I found this review on artreview.com posted by Dan Adams.
I think he saw a current James Kalm video, which is a very good video to see.
Charles scuptures are wonderful, lots of color!
When did art become a group effort?
Posted by dan adams on 30 October 2009 at 2:00am
View My Blog
I Just viewed a video of artist Steven Charles in his studio in New York and HORRAY!! A YOUNG artist speaking out about NOT wanting to use assistants, techno-crap and the like. He wants to paint, to create by himself, and if he fails, SO WHAT, it's his hand that's creating, not 10 assistants (sorry Damien Hurst) carrying out the master's orders. Last night I watched "Art in the 21Century" on KPBS. JEEZ, You had to have a program to figure out who was the artist from all the assistants, hanger-ons and maybe a personel Guru or two. If I had thought that's what being an artist was, I NEVER would have picked up a brush and started to paint...
Thanks Dan.
Sunday, November 22, 2009
Thursday, November 19, 2009
Urs Fischer - The New Museum
Urs Fischer’s Grandmother makes Genius Cakes
“People seem to fear art. Art has always been a word for this thing that cannot be rationalized when you see or hear something that you struggle to explain. But that’s its strength, of course; that’s what the word art is for. For example, I’m reading about Caspar David Friedrich. In the essays, there are many ideas and interpretations about Friedrich’s intentions, trying to personify him, and his ideas and politics. This might all be true to some degree and have actually factored into his decisions, but even he doesn’t know why it’s good. You see, there are so many people trying to explain how a certain piece is interesting, and it’s so limiting––it’s crazy. An artwork is shrunk down to two or three sentences. It’s like you were to say: “This is my grandfather, and he likes leather shoes,” or: “This is my grandmother, she makes really genius cakes.” I think art is like people: you cannot reduce them to a couple of sentences. It is much more complex, much richer.”
-Urs Fischer, in an interview with Massimiliano Gioni, the curator of Fischer’s current exhibition at The New Museum.
This entry was posted on Thursday, October 29th, 2009 at 10:46 am and is filed under Art. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
One Response to “Urs Fischer’s Grandmother makes Genius Cakes”
naomi says:
Saturday, October 31, 2009 at 10:22 am
Brilliant; so true! It’s important to go make the work, think about it later. All the thinking will be subjective anyway.
“People seem to fear art. Art has always been a word for this thing that cannot be rationalized when you see or hear something that you struggle to explain. But that’s its strength, of course; that’s what the word art is for. For example, I’m reading about Caspar David Friedrich. In the essays, there are many ideas and interpretations about Friedrich’s intentions, trying to personify him, and his ideas and politics. This might all be true to some degree and have actually factored into his decisions, but even he doesn’t know why it’s good. You see, there are so many people trying to explain how a certain piece is interesting, and it’s so limiting––it’s crazy. An artwork is shrunk down to two or three sentences. It’s like you were to say: “This is my grandfather, and he likes leather shoes,” or: “This is my grandmother, she makes really genius cakes.” I think art is like people: you cannot reduce them to a couple of sentences. It is much more complex, much richer.”
-Urs Fischer, in an interview with Massimiliano Gioni, the curator of Fischer’s current exhibition at The New Museum.
This entry was posted on Thursday, October 29th, 2009 at 10:46 am and is filed under Art. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
One Response to “Urs Fischer’s Grandmother makes Genius Cakes”
naomi says:
Saturday, October 31, 2009 at 10:22 am
Brilliant; so true! It’s important to go make the work, think about it later. All the thinking will be subjective anyway.
Tuesday, November 10, 2009
Update from James Kalm
YouTube: Jerry Saltz Seeing Out Louder, David Hockney New Paintings. Very Current! New book by Jerry, and Hockney's new paintings.
Sunday, November 8, 2009
Raoul De Keyser
Enjoying a long-standing reputation as being a ‘painter’s painter,’ De Keyser has been a leading influence on the next generation of painters, including Luc Tuymans, Rebecca Morris, and Tomma Abts. Modest in size, De Keyser’s spare works have a special intimacy that derives from the physical characteristics of the medium itself, as well as the tension created between plane and depth, figure and ground. As noted by Hamza Walker of The Renaissance Society at the University of Chicago, where De Keyser had his United States museum debut in 2000:
De Keyser’s pictorial logic is one in which conclusions regarding composition, color or manner of brush handling are confidently proposed but never asserted to a degree suggesting the evolutionary terminus of an art form . . . Although De Keyser has managed to merge various contradictory elements - figuration and abstraction, gesture and geometry, the garish and the restrained - his work in no way exhibits tendencies of a postmodern eclecticism that would reduce the history of painting to a mere collection of styles. If anything, De Keyser’s work, in modest proportions, has the spirit
of painting when abstraction was celebrated for opening new possibilities within the realm of pictorial expression.
De Keyser’s pictorial logic is one in which conclusions regarding composition, color or manner of brush handling are confidently proposed but never asserted to a degree suggesting the evolutionary terminus of an art form . . . Although De Keyser has managed to merge various contradictory elements - figuration and abstraction, gesture and geometry, the garish and the restrained - his work in no way exhibits tendencies of a postmodern eclecticism that would reduce the history of painting to a mere collection of styles. If anything, De Keyser’s work, in modest proportions, has the spirit
of painting when abstraction was celebrated for opening new possibilities within the realm of pictorial expression.
Friday, November 6, 2009
2009 Chelsea Opener
Check out on YouTube "2009 Chelsea Opener", presented to us by James Kalm.
Thank you James!
View some of Raoul DeKeyser works.
Thank you James!
View some of Raoul DeKeyser works.
Monday, November 2, 2009
Erik Parker
Another New York artist that likes pink.
Check out on YouTube: Erik Parker Crisis Creation at Paul Kasmin
Check out on YouTube: Erik Parker Crisis Creation at Paul Kasmin
Peter Doig
New paintings
at Gavin Brown Enterprise / Jan. 2009
It seems to me that Doig likes pink. Avery used pink,too. Interesting.
Using the color pink is not easy. Check it out on you tube. "Peter Doig new paintings at Gavin Brown Enterprise".
at Gavin Brown Enterprise / Jan. 2009
It seems to me that Doig likes pink. Avery used pink,too. Interesting.
Using the color pink is not easy. Check it out on you tube. "Peter Doig new paintings at Gavin Brown Enterprise".
Milton Avery Quote
Nature is my springboard. From her I get my initial impetus. I have tried to relate the visible drama of mountains, trees, and bleached fields with the fantasy of wind blowing and changing colors and forms.
Sunday, November 1, 2009
Lee Krasner Quotes
+ I think, if one is a painter, all you experience does come out when you’re painting.
+ I like a canvas to breathe and be alive. Be alive is the point. And, as the limitations are something called pigment and canvas, let's see if I can do it.
+ I like to surprise myself. I have to be interested in what I’m doing. Surprise, for me, is as important as it is to anyone that views it once it becomes a painting.
+ I like a canvas to breathe and be alive. Be alive is the point. And, as the limitations are something called pigment and canvas, let's see if I can do it.
+ I like to surprise myself. I have to be interested in what I’m doing. Surprise, for me, is as important as it is to anyone that views it once it becomes a painting.
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