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A Reality Show About Art?: Oh good God in Heaven no!

6.09.2010


Weegee (Arthur Fellig), The Critic, November 22, 1943



It's happened and it's not a good thing. The evil that is reality television has finally figured out a way to quantify the value of art. Allegedly.

Trying to explain why and how this particular type of reality show is morally reprehensible and a sign that we're devolving into and "Idiocracy" would require a doctoral thesis, not a mere blog post. It can be said that art is not food or fashion, and an artist is not a horse meant to run a race. Unfortunately the ethical implications of presenting art as something that can be measured in inches, pounds or speed seem to have gone unnoticed by the good folks at Bravo TV. I hope the artists who've signed on to appear on this travesty of a show know what they've gotten themselves into. If they think they're using the show to their advantage they need to make a thorough reassessment of their own intelligence, and check their self respect at the door. Andy Warhol and Salvador Dali knew how to use the media and make it a part of their art. But Warhols and Dalis happen only a few times in a century.

It's taken centuries for artists to shed the role of picture painting slaves. One TV show, in one fell swoop will undo all of that work. It's an unnecessary setback, and very sad.




My view on the matter might seem a little convoluted or trite, so take a look at what a real journalist, Linda Holmes at NPR, has to say about it:



Bravo's 'Work Of Art': Can You Explain The Thing About The Judges Again?

From Holmes' Article:

"How do you get a panel of judges to judge pieces of art competitively?"

"And while getting too "it's all subjective" about evaluation of art tends to downplay the importance of technique that can be learned and taught, when a panel of judges and the people backstage agree "99 percent of the time" about what was good and what was bad, it raises the question of whether the art is very interesting"

"the confidence the judges have in the infallibility and ease of their judgments suggest that they're not giving the art a whole lot of thought"

10:47 AM | Labels: Bravo TV, NPR, The Critic, The Next Great Artist, Weegee, Work of Art | 0 Comments  

Johnny Depp reads Hunter S. Thompson

6.07.2010

Part 1



Part 2



Part 3

10:20 PM | Labels: Hunter S. Thompson, Johnny Depp | 0 Comments  

I Love L.A.

Los Angeles, The Early Days



Los Angeles, California 1937. A Street of Memory, Olvera Street



Los Angeles late 40's



Downtown Los Angeles at night (1988)

10:04 PM | Labels: Los Angeles | 0 Comments  

Art in America Article

5.25.2010

Purple Craze for Warhol

By Mary Lapides


Last night Sotheby's demonstrated the enduring ability for the auction houses to sell high-powered art, and sell it well. Sotheby's had a tightly edited 53-lot sale; only three lots failed to sell. Several lots were hotly contested.

Full Article: http://www.artinamericamagazine.com/news-opinion/the-market/2010-05-13/post-war-contemporary-sothebys-auction/

9:49 PM | Labels: Andy Warhol, Art in America, Auction | 0 Comments  

Cindy Sherman, Transformations: The Making of a Documentary



From Youtube description:

As an undergraduate, Paul Tschinkel studied painting at the Yale School of Art and Architecture, then, as a member of the New York art scene, pursued video as an art form early in its conception. Since then, he has trained his camera on friends and colleagues in the art world and produced documentaries that have become important accounts of contemporary art and valuable resources for scholars and students of recent art. His video studies capture defining and cutting-edge works by such iconic names as Warhol, Lichtenstein, Basquiat, Koons, Sherman, and many others. CINDY SHERMAN (1954- ) creates innovative work that explores the place of women in society. With photographs she takes of herself, in which she impersonates various fictitious characters, she challenges us to think about our perceptions as she shows us numerous roles women can have in our world, such as house wife, sex symbol, lover, victim. Over the past 25 years, she has produced a much acclaimed body of work that depicts the female persona as seen through the filter of the media. In his lecture, Professor Tschinkel will screen his documentary that covers Sherman's first show of color photographs at Metro Pictures in 1981 and a 2000 show, also at Metro Pictures. Included is a rare 1981 interview with Sherman and recent interviews with Helene Winer, her dealer, and Peter Schjeldahl, art critic for the The New Yorker magazine. He will then discuss the art of making documentaries as well as his passion for art and artist.

