I did a bit of online research and near as I can tell the show up on 23 whassisname - has something to do with Peter Jackson's "Meet the Feebles".
Like dont trust anyone over 30 - its pathetic and stupid and probably rooted in a Harry Potteresque allegory where off campus has soul suckers and drug addicted professors (see art school confidential) and on campus its rules rules rules, but everyone turns out to be a wherewolf in the end and harry potter is Jesus.
Amen.
As an aside - does anyone have a link to Bryce Mardens early figurative work? Im doing my thesis on abstraction vs figuration visa vis the "ah-ha" or "eureka" moment - ill have a better term for the epiphany, but you know, the sun allways shines on tv.
For those of you who dont click links or go to shows in NYC, this painting is not really a representative example, although the tone is the same.
You should see the portrait I made out of beans. You were supposed to sort the beans by tone or tint or whatever and I probably had some beer and the prof wasnt pleased but I felt like finsihing it would have been just an academic exercise because I allready UNDERSTOOD the problem.
On the other hand I spent a great deal of time trying to write calligraphy left handed, which kind of sucks.
In the old bauhaus you would spend a whole year drawing parallel lines and stuff - no shit.
SO Bjarne rings as sort of like a diletante, like most chelsea artists who do this stuff. Schnabel did it in what 1981?
Why is (german) expressionism being pumped so hard?
oh and my bean portrait is not in the show. Im just kind of excited. I was reading Beyond the brillo box - Danto - and hes got this dealio about Jennifer Bartlett bucking the system, even though she went to yale and she daringly used color when color was a no no. I find this incredible.
Because right now theres a big focus on the "when in doubt, dot" thing. You know what Im talking about.
But I dont have time to connect the dots because I have to install some drivers. Awesome!!!!!!!!!!!!
ok but heres another tape loop - what about when my geometric abstractionist profs steered me towards my more formal ideas, where they called my more lighthearted stuff "clever".
I thought that meant they were discouraging me from the latter, where they were envcouraging the more orthodox or "mature" work.
Im wonder what the value of "mature" work is vs a one liner type work, where sometimes a more orthodox work comes across as a one line by dint of being a singularity or zip.
And also, where does surrealism fit into all this, because I see a lot of it around, and no one is condeming surrealism or "magical realism" as retrograde?
Im lookinf for leadership here, because it looks like a route, so in the absence of a vector, I'll go with, KOBRA KAI, MOTHERFUCKERS!!!!
If theres a difffrence I think its more to do with the gatekeepers than with artists. The type and kind of shows in the gllaeries that engage in "economies of scale" are of course more conservative....where the galleries are market driven rather than idea driven. Inasmuch as ideas are more or less marketable depending on the palleteability - like you can stack a lot of soup cans on top of eachother, but other empty refferents like twig and hotglue fortresses are harder to move with a forklift.
I learned how to drive a forklift once. I also broke palettes down - so Im more into the nuts and bolts of the opperation vrather than the macro-economics.
I think if american artists would stop the petty infighting and start painting swastikas en-masse, we'd have something. Its not a huge sacrifice to devote a month or two of time and heart to a pagan symbol - at least not for an emerging or inconsequential artist.
Also, when I was in Afghanistan, I had the pleasure of helping to destroy the Buddhas at Bamiyan - fucking awesome.
WHen they burned the library at bagdhad - I heard some people cried.
Well boofucking hoo. Everthing has to end sometime.
Of course what ones culture financially promotes relates to generalizations about that culture. Gatekeepers and artists...cops and criminals...the nature of the cops in this neck of the woods and the nature of the criminal in this neck of the woods...sentence one, sentence two.
