F-Art

Follow-up to the CRAP thread.

Modernity represents this turning away from reality, this self-referential process (solipsism) which I've identified as true Nihilism, where reality, nature, the world is not engaged in directly but indirectly.
The F-Artist depicts his emotional reactions to the world, and so he can claim to have value simply because he can convey them...or his marketing team convinces many that he can.

His value as an artist is totally artificial, founded on selling himself. It has no reference point, so anything can now be art if one, or more, individuals think it is so.
Everything is metaphorical, artistic, including language, and so the label "artist" and/or "art", defines someone who is popular, who is marketable, popular...who can earn money selling his metaphorical symbolism.

Modern art is subjectivity raised on a pedestal.
Sampling, similar to that found in C-Rap, is rampant in Modern art.
Perspectivism becomes, once more, the great equalizer. You can splash paint on a canvas, have a gorilla do it for you, if you like, or you can place a rock in a glass casing, and declare it art.
The onus is on the observer....his perception, his emotional reaction.
If you can imply to the many that you are saying something profound, that your f-art has a message, then he will be burdened with the need to find it, no matter what.
The F-Artist is a snake-oil salesman, with the right social networking to be marketed in sophisticated ways.

We see this admiration for hustlers, liars, in the modern psychology.
In C-Rap the bullshitter is made into an icon, and though stringing words together in a superficial rhyme, repeating the same egotistical, hyper-masculine message, is all he is doing, if he has the right connections he can make millions selling himself to idiots, and retards.

Same is true for all modern F-Art.
The assembly-line mentality, where production leads to the bottom-line....and the bottom-line, if in the black, is an indication of worth.
Numbers....all about the numbers, the Benjamins, the sales.

Like with all F-Art the practice of abstract nothingness sold as a somethingness, is dependent on sampling, references, deference, appealing to the lowest common denominator in the human psychology.
F-Art, based on no talent, on anything that might display a superior intellect, a higher sensibilities, is the great equalizer. A child can do it, an animals with a paint brush can create it, a computer engineer can manufacture it.

It's all 'relative', as is beauty, for the modern mind. Relative to the stupidity, simplicity, of the observer, and the cleverness of the observed.
Talent is now about convincing the masses of a lie.
There's no reality to measure the F-Art piece against, It can be anything, at any time, for anyone.
All is art, of equal merit, and so nothing artistic has any merit.

Some examples of realism in art....true art. The superior talent of the artist obvious, even when depicting fantastic imagery full of emotional content.

Two famous examples of F-Art...because I cannot stomach more than two at a time.

In the first, Warhol, we see the modern, sampling method in a painting format.
An image, repeated, then manipulated, and pretended as art.
Sold because of name recognition, the marketing industry manufacturing of idols living the modern lifestyle of decadence.



In the second Pollock F-Art we see a splattering of color, chaos on canvas.
a child can do it...a gorilla can do it, and, in fact, there he is doing it.
He dares you to expose his pretense.
Sells for millions to pretentious fucks, like him, but dumber.
The same sorts that buy C-Rap music.

Cows like bullshit.

The same psychology is part of the modern approach to philosophy.

Philosophy is an art-form. A discussion, dialogue, between observer and observed.

A philosopher must be an artist..and modern types can only remain f-artists.
Realism is frowned upon, considered "old school".
They want that mass participation, that emotional appeal, that ambiguity that includes all perspectives and has no standard other than popularity, marketability, making money.

Reality does not matter. It is a hindrance. It excludes the majority, and raises a few as superior artists.
Equality means all scribblings, all c-rapping, all f-arting has equal merit, and can only be judged on its sales.

Same with words.
They must be detached from reality.
The word 'love', the word 'sex', the word 'race...all detached from perception, from nature, from the world.
It must be made abstract, self-referential, and then judged on how many it appeals to emotionally.

THIS is fuckin' decay, people.
This is what I've bee describing...this infantile cowardice, many of ILP display daily, making them perfect specimens for studying Modernity.

The F-Artist, the C-Rapper, knows he's selling bullshit to imbeciles.

