ReplyDeleteSaw turner's slave ship at the MFA today.
ReplyDeleteThose fishies lower left are weird indeed.
They were the same species of fishies
in the last room of the ny turner show
(the unfinished pieces). They look like
a species Redon might cook up in his mind.
Back to the boston mfa -- didn't care
for the el greco / velazquez show. To
end with still life painting seemed odd.
But it did end with velazquez's old woman
cooking eggs. Should've been on it's own
free standing wall.
in vino, vanitas!
ReplyDeletemy greatest battle is fighting my own nostalgia. what would happen if I were to submit? maybe tarkovsky had the answer. in any case, three things travel not back, the spoken word, the sped arrow, and time passed. is it sad? probably not. take it easy Turner.
ReplyDeleteto fight against nostalgia is to submit
ReplyDeleteto yet another nostalgic idea that there
exists such a thing as an avant garde.
We don't fight on front lines anymore.
Unless we're in Colonial Williamsburg.
I suppose looking back can be a trap, especially when there’s not much to look forward to. Faced with steady decline and death, for instance, it seems only natural to reflect on the highlights, whether it’s all been worthwhile. Or does the future look so bleak only because the past looks so good? But sometimes things really were better ‘back then’. Sometimes resources are actually finite and dwindling. You can resist nostalgia but that won’t necessarily make the future any brighter, you can deny the future but that won’t necessarily make the past any less rosy.
ReplyDeleteThe sheer weight of the past after a while ought to make judgments more refined, more acute, many perspectives on a given event, or many events from a given perspective. How to tell, which? And is it the same for cultures and nations, movements and groups, as persons? Do 'they' sense the end this way, cling to the past?
This comment has been removed by the author.
ReplyDeleteI always wondered what the big deal was with Turner. I though it had something to do with a requirement to have another British artist to admire. But after watching Schama talk about him I was convinced that he did a lot for painting. It would be interesting to see how his political environment affected/inspired his work. Personally I believe this nature as emotional force is absent in today's art world. I wonder why that is. Can we blame our workaholic ways or the iPhone?
ReplyDeleteBut who exactly is sensing the end? Is a five year old sensing the end? I don't think so. It's very relative to sense ends and beginnings, tied deeply to your own position in your end or beginning of your life. Doomsaying is as old as the emotional mind, and yet each and every time it yields no result. It might seem like it's ending but it fails to. The endgame is where most professional chess players resign early, after a serious blunder or setback, whereas novice players will refuse to accept the end. In this way the trajectory always ends up in the hands of the apprentice, under direct influence or even denial of the master. And while there is no avant garde, that is only a term. There is always change, and there are always the harbingers of that change. Yes there is absence of the emotional gravitas that appears present in the works of Turner for example, in painting today. But I resist aligning myself to either the past or the future of the medium, as they are abstract linear notions, when there is only ever truly a present, a comlex present that contains all three aspects of time at any given moment in relative factions to a very personal and subjective worldview. Nature repeats itself blindly but at the same time is mutating the design so so slightly. To understand that is a kind of quantum parallel. This presence is always influenced greatly by it's forebears, but at the same time it wants to break like Oedipus, only to end up realizing that breaking was just a passage or a veil that when lifted reveals the tragedy of knowing the truth. The truth is when you walk forwards, you are actually walking backwards. Spiritual negotiation begins at that point. The Stoics had some nice practical ways of tackling it. But in tragedy there is a sublime beauty and pathos, something which most people are unwilling to confront today, in the pursuit of a 'good life'. A good life that is light and easy, reduced salt, fat, sugar. Focus on health, mental asides. Essentially culture is undergoing a flattening effect, where the cruel laws of the jungle are being quashed by a bevy of equal socialistic moral imperatives, disguising the nature of the beast which hasn't changed much at all. I hate to generalize, but it does appear that on the whole developed society is more or less happier, more complacent, flatter, even numb, than ever previously before, given that there have been no real major collective uprisings for some time. Everyone being too tired for a revoltion, or too wise, or too entertained. The flatness of acceptance leads to a lighter form of art production in some ways, but that's not bad. It's not good either. To really make good history painting, one has