When I get to the bottom I go back to the top of the slide Where I stop and turn and I go for a ride Till I get to the bottom and I see you again Yeah, yeah, yeah
[edit] Nihilism in Philosophy Certainty series Nihilism Agnosticism Uncertainty Probability Estimation Belief Justified true belief Certainty Determinism
This box: view • talk • edit Though the term nihilism was first popularized by Ivan Turgenev (see below), it was first introduced into philosophical discourse by Friedrich Heinrich Jacobi (1743–1819), who used the term to characterize rationalism, and in particular Immanuel Kant's "critical" philosophy in order to carry out a reductio ad absurdum according to which all rationalism (philosophy as criticism) reduces to nihilism, and thus it should be avoided and replaced with a return to some type of faith and revelation. (See also fideism.)
Friedrich Nietzsche's later work displays a preoccupation with nihilism. Nietzsche characterized nihilism as emptying the world and especially human existence of meaning, purpose, comprehensible truth, or essential value. He hints that nihilism can become a false belief, when it leads individuals to discard any hope of meaning in the world and thus to invent some compensatory alternate measure of significance.
Though some deride it as nihilistic, postmodernism can be contrasted with the above formulation of nihilism in that the most common type of nihilism tends toward defeatism or fatalism, while postmodern philosophers tend to find strength and reason for celebration in the varied and unique human relationships it explores.[citation needed] Some also compare Nihilism to skepticism, claiming both reject claims to knowledge and truth, however skeptics are often offended by this comparison, pointing out they don't in fact reject claims to truth outright; they only reject these claims if there is insufficient empirical evidence to support them. The other side of this is skepticism does not necessarily come to any conclusions about the reality of moral concepts nor does it deal so intimately with questions about the meaning of an existence without knowable truth.[
speaking of Pruitt below... I feel Pruitt did some good with the politically incorestness stuff.
but i feel that Pruitts work is self indulgent. if not moreso than the Ab Ex of the past...As if Ab Ex needs to be exposed for what everyone already knows it represented..Mocking something thats been acknowleged time and time again.?...With complete hindsight anyone can pick apart the past. This is where the pretense is now.. not in the action paintings of over 50 years ago.. work like that reads like this... Look, I went to art school Mommy and damn I'm such a smart laddy...
only problem with that assessment is that according to Gbrown's biography.. ROB PRUITT Born 1964, Washington, D.C. Lives and works in New York ..he didnt go to art school
yeah those paintings were selfindulgent though, his sculptures are always better
speaking of eureka moments with figure vs abstraction, check out the chuck close flip side of marden's figure to abstraction... ab ex to 'figure' (minimalism)...
'I know guys in their forties who are still trying to figure out what to do with their lives,' he says, shaking his head. 'I knew from the age of five what I wanted to do. The one thing I could do was draw. I couldn't draw that much better than some of the other kids, but I cared more and I wanted it badly. I have always distinguished myself,' he says, not boastfully, but matter-of-factly, 'by being hungrier and being totally committed in an absolutely straight line.'
Ding Dong Dilly Dally everyones a wiggly waggly and the zip zog zag blind alley!
Cant wait for Z day. I allways wanted to be un-dead.
While at Yale, Chuck remembers going out drinking with two of his tutors, Jack Tworkov and Philip Guston, abstract expressionists both, the latter having not yet pulled off his spectacular reinvention as a raw figurative artist.
'We'd go to the Old Heidelberg in New Haven and drink strong German beer into the night. One time we got really drunk and they both started crying. There's Jack on one side, wailing, "I ain't sold a goddamn painting in a year and a half" and Philip on the other, going, "I haven't sold one in two goddamn years." And me in the middle, just devastated. But they reinvented themselves.' He grins, his eyes light up. 'They came back stronger. That was the most important lesson of all for me.'
Swinxt: Surely there is no such thing as a false light. Light is light; electric, solar, fossil, an emotional state. Light is always attractive. The balance is to develop the correct relationships with the lights that we find ourselves having or wanting to deal with.
Swvoxted: Oh so Timelessness is, in a word, that which baths us in lights?
ttg - Beta? blogger? - blogger is in full launch now, there may be updates your missing... go to "Switch to the new version »" now. and reinstall. I hate shit like that i am like a small kid kicking and screaming with "updates". if thats not what your talkin about ignore the above im still blown out from last night...
you could always go to that trash can and throw out your commments.