He loses respect for the very people he relies upon to become famous and rich, and because they are so shallow and easily manipulated, he begins to believe that he is exceptional, a genius - if not as an artist, then as a f-artist, a hustler, a pretender...what they call a "playa" in the C-Rap industry.

He transfers this to all areas of human interest. For him philosophy cannot be connect dot reality, cannot be about describing the world, as art should, but about emotion, manipulation, suing words to trick the other, to seduce him with a lie.
He is convinced that philosophy is no more than a ruse, exploiting human weaknesses.

Take shit-Smears, from the Barn Boards, as evidence of this.
For him philosophy is nothing more than extension of hustling, selling ideas, convincing the impressionable.
There is no standard to evaluate the value, the quality, the probability of a theory.
It's all solipsistic, all abstractions detached from everything...it's all emotional appeals and trickery.
That he would have no connection to his own heritage, of poor quality though it is, and his immersion in the modern adolescent C-Rap culture of Negroes, is indicative of this "hustler" mentality...this modern quantification, and encoding of value as numerical sales - a decay, a falling back into the base.

His continuous "everybody knows this" or "everybody can see" is an example of how he constructs personal perceptions based on popular support, on being pat of the in-crowd, the cool ones.
His only standard is how much appeal he attains...how many hoes, how big his house (crib) is, how flashy his car, his jewelry.
The idea, the word has no other way to be evaluated, for such a modern mind.

Therefore, words like "race", and talk about sex, if they do not result in popularity, in being liked, in attaining material and hedonistic rewards, have zero value.
If he cannot use a word to 'get some', he has no interest in it.

Why talk about race, for example, when it makes most feel bad, turning them against you, lowering your potential rewards?

This is one of the worst, in my opinion:

http://wtfarthistory.com/post/25925372927/nothing-to-do-with-art



Robert Rauschenberg, Monogram, 1955-1959, mixed mediums with taxidermy goat, rubber tire and tennis ball.



It's the meaninglessness which gives it it's power I think. It's like a blank slate that any invention of the human mind can be applied to. This piece of shit could be about death, environmental pollution, it could be nothing more than satire towards real art - a sort of fuck you to the establishment.
But what matters is that it refers to nothing real nor provokes any great feeling. The viewer must create a meaning for it to conform to. Then they are able to pose as deep or intellectual.

It's a stuffed goat, inside a tire, with paint splashed on its face, standing on a jigsaw of canvases. To me, it's a symbol of cultural collapse. It represents the nihilistic frenzy with which a culture commits suicide.

And this is the point of these pieces; they are done to provoke reactions, to be discussion pieces, to allow the viewer to expose his own subjectivity. Like vandalism, they are forms of cultural graffiti.

I can draw, especially copy pictures. The talent has become essentially obsolete with technologies with far greater detail. Anything imaginative is extremely hard to for me to execute. Abstraction entices because of this originality, a kind of meta-realism, feeling, perhaps a new era could reflect better on it.

Rank these:


Mother's potrait. My best work, took about a month.



Not copied which made it considerably more difficult.

These two pale in comparison. Which is why i can't even consider my self an artist.

You made these?
Fuck...they are amazing.

apaosha wrote:

This is one of the worst, in my opinion:

http://wtfarthistory.com/post/25925372927/nothing-to-do-with-art



Robert Rauschenberg, Monogram, 1955-1959, mixed mediums with taxidermy goat, rubber tire and tennis ball.



It's the meaninglessness which gives it it's power I think. It's like a blank slate that any invention of the human mind can be applied to. This piece of shit could be about death, environmental pollution, it could be nothing more than satire towards real art - a sort of fuck you to the establishment.
But what matters is that it refers to nothing real nor provokes any great feeling. The viewer must create a meaning for it to conform to. Then they are able to pose as deep or intellectual.

It's a stuffed goat, inside a tire, with paint splashed on its face, standing on a jigsaw of canvases. To me, it's a symbol of cultural collapse. It represents the nihilistic frenzy with which a culture commits suicide.

And this is the point of these pieces; they are done to provoke reactions, to be discussion pieces, to allow the viewer to expose his own subjectivity. Like vandalism, they are forms of cultural graffiti.