to suffer a lot. I'm sure that's the case, a few still do. We don't see their work because it wouldn't sell, art has become an industry, and there are more artists than ever before. It's harder to suffer these days when it seems everybody has some strange hindsight of where it will lead them and a contradictory viewpoint unwitting of itself, so focused on self-achievement rather than collective achievement. If you look at most of the work on the PNYC page at present, the majority can be read as expressing some form of lament, except Nozkowski, and he is painting currently, and his work is fantastic, the sentiment in it being very difficult to overtly lean to any particular point in the emotional gamut. It's my favourite work on the page. Turner is Turner, impossible to forget, and largely operating presently as the Prize, the accolade of achievement. Rightly so. But, there's just so much more going on. He has his place now in the annals of history, everybody knows. The technique is stunning, I have stood before one for a long time. How things have changed. We needed Turner, but if he were here now his ipone would be ringing and his dealer would be talking. He would paint differently. But speculation is for brokers. I'm happy to accept the past but always wary of letting it draw me in and manipulate the scales. Weight and measure is a fools comparative when it comes to the ongoing presence of art, as much as it is all we have got. I like to resist pure definition. All the notes are not the chord, and other german ideals.
ReplyDeleteBefore the idea of painting, there was still the act of painting. It is an essential process and I check up on how it is faring, so do you. But really, the death cry is just marketing. Maybe I said it before but painting does not die unless humanity does. It's intrinsic to the Nth degree. To me it's like saying, The Death Of Language, in the future we will not Communicate! Bshit.
ReplyDeleteThis comment has been removed by the author.
ReplyDeleteAnd so ended the tale of the post
ReplyDeleteof Joseph Mallord William Turner.
Actually I think the closest equivalent to Turner these days is Kiefer.
ReplyDeleteAnd yeah, people need pictures, and pictures need painting for reasons too complex to go into here.
All the same, nothing lasts for ever. People die, others are born, never quite the same. Empires decline and fall. Cultures and nations lapse or alter beyond recognition. Entropy, decay, corruption - sooner or later we sense them close to home. We grow up is all it takes. There is only so much oil in the earth… trees… drinking water... The more we exploit the more uncertain the atmosphere becomes. The planet can support only so many humans at any one time. Competition for favour is rigged and the greater the rigging and re-rigging, the more rickety the whole picture, never mind painting, becomes.
It’s interesting to see the current PNYC page as a lament – in Nozkowski’s case – denial. It grinds on. The past is to be lived up to or down, but there is no doing without it.
Nozkowski's work is not in denial Cap. It's just that not every painting need be about the trauma and scare-mongering pedalled onto us by the present media machine, or in the past the revered scriptures. There is still beauty. There will have to be a resource shift, politically drenched and slow, shortages appear but it's not the first time, and even so it will still take an extremely long time to run it's course. I'm betting that it's very manageable. These overarching pains are not exclusively the subject of the reflection art offers. It's also not where the most powerful statements in art resonate, though it can be. All encompassing statements of the human condition are important, but no more than small and sundry ones, because in the end they are all statements of the human condition whether or not they are overtly implying this. I like it better when it doesn't try so hard to publish that ideal. In the end we need the spectrum of both forms, and more. I like to believe that we have a will to survive, and will, at the mercy of universe. A key part of getting to that point is being able to see the flickering pilot that stays on inside many hearts, artists are often good for society in that way and play a key part in reminding us of that with their work, well, at least some do. Not all should. Greatness appears greater when ossified, the mystery is so enchanting.
ReplyDeleteI like the reference to Keifer, personally I prefer the less fantastic nature of Keifer to Turner. Both vital painters. Keifer's recent cosmos work is absolutely incredible. Though he even says himself he has no idea why he's here and so tends to latch onto things that seem real, like flowers. I understand but I also like the brave who can transcend recognizable reality, are unafraid to not represent anything directly, speaking in a more primal feature set. One way we were able to fabricate most of the world around us today was by melting stuff. In the alchemy of this process one thing is for a time not what it was until it becomes something else. But there is much in the transition.