Thanks no-where-man. That's what I'm talking about. I'd love to get rid of those comments above. I saw the trash can once. Did somebody move it? If you have time J if I haven't figured it out;)
Deeply religious, Tompkins felt that she was God’s instrument. Her patchworks were designed by Him; she was grateful to have found this uplifting way of worshiping. Following an elaborate personal code that came to her during prayer, she pieced with particular family members in mind. Empowered by a force greater than herself, she thus attended to in-family spiritual relationships in the course of fabricating her extraordinary works of art.
Tompkins was intensely private. She only ever met four people as the artist “Rosie Lee Tompkins” (curator Lawrence Rinder, Africanist Robert Farris Thompson, historian Glenna Matthews, and myself, since I am a quilt scholar). But she heard voices, believed that her phone was tapped, and never arrived at the peace she so desired.
“I feel like I don’t have any privacy—” she told me, “like I’m living in a glass house or something—where everybody’s always looking in or listening to what I say.”
She covered one wall of her bedroom with patchwork crowded with appliqued crosses, hoping it would impede the intruding voices, but it failed to do so.
thanks J tried everything I could see the icon with paper diver for paper driver but the other name thing is just stubborn. Painter sorry for messing your blog delete as you please.
Tompkins must have had voice turned on on her computer closeuup.
33 comments:
Bjarne Melgaard @
Leo Koenig Inc.
545 West 23rd Street
New York, NY 10011
quite beautiful, its like guston meets weintraub through an icy window.
The Euro/not American observation piqued my curiosity KB-what are the signifiers/clues for you? on this one-or in general?
I did a bit of online research and near as I can tell the show up on 23 whassisname - has something to do with Peter Jackson's "Meet the Feebles".
Like dont trust anyone over 30 - its pathetic and stupid and probably rooted in a Harry Potteresque allegory where off campus has soul suckers and drug addicted professors (see art school confidential) and on campus its rules rules rules, but everyone turns out to be a wherewolf in the end and
harry potter is Jesus.
Amen.
As an aside - does anyone have a link to Bryce Mardens early figurative work?
Im doing my thesis on abstraction vs figuration visa vis the "ah-ha" or "eureka" moment - ill have a better term for the epiphany, but you know, the sun allways shines on tv.
For those of you who dont click links or go to shows in NYC, this painting is not really a representative example, although the tone is the same.
You should see the portrait I made out of beans. You were supposed to sort the beans by tone or tint or whatever and I probably had some beer and the prof wasnt pleased but I felt like finsihing it would have been just an academic exercise because I allready UNDERSTOOD the problem.
On the other hand I spent a great deal of time trying to write calligraphy left handed, which kind of sucks.
In the old bauhaus you would spend a whole year drawing parallel lines and stuff - no shit.
SO Bjarne rings as sort of like a diletante, like most chelsea artists who do this stuff. Schnabel did it in what 1981?
Why is (german) expressionism being pumped so hard?
Leo Koenig. SOrry.
oh my! i deleted my dumb question i was so sure this painting was done by a female, when you said "whatshisname" it threw me off.
oh and my bean portrait is not in the show. Im just kind of excited. I was reading Beyond the brillo box - Danto - and hes got this dealio about Jennifer Bartlett bucking the system, even though she went to yale and she daringly used color when color was a no no. I find this incredible.
Because right now theres a big focus on the "when in doubt, dot" thing. You know what Im talking about.
But I dont have time to connect the dots because I have to install some drivers. Awesome!!!!!!!!!!!!
ok but heres another tape loop - what about when my geometric abstractionist profs steered me towards my more formal ideas, where they called my more lighthearted stuff "clever".
I thought that meant they were discouraging me from the latter, where they were envcouraging the more orthodox or "mature" work.
Im wonder what the value of "mature" work is vs a one liner type work, where sometimes a more orthodox work comes across as a one line by dint of being a singularity or zip.