When I see shit like this I get angry.
Ugliness, ugliness...everywhere.

The thing is, most people, even simpletons, have an inherent appreciation for realistic art forms. There is something uplifting and life-affirming to be extracted from a man-made work which captures or magnifies the splendour of organic form and beauty. The artists (re)presentation of the natural, of the familiar strikes a chord with most people, at least on a sub-conscious level, reminding the viewer that it is man who sees nature both more accurately and more idealistically than any other, producing great works and monuments as testament to this tendency. Great art also affirms the need for hierarchy and nobility with it exceptional, stand-out nature.

What is never explored is how long it takes to train budding young artists and creative minds to deify and idealize degenerate unappealing forms. It is in itself a work of perverse artistry that institutions such as established art-schools and galleries indoctrinate young minds into producing the un-aesthetic believing that true beauty is overcome or archaic. When a piece must be accompanied by a passage of writing indicating why something has artistic value it proves that what is being viewed is not art but politics: the politics of decadence. One needs sufficient indoctrination and a degree to hold utter bullshit in high esteem.

How sickening it is that modern art consists of the entirely unoriginal, predictable, obvious signs of decay whilst masquerading as original/revolutionary: male artists becoming little more than petulant 'anti-establishmentarians' (displaying blatantly conformist tendencies in the process) and female artists producing sycophantic and nauseating idealisation of the vaginal form and of 'female oppression'. Then we have the authority of the institution providing these eyesores with symbolic merit. 'If it hangs on this wall in this gallery then it is art'. No surprise as to who owns and deals in the majority of 'art' today as it slides further towards obscenity and genuine ugliness.

I like Warhol's contributions for the fact that they are shamelessly unoriginal, unrealistic and utterly conformist. He can be used as a case study for all art in this day and age where man ceased to represent the forms and cycles of nature and instead began to represent the forms and cycles of society as it declined into mediocrity.

ThereWillBeBlood provided a great documentary on the banishment of aesthetic beauty in art some time ago, definitely worth a watch for those who have not seen it.

Blood those are brilliant!

There Will Be Blood wrote:

I can draw, especially copy pictures. The talent has become essentially obsolete with technologies with far greater detail. Anything imaginative is extremely hard to for me execute. Abstraction entices because this originality, a kind of meta-realism, feeling, perhaps a new era could reflect better on it.

Rank these:

Mother's potrait. My best work, took about a month.

Not copied which made it considerably more difficult.

These two pale in comparison. Which is why i can't even consider my self an artist.

Yes those are excellent. You have some real talent.

Not sure about the proportions on Adriana Lima, the torso looks a bit small, but the detail is excellent and the child is like a photograph.

I think that's one of the arguments which they bring forward against traditional, especially photo-realism art - That it has become pointless, obsolete, because of inventions like the photo-camera.

As if social commentary couldn't be generated by a computer program by now.
But ten year olds are now being trained to critique social norms, of course, guided to stay within the correct parameters of that critique. Making it into a generic production of variations of the same shit over and over again.

Craftsmanship? - No, a machine can do that.
Intelligence? - No, there are already enough books on how to keep this social machinery running.
Vitality? - No, this cruise missile will take care of it.

How easily an individual is replaceable today. And at the same time there has never before been so much talk about human rights before in history. Instinctively they all know how cheap one individual has become for the whole machine.


...

Amazing drawings, There will be Blood!
Shows good focus and endurance capabilities.

Gratitudes. I have a propensity to shut out the exterior world and maintain absolute clear focus for large amounts of time, techniques are learned over time, the former is the main ingredient I find. Many times I prefer living in my own mind, it gives total indifference toward outside sources, can be antisocial, which is why i stopped, drawing gives an outleash.

These are some of my sisters who's been tainted by art school. She was a straight A student, and I'm a B. So thriving in modern institutions, very likable, feminine, but psychlogical issues such as anorexia.








A kind of aesthetic within the brokenness, a seeking void, feminine feeling which i find beautifull. Mabey biased.

