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PostSubject: Modern ART Wed Jun 25, 2014 1:11 pm

Lyssa wrote:
I agree...

Many skilled automatons produce realistic paintings, but we have no genius who can communicate and interpret the real-ISM of today; (s)he would be censored and such art would be pushed to anonymity. Only sensationalism and technology-aided skill-accuracy "realistic enough" passes for art today. Any rebellion itself would quickly be silenced and commodified as another enterprise.

satyr wrote:

Good point...
Because if you look hard enough in the computerized artistry you might find someone doing a fine job of counterfeiting the genius of yesteryear...

But why complain about it?
Only someone who cannot produce art, would critique art.

Nod your head, and pretend its beautiful.

DISCLAIMER:
You'll have to use ctrl+ and ctrl- for some of these images. I don't have time now to rehost them at a proper viewing size. I'll come back later and fix the thread
If a mod wants to make the img tags into url tags, I'm not going to cry about it.

Excuse me while I nod my head.

Nerdrum:







Prior:







Monks






Helnwein:




Freud, Diehl, Olij... I need to stop looking at paintings and get back to work now, but I urge you to explore.... or don't, sink into your bitterness and and whine about the world some more, that's really productive.

You can say, of course, that these are devoid of any emotion and the work of automatons, but then, I've heard that about every realist masterpiece in history Smile
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PostSubject: Re: Modern ART Mon Jul 06, 2015 4:02 pm

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Samuel Silva – ballpoint pen



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Dirk Dzimirsky – pencil on paper

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PostSubject: Re: Modern ART Mon Jul 06, 2015 4:14 pm


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Gregory Thielker – oil on canvas


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Ray Hare – acrylic paint on canvas


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Gottfried Helnwein – oil and acrylic on canvas


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Bryan Drury – oil on wood

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PostSubject: Re: Modern ART Sat Jul 11, 2015 8:11 am


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PostSubject: Re: Modern ART Mon Aug 31, 2015 5:16 am

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- The concept of subjective art was developed under post-modernist philosophy.
- Evidence CIA used modern art as a cultural propaganda against the Soviets.
- While modern and post-modern artists reject traditional training, the reason traditional artists are so admired is because they built upon the last generations talent.
- Architecture has also been modernized to fit function instead of aesthetics.
- Though traditional architecture could not survive in an industrious economy.
- Literature seems to have followed a relatively same fate to architecture as the influx of publishing by commoners, works which would be viewed as objectively good are either hidden or disregarded.
- Art is no longer about competing to create the best for a cheaper price, but instead trying to sell the grotesque for as much any pretentious liberal is willing to pay.
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PostSubject: Re: Modern ART Fri Nov 13, 2015 5:53 pm


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PostSubject: Re: Modern ART Sat Nov 28, 2015 7:03 am

I thought Lyssa might find this piece thought provoking...
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PostSubject: Re: Modern ART Tue Dec 01, 2015 7:06 pm

Likewise...

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: Modern ART Mon Mar 07, 2016 8:21 pm

Goux, Jean-Joseph wrote:
As a transition between the "perspectival" (realist) novel and an abstract type of novel, The Counterfeiters could to press further the homology with the
history of painting be designated a cubist novel. In its internal form, cubism is that brief moment in the history of European painting when the object is still represented or figured, but when it is also disfigured by the internal logic of the painting. The destruction of monocentric perspective here reaches a critical pass: it is effected through the multiplication of points of view with respect to a
single object, all combined in the same painting. Cubism destroys perspective by pluralizing angles of vision and connecting them to each other according to a nonobjective logic. In this sense, it is the immediate precursor of abstract art, all the while remaining ultimately attached to representation. Delaunay clearly saw that, in "introducing several points of view upon an object on the canvas," 3 cubism still belongs to the realm of perspectival vision. It modifies this vision, exposing the pictorial convention of perspective, but never completely abandons the convention.

---Coiners of Language

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In cubism we begin to witness the modern slide away from reality - its disconnection from objective world.
The images remain obscurely familiar, as depicting phenomena, from multiple points of view, at the same time - giving the picture a strange appeal.

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Inter-Subjectivity is emerging in art, as a movement, announcing perspectival equivalence, hinting at a personal common point (esoteric) and no phenomenal common ground - the objective world pushed away giving room to psychology, the nervous system projecting its confused, abstractions with no sense of discipline to an external world.
Images polled form memory, from dreams, and combined into quilts with vague familiarity.

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In abstract art the disconnect is formalized.
The images making us feel, without depicting anything real - colour and geometrical lines, triggering apriori concepts that imply a unifying fabric - representing what could not be apprehended.
In all art-forms the movement gains ground, reflecting Modern man's alienation, and his search for a God underneath appearances.

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Goux, Jean-Joseph wrote:

The moment described here can be discerned in the long run as arising from a new exploration of value, implicating the very notions of meaning, origin, circulation, production of meaning, and so on. The parallel between language and money, literature and the political economy, is not a mere juxtaposition, but is made possible and operative by processes at work simultaneously in both
economies.