What's being talked about here?
ReplyDeleteChange We Can Believe In?
Culture is a broad term.
I like chess, especially endgames.
I like the iphone. especially because it's a
game changer. I like systems-on-chips
and fpga's and parallelism in algorithmic
synthesis because they change the culture
who play games. They also change human life.
I like painting because you don't need electricity
or war to turn anything on to play.
But as beautiful and vital as painting can be,
I think it's important to define which culture
find's it vital and what role 'change' plays
in the culture, and what role that culture
plays in the enclosing culture. Otherwise,
the words 'culture' and 'vitality' and 'change'
and 'cosmos' seem empty and flat to me.
There was a time in our history when painters or paintings
had an actual role to play in the trajectory of ideological
spiritual, technological and cultural hegemonies/soverenties.
That time has.. uhhem.... passed.
Ours is a glass bead game.
And Change is just a canon:
A rule for a game that keeps
things exciting.
Indeed, in chess, it'd be no fun
if the king could move more than
one square at a time. He's a formalist
after all, even at the time of impending
death.
After which the game begins again.
peg you might be projecting a value onto history that wasn't there until we decided it was, recently.
ReplyDeleteends and beginnings are dissolved in that fluid, the fluid that carries all of these binary or factioned templates we apply to reality. In essence there are no divisions until language creates them.
One way would be to see games ending and beginning, another to sense a total game but only ever be able to see a part of it, and another to see no game at all. The role of painting alters from the various vantage points. It depends on who and when it is being read.
All the global anxiety around and media panic and even apocalyptic musical views like Becks new album - it all points to the beginning of the 21st century. It's so similar to the early 1900's that it's kinda funny. And we even have remodernism, which has something valuable within it. I mean really, in the universe, on earth, it is not the year 2008, especially not in china - but by living by these ;cultural; applications, we give ourselves a momentum and a rhythm to align the pulse to. I just smile coz I think it's funny. I see right through it, but I don't feel cold or left out by the transparency. Nature brought us into the void, and how we love to fill it! Sittin' round the campfire with qwerty.
ReplyDeletei'm just sayin
ReplyDeletethere are front lines
and there are front lines.
qwerty technique in some
ReplyDeleteapplications is probably
as much of a glaze as
stand oil and damar. Hopefully
it won't yellow too much.
However Querty activity
pretty active shit.
I agree with you about this
remodernism as you call it.
Bauhaus fell out of favor...
Perhaps linen and dirt has
a chance.
... but webthing, tonight my association
ReplyDeleteof painting with history (disclaimer: the
association prob won't be there tomorrow)
was in thinking of the Hapsburgs or the
Hague or Henry's court placed value on
painting as representations or even
ambassadors of power. Historical in these
cases, not subjective musings of the role
of painting in hegemony. I don't think I need to
touch on painting's role as spiritual instruments...
All cultural production is tied to it's
relationship time and the world.
As such, painting is a mere curio.
I think it's architecture's time to sing.
I think you need to look a little closer at history JPEG.
ReplyDeleteOh no i didn't call it that, Billy did back in 2000. But only recently has it started to get a grip, tied up in stuff like New Sincerity movements n all that jazz. I just can't understand why people keep saying, it's alive, it's dead, it's back, it's gone - it makes me laugh like, fuck, Wanted: Dead or Alive. Waves are produced by the ocean but still the ocean remains, sometimes without the waves, we love to focus on the waves!
ReplyDeleteI often get the sense we're all sitting around a boiling cauldron, peering in, and shouting out the names of the bubbles as they surface and resurface - but unknowing of this, most of the time we're acting like we're walking across a tightrope, or down the plank... as if there is some kind of finality just up ahead. Sorry to say, nope.