This is most in depth. First hand revelation of his own psychology and thinking. Art is to be felt, not understood. A recreation of an event, not a illustration of an object, the mere feeling of it. Personal familiarity to the abstractor gives it greator meaning. Bleak suffering in godless world, not to the point of tragedy, mainly bizarreness . Hitler's style is of a far more tragic nature. Shopenhauer as his greatest influence, the art reveals the true ideal absoluteness. A strife of which must be sustained. He him self received medals as an highly heroic solider. This is my thoughts on the matter.

Its not just the works of modern f/art, but the meaning and Purpose of modern Museums have almost disappeared...

Why we exhibit works of art?

The 'Museums' we know today are those of the Holohoax...

That thing about Over-realism...

Quote :

The most controversial of these artists is Rudolph Schwartzkogler, who participated in Nitsch’s actions and created works that he referred to as "artistic nudes--similar to a wreckage" in which he performed self-administered mutilations. Schwartzkogler died violently on June 20, 1969 prompting several conflicting reports regarding the circumstances of his death. Art critic Robert Hughes in a 1972 issue of Time magazine stated:

Schwartzkogler seems to have deduced that what really counts is not the application of paint, but the removal of surplus flesh. So he proceeded, inch by inch, to amputate his own penis, while a photographer recorded the act as an art event. In 1972, the resulting prints were reverently exhibited in that biennial motor show of Western art, Documenta V at Kassel. Successive acts of self-amputation finally did Schwartzkogler in.

The Sacrificial Aesthetic

In the end, art is a form of exhibitionism.

The artist has arrogance, and he wants to display himself, his hidden world.

Existential solitude.
It's why I say people unavoidably expose themselves. No need to read them, they want you to see.
Some want to be made comfortable, want to see in you a safe place.
Trusting you makes them open up, relieving themselves of a pressure.

All creativity is rooted in a need.
No need, no expression.

Need, of course, is the sensation of linear time, of change, of increasing entropy.
And this is why I say an organism first self-maintains, self-heals, self-corrects, and then, from the excess energies, it accumulates, for this purpose, overflows with artistry.
Art is a product of excess, of leisure.
It is an exhibition of playfulness.

A negro copying the poses of European renaissance-aristocracy; ''empowering'' negroes through F-art.

It's all about appearing, in the superficial sense....how one imitates.
Sampling....what I am?
When a c-Rapper, samples tunes, is he not imitating....then placing over the melody his own ramblings about ego and self?

Dress a chimp up in the same clothes....and?

Grotesque, like some freak show or circus.

To that chimp it's all a game:

Quote :

"My job as an artist is to ask who deserves to be on the great museum walls?"

Idiot, this was never the job of any great painter, who were mostly forced to paint the commissions of monarchs and wealthy families out of the need to make a living. In other words it was the standing of the sitter that determined where the painting would hang.

Now even sub-humans from the street are important enough to hang in galleries.

Quote :

"[Today] we find a pursuit of illusions of artistic progress, of personal peculiarity, of “the new style,” of “unsuspected possibilities,” theoretical babble, pretentious fashionable artists, weight-lifters with cardboard dumb-bells… . What do we possess to-day as “art”? A faked music, filled with artificial noisiness of massed instruments; a failed painting, full of idiotic, exotic and showcard effects, that every ten years or so concocts out of the form-wealth of millennia some new “style” which is in fact no style at all since everyone does as he pleases… . We cease to be able to date anything within centuries, let alone decades, by the language of its ornamentation. So it has been in the Last Act of all Cultures." [Oswald Spengler, The Decline of the West]

Sedlmayr: Art in Crisis

What..the..Fuck..

What is worse; the performer or the audience..
They all look at this mentally retarded idiot with the attention of dung flies attracted to shit.
All listen to her words as if a prophet is speaking and when she is done with her retarded performance, one even yells ''Art!''...

Quote :

'It's like a cleanse for your body and mind': Vomit Painter artist throws up on canvas to create Jackson Pollock-style splatter paintings that Lady Gaga loves

By BIANCA LONDON FOR MAILONLINE
PUBLISHED: 11:42 GMT, 31 January 2014 | UPDATED: 12:06 GMT, 31 January 2014

We all know that some artists put their blood, sweat and tears into their creations, but one woman has taken it one step further - by using her own vomit.
Cutting edge artist, Millie Brown, began pushing the boundaries of the art world after becoming sick - literally - of using more traditional methods of painting.
The eccentric artist - whose unique work features in Ripley’s Believe it or Not! - uses a selection of dyed soy milk in a mixture of colours which she then swallows at various intervals, one at a time, before vomiting it onto a white canvas.