4:25 PM | Labels: Cindy Sherman, video | 0 Comments  

Jacques Lacan - A Challenge to the Psychoanalytic Establishment

'Television': Repression, Family, & Society


'Television': La Jouissance


'Television': What Freud Discovered in the Unconscious


'Television': Le Versant De L'Analyse


'Television': Psychoanalysis and Psychotherapy


"Television": Lacan on the unconscious.


'Television': Lacan on La Guerison (the Cure)

12:33 AM | Labels: A Challenge to the Psychoanalytic Establishment, American Television, Art Criticism, art history, First Photo Interview, French, Jacques Lacan, Psychoanalysis | 0 Comments  

Pablo Picasso. Portrait of Françoise.
1946. Drawing. Musée Picasso, Paris, France.
From the Website Olga's Gallery

2:54 PM | Labels: Olga's Gallery, Pablo Picasso, Portrait of Francoise | 0 Comments  

Artist as Celebrity

A new exhibition at London's Tate Modern later this year will explore Andy Warhol's legacy through artists like Jeff Koons and Damien Hirst, who embody the notion of artist as celebrity and commercial brand.

Source:
Reuters

2:42 PM | Labels: Andy Warhol, Artist as Celebrity, Damien Hirst, Jeff Koons, Tate Modern | 0 Comments  

First Photo Interview - 1886

5.22.2010



From Youtube Film Description:
French chemist Michel Eugene Chevreul (1786 - 1889) was 100 years old when he became the subject of the first photo interview.

Such a large number of photographs taken in a brief period of time creates the impression of a movie. A movie starring a man born BEFORE the French Revolution!

(The first known film, "Roundhay Garden Scene" was shot 2 years after this photo interview took place.)

11:05 PM | Labels: 1886, First Photo Interview, Michel Eugene Chevreaul | 0 Comments  

World's Oldest Photographs



Song:"Liberty Bell March" by John Philip Sousa, better known as the theme to Monty Python's Flying Circus.

11:04 PM | Labels: John Phillip Sousa, World's Oldest Photographs | 0 Comments  

Edvard Munch: Gothic Maiden



Gothic Maiden (Birgitte Prestøe), 1931, Woodcut, 59.6 x 32.1 cm.
From: http://www.edvardmunch.info