ReplyDeleteTo break it down, scientific time permits me to say that there are 365 days in a year, but there is no place to decide the start or the end of that cycle, other than in various cultural templates. we are often fooled by our mortality.
ReplyDeletepeg if you won't think it tomorrow there's no need to now? painting isn't a curio, unless you want it to be. to me it's close to the origin of all communication, it's not a substance, it's not pigment, it's not paint, it's meaning has gone way beyond that into an act with a surface. i would laugh if many thousands of years were to suddenly vanish. architecture can be monumental and even speak broadly about its times now and then, but still it has one vital thing in it's way that blocks it from ever coming close the resonance of painting - function.
ReplyDelete'All cultural production is tied to it's
ReplyDeleterelationship time and the world.'
So JPEG - are you saying that 'time' (some version of) and 'the world' (some version of) are not cultural productions? If they are not, then why not art?
For that matter, what is more 'cultural' than the construct of 'culture'?
Magister Ludi man, that shit is so art school, all that remodernism and shit, man that shit, that, fuck man, that's just not really dealing with my problems man, that's like totally abstract and shit. Like for academic wankers if you ask me.
ReplyDeleteI'm all for like, getting to the root of the problem, and seeing the bigger picture - that's pretty good shit, being all zen or whatever, dropping into the blue room, or being above it all, like hitchcock in the birds, just a force of nature, but brah, I'm like stoked to just sort of chill in the hood and not deal with all those uptight motherfuckers in their bubblicious art world fuck that noise you know?
And then I get the sense that so would they, too, like to get the fuck out. And I'm totally down with that - but it takes consensus - you can change.
But then there are people who say no JWM Turner is an absolute watershed benchmarket moment, you ignore him at your peril, the whole house comes down, or at least you miss out on something beautifull, like a marketing anle or claim to authority, and I'm like, ok, yeah, but you miss out on the sun if you go inside, you miss out on QUERTY if you leave the hive but do you miss your mind if you lose your life?
No, and that's why we will contiunue to corrupt the young - life is too precious not too.
Like when the Dadaists had no profit model - or governemnt funding - would they have done better with government funding? It's debatable, but I know their QWERTY wasn't better than say, Queequegs's qwerty. Or mine, actually, now that I think of it.
The dada people had trust funds and patrons - so I wonder also if they wouldn't have made better work if they had been living in the gutter. Probably not. Most of the most revered poets died young anyways. Its like whats this myth of the artist anyways?
oh yeah we all die in the end, right? I think thats clue numero uno I don;t have to care too much what the moderators of the pool hall have to say about deep pockets and public figures - like that means anything on the microeconomic scale most peopel live on anyways. So what if you aren;t in the history books? There are plenty of syphalytic aparatchiks who are. Thats good company!
ReplyDelete"are you saying that 'time' (some version of) and 'the world' (some version of) are not cultural productions? If they are not, then why not art"
ReplyDeletehmmm... Cap I never said that time and the world
are not cultural productions. And as much as I
love paintng, I don't see it as an essential part of
human activity. I do see painting as being essential
to painting culture -- which is very specific.
When you piss on the urinal wall and suddenly decide to start coloring in a patch of the aluminum or make a shape - that's a part of painting. When you talk on the phone and doodle some crazy thing and then hang up and see it sitting there still looking back at you - painting. Or painting is like when you elevate those things to the strecther. It's like jarring pickles. Some people say drawing but whatever. Drawing the start of painting. Pretty much any visual still, built through hand movement on a surface - yep. This isn't painting on the wall in the gallery, but it's where it begins in life that is most of what painting is. Massive human process of reflection action, that thing on the wall is just the record of the act. It's essential and everywhere, though only painting culture keeps the act up to keep walling it/buying/collecting/copying/ripping/gesticulating/preserving/analyzing/measuring/laughing/crying on it.
ReplyDeletei know remodernism is too conceited, but like it has anti-academic sentiments in it anywayz.