And also, where does surrealism fit into all this, because I see a lot of it around, and no one is condeming surrealism or "magical realism" as retrograde?
Im lookinf for leadership here, because it looks like a route, so in the absence of a vector, I'll go with, KOBRA KAI, MOTHERFUCKERS!!!!
I think a young Melissa Meyer painted this...with a furrowed brow...cause it was 1989. I miss a good furrowed brow.
Hmmm... I'd add darkness to the Euro column. Dark colors and dark feelings even in work that's whimsical or playful.
If theres a difffrence I think its more to do with the gatekeepers than with artists. The type and kind of shows in the gllaeries that engage in "economies of scale" are of course more conservative....where the galleries are market driven rather than idea driven. Inasmuch as ideas are more or less marketable depending on the palleteability - like you can stack a lot of soup cans on top of eachother, but other empty refferents like twig and hotglue fortresses are harder to move with a forklift.
I learned how to drive a forklift once. I also broke palettes down - so Im more into the nuts and bolts of the opperation vrather than the macro-economics.
I think if american artists would stop the petty infighting and start painting swastikas en-masse, we'd have something. Its not a huge sacrifice to devote a month or two of time and heart to a pagan symbol - at least not for an emerging or inconsequential artist.
Also, when I was in Afghanistan, I had the pleasure of helping to destroy the Buddhas at Bamiyan - fucking awesome.
WHen they burned the library at bagdhad - I heard some people cried.
Well boofucking hoo. Everthing has to end sometime.
Of course what ones culture financially promotes relates to generalizations about that culture. Gatekeepers and artists...cops and criminals...the nature of the cops in this neck of the woods and the nature of the criminal in this neck of the woods...sentence one, sentence two.
When I get to the bottom
I go back to the top of the slide
Where I stop and turn
and I go for a ride
Till I get to the bottom and I see you again
Yeah, yeah, yeah
It's so DOA. Get it? Got it.
In the hands of Leo... should fetch a bundle.
[edit] Nihilism in Philosophy
Certainty series
Nihilism
Agnosticism
Uncertainty
Probability
Estimation
Belief
Justified true belief
Certainty
Determinism
This box: view • talk • edit
Though the term nihilism was first popularized by Ivan Turgenev (see below), it was first introduced into philosophical discourse by Friedrich Heinrich Jacobi (1743–1819), who used the term to characterize rationalism, and in particular Immanuel Kant's "critical" philosophy in order to carry out a reductio ad absurdum according to which all rationalism (philosophy as criticism) reduces to nihilism, and thus it should be avoided and replaced with a return to some type of faith and revelation. (See also fideism.)
Friedrich Nietzsche's later work displays a preoccupation with nihilism. Nietzsche characterized nihilism as emptying the world and especially human existence of meaning, purpose, comprehensible truth, or essential value. He hints that nihilism can become a false belief, when it leads individuals to discard any hope of meaning in the world and thus to invent some compensatory alternate measure of significance.
Though some deride it as nihilistic, postmodernism can be contrasted with the above formulation of nihilism in that the most common type of nihilism tends toward defeatism or fatalism, while postmodern philosophers tend to find strength and reason for celebration in the varied and unique human relationships it explores.[citation needed] Some also compare Nihilism to skepticism, claiming both reject claims to knowledge and truth, however skeptics are often offended by this comparison, pointing out they don't in fact reject claims to truth outright; they only reject these claims if there is insufficient empirical evidence to support them. The other side of this is skepticism does not necessarily come to any conclusions about the reality of moral concepts nor does it deal so intimately with questions about the meaning of an existence without knowable truth.[
speaking of Pruitt below...
I feel Pruitt did some good with the politically incorestness stuff.
but i feel that Pruitts work is self indulgent. if not moreso than the Ab Ex of the past...As if Ab Ex needs to be exposed for what everyone already knows it represented..Mocking something thats been acknowleged time and time again.?...With complete hindsight anyone can pick apart the past. This is where the pretense is now.. not in the action paintings of over 50 years ago..
work like that reads like this... Look, I went to art school Mommy and damn I'm such a smart laddy...
only problem with that assessment is that according to Gbrown's biography..