10:26 PM | Labels: Edvard Munch, Gothic Maiden | 0 Comments  

Video: Jack Kerouac on The Steve Allen Show, 1959

9:39 PM | Labels: Jack Kerouac, Steve Allen Show | 0 Comments  

The Man With the Beautiful Eyes

W. Eugene Smith



the man with the beautiful eyes - charles bukowski

when we were kids
there was a strange house
all the shades were
always
drawn
and we never heard voices
in there
and the yard was full of
bamboo
and we liked to play in
the bamboo
pretend we were
Tarzan
(although there was no
Jane).
and there was a
fish pond
a large one
full of the
fattest goldfish
you ever saw
and they were
tame.
they came to the
surface of the water
and took pieces of
bread
from our hands.
Our parents had
told us:
“never go near that
house.”
so, of course,
we went.
we wondered if anybody
liveed there.
weeks went by and we
never saw
anybody.
then one day
we heard
a voice
from the house
“YOU GOD DAMNED
WHORE!”
it was a man’s
voice.
then the screen
door
of the house was
flung open
and the man
walked
out.
he was holding a
fifth of whiskey
in his right
hand.
he was about
30.
he had a cigar
in his
mouth,
needed a shave.
his hair was
wild and
and uncombed
and he was
barefoot
in undershirt
and pants.
but his eyes
were
bright.
they blazed
with
brightness
and he said,
“hey, little
gentlemen,
having a good
time, I
hope?”
then he gave a
little laugh
and walked
back into the
house.
we left,
went back to my
parents’ yard
and thought
about it.
our parents,
we decided,
had wanted us
to stay away
from there
because they
never wanted us
to see a man
like
that,
a strong natural
man
with
beautiful
eyes.
our parents
were ashamed
that they were
not
like that
man,
that’s why they
wanted us
to stay
away.
but
we went back
to that house
and the bamboo
and the tame
goldfish.
we went back
many times
for many weeks
but we never
saw
or heard
the man
again.
the shades were
down
as always
and it was
quiet.
then one day
as we came back from
school
we saw the
house.
it had burned
down,
there was nothing
left,
just a smouldering
twisted black
foundation
and we went to
the fish pond
and there was
no water
in it
and the fat
orange goldfish
were dead
there,
drying out.
we went back to
my parents’ yard
and talked about
it
and decided that
our parents had
burned their
house down,
had killed
them
had killed the
goldfish
because it was
all too
beautiful,
even the bamboo
forest had
burned.
they had been
afraid of
the man with the
beautiful
eyes.
and
we were afraid
then
that
all throughout our lives
things like that
would
happen,
that nobody
wanted
anybody
to be
strong and
beautiful
like that,
that
others would never
allow it,
and that
many people
would have to
die.

11:43 AM | Labels: Charles Bukowski, The Man With the Beautiful Eyes, W. Eugene Smith | 0 Comments  

Kurt Schwitters Poem

5.21.2010

Merz Picture 25A: The Star Picture, 1920
Montage, collage and oil on cardboard, 104.5 x 79 cm


Kurt Schwitters Poem

Getting Around

"Inspiration," the false artist says,
"it just comes to me." And it shows.
His pictures are as like as the four walls of his room
-- morning, evening, midnight, noon.

For myself, I have to search for it.
The whole world is your palate,
but only if you reach,
take hold of what you need and pocket it.

I've walked every street of this town,
know every crumbling curb,
old bullets' pockmarks in the brick,
the unsifted rubbish piles where treasures
sometimes rise from the ashes.

In getting around, the first thing
is to be able to stop.
That's why I rely on my bicycle --
a sturdy old clunker, no gears or gadgets
to let me down far from home,
but a basket of course,
to carry pockets' overflow.

If you must take the train
go fourth class, ride the local.
Avoid motor cars and express trains.

Get to know your travelling companions
and don't dwell on your destination.
Remember, at any station you may step down
stay the night or the morning
rummage in a flea market or listen to gossip.

The whole world is your palate.
But only if you touch it -- take hold! A note on airplanes, airships, dirigibles:
As already stated, in getting around
the first thing is to be able to stop.


from the Contemporary American Poetry Archive

http://capa.concoll.edu

8:49 PM | Labels: collage, DADA, getting around, Kurt Schwitters, Merz, poem | 0 Comments  

SERGEI EISENSTEIN'S BATTLESHIP POTEMKIN 1925 Part 1 & 2



1:53 PM | Labels: 1925, Battleship Potemkin, classic, classic film, Sergei Eisenstein | 0 Comments  

