Friday, April 18, 2014

And THIS...

... My friends, is why I am so discombobulated by the art world. I sometimes wonder... Why do I put so much time and effort in a drawing or painting to make it bloody realistic looking, when a huge, blue ping-pong table hung on a wall rakes in $44 million?

2 comments:

  1. Newman overwhelms and seduces the viewer with the totality of its sensual, cascading washes of vibrant blue coexisting with Newman’s vertical “Sign” of the human presence, his iconic and revolutionary “zip.”

    Wonder what they were smoking when they wrote that blurb up...

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  2. Don't worry, Soulsis... This is the usual verbiage they come up with. Have a look at the "critiques" that were given for the winning drawings at the exhibition I entered with my kitty cat portrait.

    1st Prize:
    Dolan's drawing reconciles three of the major concerns in drawing practice: the acting gesture of the artist; the immediacy and graphic impact of the drawn mark on the drawing surface; and the content of the work. The mournful weight of the primary figure is metaphorical, poetic and also literal in the heavy mark and broad strokes of the charcoal. The searching line, patterning, palimpsest and the distressed paper all signal the artist’s process of inscription and description.

    2nd Prize:
    One of our primary concerns as draughtspersons is the compositional organisation of the marked surface. Rudolf Arnheim, in his entirely revised and rewritten text The Power of the Center stakes out an argument concerning the primary vectors in a work of art, dividing them between the concentric and the eccentric—those vectors which radiate out from the work and those which collapse into the work. Kirkegard’s drawing is a complex and subtle (and quite mysterious) exploration of the concentric and eccentric. The sophistication of the mark draws one in while the explosive energy of the thicket reaches out to entangle the viewer.

    3rd Prize
    Neil’s drawing piles clever delight upon clever delight. The pandemonium of the haptic mark is balanced cleverly by the serenity of the tipsy artist. The drawing also openly indebts itself to a mid-century graphic tradition in which whimsy, cleverness and graphic facility play out in editorial illustrations, political cartoons and countless sketchbooks and journals. The erased “$10” mark in the upper corner is yet another clever juxtaposition of the high-mindedness of the thoughtful artist and the base economic reality of a cocktail, a bit of paper and a bit of graphite.

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