ROB PRUITT
Born 1964, Washington, D.C.
Lives and works in New York
..he didnt go to art school
yeah those paintings were selfindulgent though, his sculptures are always better
hey zip
speaking of eureka moments with figure vs abstraction, check out the chuck close flip side of marden's figure to abstraction... ab ex to 'figure' (minimalism)...
he's pretty eloquent on the subject.
'I know guys in their forties who are still trying to figure out what to do with their lives,' he says, shaking his head. 'I knew from the age of five what I wanted to do. The one thing I could do was draw. I couldn't draw that much better than some of the other kids, but I cared more and I wanted it badly. I have always distinguished myself,' he says, not boastfully, but matter-of-factly, 'by being hungrier and being totally committed in an absolutely straight line.'
here
Ding Dong Dilly Dally everyones a wiggly waggly and the zip zog zag blind alley!
Cant wait for Z day. I allways wanted to be un-dead.
While at Yale, Chuck remembers going out drinking with two of his tutors, Jack Tworkov and Philip Guston, abstract expressionists both, the latter having not yet pulled off his spectacular reinvention as a raw figurative artist.
'We'd go to the Old Heidelberg in New Haven and drink strong German beer into the night. One time we got really drunk and they both started crying. There's Jack on one side, wailing, "I ain't sold a goddamn painting in a year and a half" and Philip on the other, going, "I haven't sold one in two goddamn years." And me in the middle, just devastated. But they reinvented themselves.' He grins, his eyes light up. 'They came back stronger. That was the most important lesson of all for me.'
Whats the one question you can't answer?
I'll tell you in the morning.
Swinxt:
Surely there is no such thing as a false light. Light is light; electric, solar, fossil, an emotional state. Light is always attractive. The balance is to develop the correct relationships with the lights that we find ourselves having or wanting to deal with.
Swvoxted:
Oh so Timelessness is, in a word, that which baths us in lights?
Swinxt: I have no † on that!
Sorry dudes beta just does not want to work with me...;)
sorry dudes beta is not doing me a favor delete delete
ttg - Beta? blogger? - blogger is in full launch now, there may be updates your missing... go to "Switch to the new version »" now. and reinstall. I hate shit like that i am like a small kid kicking and screaming with "updates". if thats not what your talkin about ignore the above im still blown out from last night...
you could always go to that trash can and throw out your commments.
Thanks no-where-man. That's what I'm talking about. I'd love to get rid of those comments above. I saw the trash can once. Did somebody move it? If you have time J if I haven't figured it out;)
after you quit out of the browser you loose the abilty - painter would have to do it now. was it from the new blogger?
oh my bad - log back in same id. and post something.
wobbly ecstacy
Deeply religious, Tompkins felt that she was God’s instrument. Her patchworks were designed by Him; she was grateful to have found this uplifting way of worshiping. Following an elaborate personal code that came to her during prayer, she pieced with particular family members in mind. Empowered by a force greater than herself, she thus attended to in-family spiritual relationships in the course of fabricating her extraordinary works of art.
Tompkins was intensely private. She only ever met four people as the artist “Rosie Lee Tompkins” (curator Lawrence Rinder, Africanist Robert Farris Thompson, historian Glenna Matthews, and myself, since I am a quilt scholar). But she heard voices, believed that her phone was tapped, and never arrived at the peace she so desired.
“I feel like I don’t have any privacy—” she told me, “like I’m living in a glass house or something—where everybody’s always looking in or listening to what I say.”
She covered one wall of her bedroom with patchwork crowded with appliqued crosses, hoping it would impede the intruding voices, but it failed to do so.
thanks J tried everything I could see the icon with paper diver for paper driver but the other name thing is just stubborn. Painter sorry for messing your blog delete as you please.
Tompkins must have had voice turned on on her computer closeuup.
Great painting. Love the colours and the simplicity.
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