Millie Brown is pushing the boundaries of the art world by using a selection of dyed soy milk in a mixture of colours which she then swallows before vomiting onto a white canvas


But despite the regular retching, Millie, 27, insists it doesn’t affect her health. She said she maintains a healthy vegan lifestyle and always leaves a one month rest period between each performance.


The vomiting visionary began experimenting with her unique style back in 2005 and has since gained commercial success by regurgitating onto the dress of pop singer, Lady Gaga, in a controversial music video.
Millie can be seen vomiting shimmering turquoise liquid over the singer in Lary Gaga's pop music video, Exorcist Interlude.






















Millie - whose unique work features in Ripleys Believe it or Not! - uses a selection of vibrant dyed soy milk


Despite having a general idea of what she'd like her work to look like, she prefers to improvise
Although some find the Londoner’s work somewhat hard to swallow, the artist has received positive recognition with critics comparing her to that of abstract expressionist, Jackie Pollock, who was known for his unique style of drip painting.
Despite having a general idea of what each canvas should look like, Millie prefers to improvise heavily throughout each performance.
Millie said 'I don’t eat for two days prior to performing so that I clean my stomach of any food, that way the only liquid that comes up is beautiful and of pure colour.
'I can drink anything from one pint to four litres depending on if I’m doing a live performance or creating a canvas piece.

She starves herself for two days before each performance to clear her stomach - but maintains she is still healthy

Millie, who grew up in a Bohemian family, follows a vegan diet and only does a performance each month
'I time each drink so that each colour doesn’t mix in my stomach and try to space out my performances so that my body can recover properly.
'It’s very much about timing, I find the whole process fascinating and the long meditative fast can be very inspiring.
'I often set out with an idea of what I’d like to create but I enjoy the uncontrollable element of my work and just go with it.
'Filming can be exhausting, it can be an entire day of vomiting which leaves you with migraines but generally I feel good after performing, it’s like a cleanse for your body and mind.

Millie times each drink so that each colour doesn't mix in her stomach and tries to space out performances so that her body can recover properly
Millie says each piece is very much about timing, and that she finds the whole process fascinating and the long meditative fast very inspiring
Millie began pushing the boundaries of the art world after becoming sick of using more traditional methods of painting
Quirky: Young artist Millie Brown has taught herself how to regurgitate paint to create quirky canvas art

Up for grabs: One of Brown's unique vomit-art canvases will be available for purchase and many maintain that now is a great time to invest in this hotly tipped artist

Beautiful creation: Critics have noted the abstract beauty of the finished canvases, created when Millie drinks milk tinted with dyes

'I feel my work is an expression of raw human nature, that pushes boundaries mentally and physically to create work that has true beauty.
'There have been so many different reactions to my work, from laughing to crying, love and even death threats but I think art is made to make you feel and as long as it makes you feel something it can be powerful.
'It’s definitely not recommended to put your body through this but I’m generally a healthy person so I feel like that balances out the rest.'
Born in England to Bohemian parents and spending much of her youth in Spain and the South of France, it is clear where Millie’s maverick tendencies originated.
Aged 13 and unable to relate the French children of her neighborhood, Millie befriended local street punks.
From then on, sleeping in abandoned buildings and driving around Europe in trucks became part of her everyday adventures.
After a brief summer stint in L.A., Millie returned to London at the age of 17 where she embarked upon her artistic journey in performance art and film.
Speaking about her quirky work, she said: 'I have an inherent desire to push my own boundaries within my art.
'By creating art from the very depths of my own physical being I am able to challenge people's perception of beauty, expressing raw elements of human nature and in turn challenging myself both physically and mentally.'

Famous fan: Millie can be seen vomiting shimmering turquoise liquid over Lady Gaga in an experiential and grotesque pop music video

Vomit Painter