“Beach: Water’s Edge” (2008), acrylics, plastic shoe, on canvas, 18″ x 36″
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Beach: Water’s Edge
November 23, 2014
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Colour Studies
May 17, 2009
“Blue Red Green White” (2009), PPT to TIFF, 36″ x 24″
“Green Blue Yellow” (2009), PPT to TIFF, 36″ x 24″
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A Solar-Powered Poem
January 1, 2009Let’s start the year with a piece of wonderful creativity. An artist by name of Jiyeong Song has created a small pavilion of perforated sheets that permits the sun to “write” different poems throughout the day and the year. You’ll be needing a picture or two after that description!
As Apartment Therapy said:
“The specific arrangements of the perforations reveal different shadow-poems according to the solar calendar: a theme of new-life during the summer solstice, a reflection on the passing of time at the period of the winter solstice.”
Unfortunately the links direct to the artist seem to be broken, so I cannot discover where this is. But I sure love the unique idea.
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Beach: Water’s Edge
October 7, 2008
“Beach: Water’s Edge” (2008), acrylics, plastic shoe, on canvas, 18″ x 36″
Click on the image for a larger picture.
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Posted by jakking
Slasher Update!
September 26, 2008The yellow Concetto Spaziale, Attese that was up for sale in Paris this week was “bought in”. That means it didn’t make the minimum price they were looking for. I think you can guess my opinion.
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Arts and Design
September 26, 2008The New York Times Online has a review of the opening exhibition at the NY Museum of Arts and Design. The review is decidedly mixed:
The shows resemble an art seminar-cum-food-fight — an amazing cacophony that is by turns dismaying, enervating, infuriating and invigorating.
But, in the end, is recommended. And I would certainly take a turn through if it were to come to Vancouver.
There are two parts to the show: The first is called “Second Lives: Remixing The Ordinary” which uses the post-modernist cliche to take lots of small parts and make a larger whole. It is a cliche these days, but that doesn’t mean the work is bad or ordinary. I rather like this version of an old classic called “Sound Wave” for example:
The second part of the show seeks to introduce some elements of the new permanent collection and some promised donations. The reviewer notes that:
I’m against museum deaccessioning, but around a third of the promised gifts on view should be tactfully declined.
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What Price Genuine?
September 21, 2008The day after Damien Hirst’s garage sale, art dealer Richard Feigen wrote an interesting piece about the dearth of connoisseurship and the rise of the factory. He begins with an acknowledgment that the definition of art was revolutionized by Marcel Duchamp when,
he decreed that the term included found objects, that art need involve only the artist’s choice, not his hand—that the idea is the art. Now that can be true if the idea is profound enough, or the object beautiful enough … Once we accept that the artist’s hand is no longer necessary, only his idea, it’s a short leap to market the concept that beauty is not only no longer essential, it can even be turned into a dirty, “elitist” word.
This in turn has led gto the death of connoisseurship:
Connoisseurship is the identification of the artist by his handwriting. But if his hand isn’t there, the handwriting isn’t, and connoisseurship becomes a dead old discipline. Who needs connoisseurs? Why train them? Why not train museum director-administrators-fundraisers-construction supervisors?
… The artist can simply hatch an idea. Then comes the collaboration of an army of profiteers in “collectors’” clothes; of hungry auctioneers; of empire-building dealers; of trendy museum curators; a press bedazzled by mega-millions flooding in from every corner of the globe—art then has truly been transformed into an “asset class”
The end result is that
any image can be “copyrighted” if an artist gets there with it first. From Roy Lichtenstein’s Ben-day dots and Andy Warhol’s silkscreens, it’s a short leap to Jeff Koons’ or Damien Hirst’s or Takashi Murakami’s factories turning the stuff out. Shock value is enough for a copyright, whether it’s a putrefying shark or a platinum, diamond-studded neo-Augsburg memento mori or a three-dimensional cartoon or a huge, shiny toy dog.
And how, he asks, can we now tell the artist’s true handwriting? How will be establish “fake” from “real” art? He concludes that,
with “art” proliferating and the stakes so high, there may … be big rewards in store for the litigators.
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Jak's View of Vancouver v.3 