......Classical monocentric perspective implies that it is somehow possible to coordinate the plurality of accidental points of view, that the diverse angles may ultimately coincide, that the universal viewpoint of Science (or of objective perception) can coexist compatibly, in the same consciousness of self, with the singular viewpoint of reflexive individual subjectivity. The optimistic metaphysics of the bourgeois era is, like its economy and philosophy, founded on a belief in an ever-possible harmonization embracing the telos of individuals as individuals and the universalist telos of the collectivity, through a
coordination of viewpoints and vanishing points extending even to political
forms of representation.

....It is therefore not surprising that the crisis of general equivalents and the crisis of perspectival representation should occur at the same moment. The entire configuration of exchangist centrality, in which various subjective points of view coincide with the universal point of view, is shaken. Thus in Gide's Counterfeiters the simultaneous crises of general equivalents and of perspective are played out with an exemplary coherence. The Counterfeiters is at once the novel of diverse points of view and the novel that uses the monetary metaphor to record the undermining of the exchangist system based on a certain modality of the universal equivalent. A perversion of values (counterfeiting) is the form taken by the crisis of a certain historical modality of value the modality that was governed by the complete (at once measuring, circulating, and embodied) general equivalent. At present, circulating money which makes possible effective exchanges between individuals with competing points of view no longer coincides with a hypothetical universal measuring money, in the register of the archetype.

---Coiners of Language

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PostSubject: Re: Modern ART Tue Mar 08, 2016 4:46 am

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M.C. Escher's [You must be registered and logged in to see this link.] is, perhaps, the most well-known artistic depiction of self-referential subjectivity, in the cubist artistic style.
Using Fractal mathematics, reality unfolds in iterating patterns, creating geometric realities of multiple perspectives, combined in mind-bending configurations.
The image of a hand drawing itself, drawing itself, is indicative of solipsistic enclosures - the extreme of inter-subjective realms excluding all information that might disturb the geometric balance: a world in perfect order, rational in its irrationality, clarity implied in its confusion.
The world, and chaos, is left outside the repeating images that have taken from reality to construct, within its finite borders, infinity.  

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In this world all is in-order, once you accept the starting premise as a given fact, and what is not is resolved with the ambiguity of a vanishing point.
Multiple perspectives, all equally valid, none more "real" then the other, best reflects the Modern mind-set - multiple perspectives, presented simultaneously, with a singular theme.  
Imagery vaguely familiar as real arranged in unreal configurations, representing a loss of orientation.

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With cubism, and surrealism, we still retain some attachment with the world, later being lost in abstract art where it disappears in colour and lines.
The references are real, but how they are presented correspond to nothing experienced.

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Compartmentalized thoughts placed side by side to create a semblance of cohesion.
The unity found in feelings, emotions, sensations pulled-out of the observer's psyche, stimulated by the imagery.

Art hinting at a meaning, leaving it up to the observer to project his own conclusions.
Audience leaving with the feeling that something profound has occurred - something requiring further thinking, further meditation - the art producing different conclusions with every further reconsideration, with every new observing: mass appeal.
Chaotic confusion which produces infinite possibilities, this type of f-Art excludes nobody and nothing.
The artist is not telling you anything. There is no meaning in his art – it is the absence of all meaning, and the glorification of individual choice, void of all psychological determinations.
He wants the observer to become part of the art process – finding in it whatever meaning he chooses; subjectivity reaching an apex, in the power of suggestion, in marketing potentials.
No wrong answer is possible, because the piece says nothing.
Nobody feels foolish, or ignorant, before its challenge.
It alludes, triggering internal processes to spill-out from the observer.
Each individual creating his own personal relationship with the art-piece, as he would with Jesus.

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The artist taunts us in our confusion, exploiting our desire to remain unclear, uncertain, forever lost in our own interpretations - free within them.
There is no one way of thinking about what is represented in a reality where selling and sensations are the motive – to move minds with insinuations taking advantage of the absence of certainties and the low cost of being wrong.
The message is that nothing is as it appears to be, except when what appears to be matters, and in most cases living in the artificial world of Modern Dystopia what matters the least is past/nature – reality.
Representing it as accurately as possible no longer matters; expressing the individual’s psychosis, that turmoil of internal digestion; selling to the masses, acquiring fame and fortune, moved by its social implications does matter.
Utility of what is depicted is no longer practical, and pragmatic, it is increasingly psychotic, and the psychotic genius expresses the shared delusions which the loss of past/nature, and of identity, produces in those less talented.

Man imagines world as a universal brain, a Deus, enclosed by a skull, some boundary constructing a "whole": referring back into itself, in an endless loop, and imitates this creating self-referential conceptions not only ignoring the world outside the skull, but purposefully excluding it from their "prefect" representations: subjectivity.
What disrupts this abstracted "perfection" does not belong in its Divine cohesion.

With no external world (objective), the internal, is all that is required - an esoteric world bubbling with the echos of a past/nature selectively rejected and renamed to erase its deterministic connotations.  
What is left is Will, manifesting in the ceaseless creation of reality, freed from its original function: not directing aggregate energies towards objectives, but will expressing its organ (inter)activities, as if they were immediate, lacking all past all automated processes.
Will as creator God - man wills reality into existence, and then wills himself within it, with no restrictions, no limiting rules.
The epitome of self-referential, subjectivity - Modernity going a step further, establishing a supportive framework where the mind convinces itself that it it is outwardly interested, has integrity of motive, when all it does is sample other minds, other subjectivties that support or feed into its own.  

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