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Art

mordecai

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Originally Posted by StephenHero
Well I think Richter is a pretty good barometer for the direction of art as a whole. He's strictly non-dogmatic and he roams between mediums and method, but all of his work collectively undermines any stylistic or philosophical obligations of either figurative or abstract act which matches the general trend of stylistic liberation. As opposed to the tendency of his contemporaries to embrace a unique personal style because this new liberation allowed them to (Basquiat, Schnabel, Koons), he uses a neoclassical logic and rationality which allows formal invention by itself, even though that was once considered paradoxical as a means to create an artistic identity. I think that's why all of his paintings use boring photos. With a classical emphasis on technical skill, the process's refinement can elevate mundane imagery beyond the shallow heroics of epic "high art" photography if it's guided with some technical conviction or procedural logic that doesn't concern itself with outcome at the expense of creation, where the primacy of art lies anyway. :artforum: Yeah, he's pretty much awesome.
i agree with your first paragraph and think that this could be applied to several other contemporaries of richter, such as louise bourgeois, vija celmins, and in the realm of sculpture, robert gober and tim hawkinson. i'm not a fan of basquiat, koons, or schnabel (especially), but i don't think that an autographic style necessarily undermines formal invention. luc tuymans and michael raedecker are artists who can work in an abstract personal style without sacrificing the formal efforts of their paintings. the abstraction is more incidental than integral i guess, it's part of the formal gesture. i also wouldn't describe richter's work as adhering to "neoclassical logic and rationality," only because i love it and that phrase makes him sound like one of those boring super realists, or will cotton maybe.
Originally Posted by thekunk07
i'll go 30 years chuck close, basquiat, I kind of like alex gray, Attila Bernath, Anselm Kiefer (pushing it time wise)
Dude...Alex Grey?
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thekunk07

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oh, fine. maybe i was trolling a bit.
 

mordecai

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My girlfriend's gallery got their first print publication review via the L.A.Times in today’s edition. The review is lukewarm, but it’s still a big deal for a three month old gallery to be taken seriously enough for a critique like this. Here’s the link for the on-line edition if you’re interested, and if you're in Los Angeles you should really come see it. Great show: http://latimesblogs.latimes.com/cult...pin-moore.html
 

StephenHero

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I don't know how you could actually find much distinction between them ethically.
 

Fuuma

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Originally Posted by StephenHero
I don't know how you could actually find much distinction between them ethically.

The art market is much less regulated, especially as it comes to such factors as having multiple roles in a transaction (expert&secretly being part of the $$ deal, etc) or even controlling the origin of what is being sold.
 

Icarus

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How did I ever miss this thread?

Can we post pictures of our art, or should that go in the lifestyle picture thread? I'd need a camera first anyway, hmmm...
 

StephenHero

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Chinese artist Ai Weiwei has covered the floor of the Turbine Hall at Tate Modern in London with more than 100 million individually handmade replica sunflower seeds.

Profound or pointless? I'm hedging towards the latter for now.



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Ranking various Turbine Hall installations.

#1 Olafur Eliasson

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#2 Everybody else

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Nouveau Pauvre

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What do you guys think of the Dan Colen show? Pretty universally panned by critics. I can't help but feel the scorn was influenced by general backlash against the whole Dash Snow bad boy artist thing...
 

Pennglock

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Originally Posted by StephenHero
Profound or pointless? I'm hedging towards the latter for now.


What army of slaves did he employ to complete this? 100 million is a large number..
 

StephenHero

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This is the largest work Ai has made using porcelain, one of China's most prized exports, with which he has previously created imitation fruit, clothes and vases. Although they look identical from a distance, every seed is different, and far from being industrially produced, "˜readymade' or found objects, they have each been intricately handcrafted by skilled artisans. All of them have been produced in the city of Jingdezhen, which is famed for its production of Imperial porcelain. Each ceramic seed was moulded, fired at 1300°C, hand-painted and then fired again at 800°C. Over the course of two years, over 100 million of these were made, forming a mass of objects that weighs over 150 metric tonnes, covering 1000 square metres of the Turbine Hall. The casual act of walking across their surface contrasts powerfully with the precious nature of the material and the effort of its production.

For Ai, sunflower seeds - a common Chinese street snack shared by friends - carry personal associations from the Cultural Revolution (1966-76). While individuals were stripped of personal freedom, propaganda images depicted Chairman Mao as the sun and the mass of people as sunflowers turning towards him. Yet Ai remembers the sharing of sunflower seeds as a gesture of human compassion, providing a space for pleasure, friendship and kindness during a time of extreme poverty, repression and uncertainty. There are also contemporary resonances in the work, with its combination of mass production and traditional craftsmanship inviting us to look more closely at the "˜Made in China' phenomenon and the geopolitics of cultural and economic exchange.

Sunflower Seeds is a sensory and immersive installation, which visitors can touch, walk on and listen to as the seeds shift beneath their feet. However, the tactile, engaging nature of this work also encourages us to consider highly pertinent questions about ourselves and our world. What does it mean to be an individual in today's society? Are we insignificant or powerless unless we act together? What do our increasing desires, materialism and number mean for the future? Ai Weiwei has said "From a very young age I started to sense that an individual has to set an example in society. Your own acts and behaviour tell the world who you are and at the same time what kind of society you think it should be."
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