D'ohm

5.02.2010








Homer Simpson as Bodhisattva



Inspiration sometimes hides in the most unassuming places, where it is least expected. In this modern world that place just might be television. If we are to believe Eric Bronson in The Simpsons & Philosophy, there are a number of indications that the show’s writers take inspiration from Asian culture and religion. If, as Bronson says, baby Maggie is the Eastern sound of silence, then Homer Simpson can be seen as Springfield’s resident bodhisattva.1 Provided as a vehicle for the purpose of critiquing pop culture, Homer can serve to teach on how to seek enlightenment in American contemporary culture. While appearing as a walking, talking blooper, Homer is the embodiment of the solution to the problem of human suffering, the cessation of desire.
Homer displays behavior in several instances that shows his blatant disregard for the material world. Feeling no need to justify his own existence, simply enjoying it, he negates suffering. Occasions when he does feel remorse are reserved for when he bungles something for a loved one. Certainly not money-driven, he does not seem to worry much when he loses his job, finding an alternative source of livelihood almost immediately and without great effort or thought. He cares not for his own health or well being, but only for that of his family. The idiom “out of sight, out of mind” can apply to Homer as he does not desire things he cannot see. He is tempted by the rival figure in his life, friendly-neighbor Christian stereotype Ned Flanders. Homer’s antithesis both in spirit and body, Ned is the Mara that tempts him almost daily. Homer’s strength lies in his ambiguity toward absolutes, especially Christian ones. In this way Ned provides temptations, seeking to lure Homer away from his chosen path. Ned is the embodiment of everything that exemplifies Christianity, an obsession with sin, seemingly the only frame of reference through which Ned views the world. Ned does not take responsibility for being tempted or having urges, blaming the devil instead. In similar circumstances Homer blames his “stupid brain.” Another problem with Homer and Ned’s relationship is the discrepancy of lifestyles between them. Forever barely making ends meet, the quality of Homer’s living conditions seem inferior to Ned’s, who attributes his success to a strict adherence to an ascetic lifestyle that is based on his warped, self-flagellating interpretation of Christian doctrine. It seems that, because Homer does not follow the rules of self-centered Western culture, he is made to feel that his way of life is subpar by the judgmental environment that surrounds him. In reference to Robert Thurman, Homer completes the task of transcending the distracting influence of his environment. Unafraid of the consequences of non-acquiescence to the dogma of desire for material things, Homer’s consciousness has the opportunity to expand to the point where he is capable of feeling pure empathy with the individuals that surround him.
While this interpretation might seem to go against what is usually presupposed about Homer from conventional viewings that understand him at mere face value as nothing more than a bumbling glutton, where all of his actions are supposedly rooted in pure selfishness, there is a different way to perceive his deeds in terms of Buddhist thought. Homer uses his perceptions to better understand his environment in a way where he can more fully take advantage of it. What is usually mistaken as selfishness is actually an attempt by Homer to experience life totally in the moment, where he incorporates a meditative aspect into the mundane elements of his existence.
In his The Emptiness That Is Compassion: An Essay on Buddhist Ethics, Thurman describes the proper way for a bodhisattva to conduct himself by listing the “Tenfold Path of Unrighteous Acts”. That path states that a bodhisattva must not “take a life,” that which “is not given,” or “commit adultery.”2 These first three rules “restrain physical unrighteous acts.”3 The next four that instruct bodhisattvas “not to lie,” “cause dissention,” “speak harshly” or “chatter foolishly,” restraining verbal acts, while the last three that prohibit coveting, harboring of malice and holding “wrong views” speak of mental acts.4 Additionally, according to Thurman, the Buddhist concept of “selflessness” is defined as “the absence of an absolute self in the empirical self.”5 This knowledge coupled with an idea of how the average resident of Springfield behaves, makes Homer the closest unaware follower of Buddhist ideas on The Simpsons, where he could even serve as their resident Buddhist teacher. Lisa Simpson, Springfield’s youngest Buddhist, while outwardly professing a desire to follow Buddhist philosophy is simultaneously hampered in her efforts by a judgmental, holier-than thou-attitude that provides an example of hubris rather than of how to mindfully empathize or express compassion for other human beings. She seems to have chosen Buddhism in order to use it as one of the ways she can publicly demonstrate her superiority to the people who surround her, showing a disregard for the feelings of others in a quest for intellectual self satisfaction.
As stated, Homer’s actions are usually viewed through a tainted lens of Western selfishness and greed in contrast to a character like Ned Flanders. This could be erroneous, particularly when considering the fact that bodhisattvas are allowed to operate under a different set of rules than ordinary people at “exceptional times.”6 As Thurman describes through an explanation of the “Sila chapter of the Bodhisattvabhuni,” a bodhisattva can “kill, or steal, commit adultery, or lie” if these acts are accompanied by a “motivation” that desires the “benefit of sentient beings,” and that “this the bodhisattva may do, volunteering as it were to go himself into the hells in retributive effect of his sin.”7
This description is reminiscent of Homer’s motivations, especially at times when he’s acting on behalf of his wife and children. He is often shown putting his body through terrible pain in order to help the people he loves. Homer’s gluttony and sloth can be viewed as the necessary evils, a variation on those in the Sila chapter described by Thurman, that he must engage in to better help the “sentient beings” of Springfield, a town depicted as containing a vast surfeit of corruption, hypocrisy and what the Buddha himself would refer to as the “universal disease” of “humanity.”8 Homer can in this respect be viewed as the least intentionally corrupt character on the show, observing his environment with what Thurman might call an empty compassion where his actions do not add to the disease, but rather provide an example of how to mindfully live in a place as part of a culture that ignores a consideration of such higher ideals, or an avoidance of desire that is required to transcend suffering.