The Remodernism Manifesto
This Website is Best Viewed Using Firefox
Remodernism
'towards a new spirituality in art'
A Stuckist Document: The first Remodernist art group (est. 1999)
Through the course of the 20th century Modernism has progressively lost its way, until finally toppling into the pit of Postmodern balderdash. At this appropriate time, The Stuckists, the first Remodernist Art Group, announce the birth of Remodernism.
1. Remodernism takes the original principles of Modernism and reapplies them, highlighting vision as opposed to formalism.
2. Remodernism is inclusive rather than exclusive and welcomes artists who endeavour to know themselves and find themselves through art processes that strive to connect and include, rather than alienate and exclude. Remodernism upholds the spiritual vision of the founding fathers of Modernism and respects their bravery and integrity in facing and depicting the travails of the human soul through a new art that was no longer subservient to a religious or political dogma and which sought to give voice to the gamut of the human psyche.
3. Remodernism discards and replaces Post-Modernism because of its failure to answer or address any important issues of being a human being.
4. Remodernism embodies spiritual depth and meaning and brings to an end an age of scientific materialism, nihilism and spiritual bankruptcy.
5. We don't need more dull, boring, brainless destruction of convention, what we need is not new, but perennial. We need an art that integrates body and soul and recognises enduring and underlying principles which have sustained wisdom and insight throughout humanity's history. This is the proper function of tradition.
6. Modernism has never fulfilled its potential. It is futile to be 'post' something which has not even 'been' properly something in the first place. Remodernism is the rebirth of spiritual art.
7. Spirituality is the journey of the soul on earth. Its first principle is a declaration of intent to face the truth. Truth is what it is, regardless of what we want it to be. Being a spiritual artist means addressing unflinchingly our projections, good and bad, the attractive and the grotesque, our strengths as well as our delusions, in order to know ourselves and thereby our true relationship with others and our connection to the divine.
8. Spiritual art is not about fairyland. It is about taking hold of the rough texture of life. It is about addressing the shadow and making friends with wild dogs. Spirituality is the awareness that everything in life is for a higher purpose.
9. Spiritual art is not religion. Spirituality is humanity's quest to understand itself and finds its symbology through the clarity and integrity of its artists.
10. The making of true art is man's desire to communicate with himself, his fellows and his God. Art that fails to address these issues is not art.
11. It should be noted that technique is dictated by, and only necessary to the extent to which it is commensurate with, the vision of the artist.
12. The Remodernist's job is to bring God back into art but not as God was before. Remodernism is not a religion, but we uphold that it is essential to regain enthusiasm (from the Greek, en theos to be possessed by God).
13. A true art is the visible manifestation, evidence and facilitator of the soul's journey. Spiritual art does not mean the painting of Madonnas or Buddhas. Spiritual art is the painting of things that touch the soul of the artist. Spiritual art does not often look very spiritual, it looks like everything else because spirituality includes everything.
14. Why do we need a new spirituality in art? Because connecting in a meaningful way is what makes people happy. Being understood and understanding each other makes life enjoyable and worth living.
Summary
It is quite clear to anyone of an uncluttered mental disposition that what is now put forward, quite seriously, as art by the ruling elite, is proof that a seemingly rational development of a body of ideas has gone seriously awry. The principles on which Modernism was based are sound, but the conclusions that have now been reached from it are preposterous.
We address this lack of meaning, so that a coherent art can be achieved and this imbalance redressed.
Let there be no doubt, there will be a spiritual renaissance in art because there is nowhere else for art to go. Stuckism's mandate is to initiate that spiritual renaissance now.
Billy Childish
Charles Thomson
1.3.2000
qwerd up yo, your qwerty is rockin
ReplyDeleteyou can concern yourself with history and be endlessly playing the endgame loop-like cap with whos more like turned keifer or rothko. zzz. or you can go with the self-help like becks scientology. (my darling friend was a crank head but she finally got off the stuff by going to NA, and they want you to aplolgize to people you wronged, but i said bayby dont apologize to me. did you think i didnt know you were lying?)but the one thing that was said that i like is "an act with a surface". isn't that what jeff koons was talking about?
