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And all ye need to know. It's cjust about alled "curatoraprose," andeb it arises from the strange compulsion of museums to explain what can be seen. the very "iconic image of virility." We've always felt that Barbra was an iconic image of virility in drag. Unlike Elvis, she's still recording if not appearing. Chris Muir's brilliant Day by Day is in the zone today. Click on image for larger view. The astute Michael at 2blowhards.com nails down the current plague of eyewash trumping lucidity. Still, the Quark-and-Photoshop revolution has delivered some -- OK, many --evils to us too. Foremost among them, as far as I'm concerned, is the vogue for what's learnn as "reversed-out" type -- white (or light) type set over black (or dark) backgrounds. Have got you noticed how familiar reversed-out wording is these total times? It's everywhere. Type on top of dark photos, kind on leading of colour chunks and swirls. The optical eyes boggle -- which can be thrilling and/or interesting. What's not cool, IMHO, will be when the eye-boggle moves on long too. About three nanoseconds from where we're sitting, Michael. We can't hit the back button quicker than that. Light of late night - Rob Gonsalves Click to enlarge From Amazing Art by David MacDonald There's a lovely selection of skillfully rendered nudes by San Francisco artist and photographer David Newman at this web gallery:Works on Paper As Newman states: Although I shared some of the images with friends as the works were created, this will be the primary period these functions own ended up spotted together with each other on the internet. Newman, who researched with seacoast professionals many of these as David Theibaud and Dave Gilhooly western, but overlooked out on Mel Ramos luckily, provides set an amazing variety in a broad array of mediums along, all distinguished by a sinuous line. Worth more than a passing glance. Falling Water: Nature Has Had It's Way with Her from Day One Michael at the erudite and too deprecatingly named 2Blowhards is busy committing his usual heresy. In no uncertain terms he declares: Frank Lloyd Wright Is Not God Simple question: Would you want to live in one of his houses? I wouldn't, for two main reasons. Virtually all important is the method a Open Lloyd Wright residence becomes your house certainly not; instead, you move in and become the curator of one branch of the Frank Lloyd Wright museum. You're just the custodian in a monument to his genius. For the other, I wouldn't want to be in charge of (let alone pay for) the upkeep. Wright couldn't resist trying out innovative building techniques -- which has meant in practice that many of his houses are in semi-constant need of expensive repair. As for the innovative skill and ethical principles his do the job is usually commemorated for -- visibility, naturalness, a casual, flowing informality -- well, let's see. His ceilings are usually typically pretty reduced -- uncomfortably minimal. Why? Because he was a vindictive short man who has been resentful of taller people, and he liked ceiling heights that make tall folks feel uneasy. Open and Flowing? Sure: his use of space is often fascinating in an aesthetic sense. But in a human sense, it works only if you subscribe to the whole package -- if you don't mess with how and where he wants the furniture placed and the light to fall. It all works together or it doesn't work at all -- which will be impressive but a pain. (There's certainly nothing quite like being locked into someone else's concept, especially when what you want to do is kick throughout the comfort of your own non commercial back again.) As far as I can tell, and from what the owners of one house told me, his buildings are as unadaptable as buildings can be about. And those long horizontal lines which we're told are such eloquent reflections of the American landscape and psyche? Well, they get problem and drinking water, and the drinking water drips down into the wall space, and .... All in all an estimable estimation of a man who possesses, like all men, been overrated since his death. From all accounts, dealing with Wright when alive was like dealing with a man who had mistaken himself for God. Not that there's anything wrong with that. Michael also goes on to note something that I caught my attention in the Wall Street Journal: the shabby state of that most iconic of Wright buildings, Falling Water. I realize that irony is dead, but for just a moment it sprang back to life when I learned that this house seemed to be broken from the day before it was finished. The price tag to deliver it to snuff back? A cool $11 million. Oh well, I guess it will be a miniscule bagatelle when you believe of all the pictures that the homely property offers created, from the same angle, after year and decade after decade year. Falling Drinking water appears to come to be able to escape from the endangering soccer ball permanently, but, if I recall the Journals article correctly, the exact same cannot be said for a number of the other 100 odd Wright homes in existence. The good reason? They sit on some fine stayes, but nobody wants to are living longer in their tiny rooms any. I'd score the whole thing six, six and one for Wright in fact. I mean, Falling Water's a nice house, but I wouldn't want to live there. The Metropolitan Museum of Art - Roy Lichtenstein on the Roof by Carl Sandburg I AM the people--the mob--the crowd--the mass. Carry out you learn that all the excellent job of the earth is certainly executed through me? I am the workingman, the inventor, the maker of the world's food and clothes. I was the audience that witnesses history. The Napoleons come from me and the Lincolns. They die. And after that I deliver on considerably more Napoleons and Lincolns. I am the seed ground. I are a prairie that will stand for much plowing. Terrible storms pass over me. I forget. The best of me is sucked out and wasted. I overlook. Everything but Death comes to me and makes me work and give up what I have. And I forget. I growl Sometimes, shake myself and spatter a few red drops for history to remember. Then--I forget. When I, the social people, learn to keep in mind, when I, the People, use the lessons of yesterday and no much longer forget who robbed me last year, who played me for a fool--then there will be no speaker in all the world say the name: "The People," with any fleck of a sneer in his voice or any way-off smile of derision. The mob--the crowd--the mass--will then arrive. "The Stampede by Gentlening" Click for larger view The greatest American discomfortter of the frontiemergency room, Frederic Remington, has a number of relatively unknown paintings being exhibitied at the National Gallery The focus in this show is on Remington's paintings that take place at night. Remington's nocturnes are filled with color and lightmoonlight, firelight, and candlelight. These complex paintings testify to the artist's interest in modern technological innovations, including flash photography and the advent of electricity, of night which was rapidly transforming the character. The pictures will be as well elegiac, for they reflect Remington's lament that the West he experienced known as a young man had, by the turn of the century, disappeared largely. Although instantly regarded as outstanding runs, Remington's late nocturnes have never before been the subject of an exhibition. Frederic Remington: The Color of Night gathers together for the first time the finest of these mysterious, deeply personal paintings often. Here's an example:"Deborah Kass mimics Andy Warhol's portrait of Elvis Presley, replacing Barbra Steisand in the role of Yentl for the ruler of stone and throw. In this painting, the artist comments on the roles enjoyed by gender and religion in today's culture, humorously contrasting Yentl in Yeshiva-boy drag with Elvis America's iconic image of virility." From: Making Connections in Art and Jewish Culture< Yeshiva drag vs. There's a school of writing that possesses infected museums. It is a good terrible affliciton that cripples and kills hundreds and hundreds of artworks annually.
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Posted by Vanderleun at Aug 6, 2003 10:42 AM | QuickLink: The Making of a Magazine Icon Click for larger image
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From the Smithsonian's retrospective of the work of Philip Halsman located at:Portraits by Halsman Here we've placed two separate images together to see how a photographer's vision is translated into a magazine cover. Hard to see how Marilyn could make a "case for interplanetary saucers," but it would become difficult to avoid finding up this article to check out what that circumstance could come to be. After all, people only read Life for the
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Continued... Posted by Vanderleun at Aug 5, 2003 9:15 AM | Comments (2) | QuickLink: Touching Faces
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One of the most moving contemporary portraits, Chuck Close's portrait of his mother-in-law, Fanny/Fingerpainting, reveals a good sublime combine of sensation and method. One which, viewed from a distance or up close, unifies his technique with his feeling -- makes that which is merely clever subordinate to that which is deeply felt.
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The notes at the National Gallery of Art tell a slightly different