References
1. Irwin, William, Mark T. Conrad & Aeon J. Skoble (Eds.). 2001. The Simpsons and
Philosophy: The D’Oh! Of Homer. Peru, Illinois.
2. Thurman, Robert. 1980. The Emptiness That Is Compassion: An Essay on Buddhist Ethics.
Retrieved December 4, 2009 from
http://www.bobthurman.com/apex/essays.

Notes
1. Eric Bronson’s essay in Irwin, William, Mark T. Conrad & Aeon J. Skoble (Eds.). 2001. The Simpsons and Philosophy: The D’Oh! Of Homer. Peru, Illinois: pp. 34-45
2. Thurman, Robert. 1980. The Emptiness That Is Compassion: An Essay on Buddhist Ethics.
Retrieved December 4, 2009 from
http://www.bobthurman.com/apex/essays.
3. Ibid.
4. Ibid.
5. Ibid.
6. Ibid.
7. Ibid.
8. The Buddha as quoted in Irwin, William, Mark T. Conrad & Aeon J. Skoble (Eds.). 2001.
The Simpsons and Philosophy: The D’Oh! Of Homer. Peru, Illinois, p. 290

12:22 AM | Labels: Bodhisattva, Buddhism, D'oh, Homer Simpson, Robert Thurman | 0 Comments  

Artist Profile: Jorge Cruz Untitled

4.16.2010




Here's the first of my artist profile installments.


His name is Jorge Cruz and he works for URB magazine. His latest series of work in art photography is called "Untitled" and is an intriguing exploration of the meaning of femininity in a blatant, unadorned way. In his own words he feels that his work is the "reverse Cindy Sherman" where his motivation and his goals are rooted in "both fashion and the idea of maintaining my individuality but at the same time having the conflict of trying to attract a romantic partner. The work itself speaks dimensions of different ideas, feeling and emotions that I hope more people can relate to."

From the writing of Tempestt Hazel:

Jorge Cruz’s Untitled series is a collection of portraits that explore the space between social and individual standards of beauty. Untitled poetically investigates what can happen when a person transitions from one culture’s conventions and ideologies to another. Through intimate portraits of a single subject, Cruz puts the widely recognized triggers of American standards of beauty, blond hair, make-up and distinct style, at the forefront. Together, the works feel like a fashion photo shoot of sorts, with dramatic, unnatural lighting that highlights and mimics the unnatural nature of these beauty cues when imposed on those it was never meant for, but at the same time feel the need to conform to it. In relation to the entire body of photographs, my favorite depicts our star in an introspective state, minus the flashy clothes and accessories, make-up removed, eyes closed, with an expression that appears to be asking “why” to her attempt to live up to this impossible socially imposed image while staying true to her own self-image. While this issue is an ugly truth that many struggle with daily, Cruz has found a way to make the tragic and painful quite beautiful.