ReplyDeleteanyway, its all about what you share. like with my friend. we shared bigtime, and it lasts forever. the love i mean. if you can get that act onto a surface you're all the way home.
Im gonna go see the xfiles movie. this one up and coming looks good too:
ReplyDeleteRicky plays Mark Billison - a very unsuccessful screenwriter in his forties with average looks, moderate intelligence and little hope for the future. He's basically a nice chap, but a bit of a loser.
In a world without fiction, film entertainment consists of unembellished readings of historical facts, and since Mark is saddled with writing about a particulary uneventful period of history he finds himself in the doldrums career-wise.
However, Mark is about to make a momentous discovery - the intentionally false statement.
you're not with http? yeah you know me
ReplyDeleteP Diddy was with his family at central park on sunday. I'm buying a mac pro
ReplyDeleteif you need any post production just email me, I work for lo/no cuz I'm a shitty businessperson and my quixotic ideals let me keep my head in the ground. And I'm almost good enough.
My chariot awaits right?
It's momentary. It's inevitable. I remember great paintings on your mind.
ReplyDeleteSCENE III. LEONATO'S orchard.
Enter BENEDICK
BENEDICK
Boy!
Enter Boy
Boy
Signior?
BENEDICK
In my chamber-window lies a book: bring it hither
to me in the orchard.
Boy
I am here already, sir.
BENEDICK
I know that; but I would have thee hence, and here again.
Exit Boy
nothing is superb. something said webthing.
ReplyDeletein your mind.
stop expecting fanfare and you'll make some good work generation X Y chromosomez.
ReplyDeleteBirnbaum and Ginger-Ass
ReplyDeleteBabes in Toyland
hired guns man, or seven samurai. THey got your back to the future right here, like a Cuisinart attached to a Delorean. The Stuckists need to let it go, like Zen adn shit, breathe in, breathe in the air. Warm yourself beside the fire and listen to the giant tolling bell. Like if you think of the sta puft marshmallow man, that's what will come to destroy you - so true, and in the same way, if you think about sharks they will come to your funeral - it is your funeral, even if you can't see it because it takes your entire life to see it, it's so big. You can gold plate it, but that wont make it better - like you can't even ski in Iran anymore because they just don't care about art theory on the main. But is it art? Are you in or out? I personally think I'm in, but that's hubris, and obviously I know less about art history than your average believer, but I don't believe so much as perceive, and I think that's better than chewing on lies your whole life or trivia - which is like reading about roller coasters in order to better appreciate gravity. You can't really get there - its more like reading a travelogue or theory - if you never apply it what are you? A professor or something - but not like hogworts where you are a practicing practitioner, besides that stuff is a rehash of older better stories without the anachronisms - stuff needs no update so I guess I'm sort of a conservative but not a reactionary, nor a stuckist though I do sympathize with the struggle. Why would you join a group anyways? Strength in numbers? Seems like the whole let a thousand flowers bloom - that's a lot of dandelions - I've evolved shorter if you know what I mean. I want to believe the truth is out there right? Fuck that variable, its in here, like Chairman Mao would say - and then tell farmers to be politicians as if they were more pure - that's what class issues will do to you. Mao never was a real boy.
ReplyDeleteDont stop, thinking about tomorrow,
ReplyDeleteor tennis
ReplyDelete
ReplyDeletepay me in WOW.
YGirlfriend in a coma, I know
ReplyDeleteI know - its serious
My, my, my, my, my, my baby, goodbye. This has often signalled [sic] a backward crouch preceding a forward leap. I think of Picasso’s world-weary blue period, T. S. Eliot’s “Gerontion” and “Prufrock,” and the budding Abstract Expressionists’ wallows in Jungian mythology. The syndrome announces the exhaustion of a received cultural situation, whose traditions are slack and whose future is opaque. It typically entails nostalgia for real or fancied past ages that dealt—successfully, in retrospect—with similar crises.
БРАТЬЯ!
ReplyDeleteВ кого стрельяеш?!
This comment has been removed by the author.
ReplyDelete“When, for example, I said that I did not like a certain dog, there was always some overambitious person ready to shoot that dog,” he said. “And that bothered me.”
ReplyDeleteI was challenged on two posts I had made here regarding a lecture on color by Graydon Parrish that I attended. In an excess of enthusiasm, I had shared my lecture notes on this blog, even though attendees were asked to be discreet. I was asked in no uncertain terms to take the posts down, which I did immediately because it was Graydon’s stuff and he did not want it out there. I received considerable criticism on the Cennini Forum for having posted in the first place, which I accepted because I was wrong to have done so without asking permission first. I would describe the experience as an excellent character-building exercise, but no fun at all.
ReplyDeleteSomeone take these dreams away,
ReplyDeleteThat point me to another day,
A duel of personalities,
That stretch all true realities.
That keep calling me,
They keep calling me,
Keep on calling me,
They keep calling me.
Where figures from the past stand tall,
And mocking voices ring the halls.
Imperialistic house of prayer,
Conquistadors who took their share.
That keep calling me,
They keep calling me,
Keep on calling me,
They keep calling me.
Calling me, calling me, calling me, calling me.
They keep calling me,
Keep on calling me,
They keep calling me,
They keep calling me.
Totally off-topic question but need artistic advice and the saatchi orgy site is too retarded for me. A friend of my cousin's wants to buy 3 of my oil paintings. I've never been represented by a gallery or anything like that. I had one student group show years ago at SVA and graduated with Honors. Blah Blah. So how much should I charge for averaged-labored paintings all 12 inches square. One of them took weeks to create. The buyer is a Columbia student but her folks have ok money. She's a great network friend and has even offered to manage/promote my career. I'm a painter not a business man but I don't want to give them away either. What would you do?
ReplyDeleteThanks
You could approach this from many angles, all of them sound.
ReplyDeleteYour friend might be with you for the rest of your career - or you might lose touch - however your work will be with her for as long as she values the work.
You should charge enough that if she falls out of love with you or your work or both, that she will want to sell it or at least find a home for it (as it is apparent you value the work). This is what is known as a "divorce."
Now much is enough to ensure the work will not be discarded like a wet diaper?
Olav Velthius says art is priced with arbitrary means ("scripts" in the parlance of sociology). He's right. Many people go by size, and as you intimated, reputation, schooling and other indicators of seriousness.
For a small painting we could put the price in a gallery in New York at somewhere between 500 and 2,500 - the high end assuming you are notorious for something (famous for being famous, a musician, a criminal, some kind of prodigy).
That said, you want to keep your prices competitive and gradually grow them. 2,500 assumes you are poised for a breakthrough to star status or already there.
If your friend is serious about your work, she will get other customers, you will throw parties, it will become a social phenomena and you will end up selling more work as word of mouth.
In theory. Are you a charismatic "party motivator" is your friend?
We are talking about making rain - and there are many variables.
How "strong" is the work?
You could go for as much as you think your friend will pay - you need it! Do not negotiate - this will make the price seem arbitrary. Come prepared with arguments - you need the work for a show, you really like the work in question - it helps you in the studio, its one of a kind...you need paint supplies, your mother is sick...etcetera...
Or you could offer her one for free, and then apologetically say you are asking 1000 for the one that took you a while (its like what $10/hr after overhead, right?)
And 500 for the other one.
These are reasonable prices after all.
Above all, do not "lend" the work - and I argue against payments in installments less than half the ticket price -installments tend to dry up or get misplaced in the hurly-burly of vacations in St. Tropez, day trading losses, the vicissitudes of taste and mood.
Good luck!
sell sell sell.
ReplyDeleteWhy' were off topic,
does anyone know how
well clove oil works to
combat the fast drying time
of paint layers in ny summers?
In the past I got slimed by it
and swore it off as bad magic.