His website address is http://monamiejorge.com/ and contains many of his other photographic works.

12:57 PM | Labels: 20th century art, artist profile, contemporary, Jorge Cruz, photography | 0 Comments  

Deborah Butterfield at Leslie Sacks: Exhibition Closing Saturday, March 13

3.12.2010


Deborah Butterfield Reclining Horse



Deborah Butterfield is one of America’s premier sculptors. The work pictured above, Reclining Horse, 1990, is a life size bronze. The illusion that it’s constructed of wood is heightened by the artist’s inclusion of angle irons, which appear to support a rickety assemblage of driftwood. The message here would seem to be that things are not always as they seem.



The carefully cast and assembled bronze “branches, limbs and scraps of construction lumber” give the impression that the form of the horse is largely happenstance, as though driftwood had simply piled up on a beach and was minimally rearranged to create an equine fantasy, though this and all of Butterfield’s horses have an elegance and unassuming importance that belies their rustic style. Still more ironic, Butterfield’s horses are primarily about stillness, rather than seeking to romanticize galloping steeds with flowing manes and tails.



Butterfield speaks to this point in the following quote:



My work is not so overtly about movement. My horses' gestures are really quite quiet, because real horses move so much better than I could pretend to make things move. For the pieces I make, the gesture is really more within the body, it's like an internalized gesture, which is more about the content, the state of mind or of being at a given instant…



Perhaps the overarching message here is that if things are not always what they appear to be, one is well advised to cultivate the stillness of one’s innermost consciousness, i.e. awareness of feelings and intuition, and in so doing pay attention to the essential nature rather than mere appearances of people, places and things.



Deborah Butterfield’s work is held in the collections of the Frederick R. Weisman Foundation, Los Angeles; the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C.; the Metropolitan Museum of Art, New York; the Museum of Contemporary Art, Los Angeles; the University of California, Berkeley, Davis and Los Angeles campuses; the Whitney Museum of Art, New York; and the Yale University Art Gallery, among many other institutional collections.



Reclining Horse is on view at Leslie Sacks Fine Art through Saturday, March 13, 2010. Please contact the gallery at (310) 820-9448 with any questions.
This work is not for sale.

8:42 PM | Labels: Deborah Butterfield, exhibition, gallery, Leslie Sacks Fine Art | 0 Comments  

Patrick Pietropoli at Axelle Fine Arts, Thursday, March 18, 2010



On Thursday, March 18, 2010 Axelle Fine Arts will showcase the urban landscapes of Patrick Pietropoli which features the shifting perspectives of Paris, New York, Venice, and Florence. Pietropoli's canvases are extremely detailed, large-scale works that characterize the city as an entity. Each painting utilizes color to convey tone, meaning and mood where Pietropoli's devotion to detail and lighting make his seemingly-still images come alive. The gallery will also feature a small collection of the artist's evocative figure paintings. Pietropoli recently moved from Paris to Brooklyn and will be attending the opening reception.

The show will be on display from on March 18, 2010 through April 17, 2010 at Axelle Fine Arts, 535 West 25th Street, NY, NY. The reception is from 6pm to 9pm and is by RSVP only. Please make reservations by calling 212-226-2262. For more information on Axelle Fine Arts Gallery and Patrick Pietropoli, please visit www.axelle.com

8:03 PM | Labels: Axelle Fine Arts, Florence, French art, Gallery Show, New York City, opening, Patrick Pietropoli | 0 Comments  

The Twilight Zone - The Bard

2.27.2010



Original Air Date: 23 May 1963 (Season 4, Episode 18)

10:42 PM | Labels: Rod Serling, The Bard, The Twilight Zone, Writer | 0 Comments  

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