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Post by Ginnie on Dec 16, 2007 21:31:02 GMT -4
The question is whether art ought to be disturbing. If you accept that the purpose art is to evoke an emotional response, is it okay to evoke negative emotions? Is repulsion a legitimate response to art?Art can sometimes be disturbing but certainly doesn't have to be. All art that I like provoke emotional responses. Is smiling at a painting an emotional response? Art has to make me feel something. Guernica surely provokes an emotional response. The negativity would be directed towards the Nazis during the Spanish civil war. The repulsion would be to the bombing of civilians in Guernica. upload.wikimedia.org/wikipedia/en/7/74/PicassoGuernica.jpgPicasso said: The Spanish struggle is the fight of reaction against the people, against freedom. My whole life as an artist has been nothing more than a continuous struggle against reaction and the death of art. How could anybody think for a moment that I could be in agreement with reaction and death? ... In the panel on which I am working, which I shall call Guernica, and in all my recent works of art, I clearly express my abhorrence of the military caste which has sunk Spain in an ocean of pain and death
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Post by JayUtah on Dec 16, 2007 22:32:48 GMT -4
Art can sometimes be disturbing but certainly doesn't have to be.
Similarly movies can have sad endings but they don't have to. From the expressionist view there is no point to restricting art to pleasant images and perceptions. The hackles raise when art wants to be publicly funded; public art patrons don't necessarily want their hard-earned money spent on things designed to upset and disturb them. Again, art and the valuation of art don't always agree.
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Post by JayUtah on Dec 16, 2007 23:50:03 GMT -4
Oh Giger's work is art - it's just disturbing art that I wouldn't want hanging on my wall.
His Schacht 1 would probably be okay on anyone's wall. But in general: no, I wouldn't surround myself with Giger art. I have books of his work in my library, but the art one chooses for display is meant partly to say something about him to the people who see it.
I will say, however, that I've always wanted a Giger office chair just for its intimidation value.
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reynoldbot
Jupiter
A paper-white mask of evil.
Posts: 790
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Post by reynoldbot on Dec 17, 2007 6:26:10 GMT -4
Something like From Hell is a pretty good example of art being both groteque and beautiful. I highly recommend it to everyone here. The artwork is visceral, very messy and emotional, not unlike Ralph Steadman's artwork. But it pulls together in just the right way to keep you connected to reality. And the architectural drawings are absolutely superb. The book is absolutely nothing like the movie, if anyone was wondering.
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Post by Ginnie on Jan 1, 2008 2:35:36 GMT -4
Your kid might have been able to paint my tryptich here. i149.photobucket.com/albums/s71/clavius_examples/sm-tree-tryptich.jpg But I doubt it.
I'd forgotten about this one I did for my neighbour. A duotich? i204.photobucket.com/albums/bb184/ginniegatrit/RockandSkysmall.jpgAcrylic on Watercolour Paper approx. 10X20" each. I'm almost starting to think that my work turns out better when there are no expectations thrust upon it. The first of these was done because I had no subject at hand, so I made up some sky/rock/sea and wanted to experiment with colours. The second one (on the right) was a response to my neighbours request for a companion to it. I guess that one did have a finished result in mind, by was made a lot easier by my experience with the initial painting. Maybe I should just paint a hundred of these things over and over and over like a lot of today's artist seem to do - a style is successful and they keep going with it to pay the bills. Well, if I could sell one anyway. ;D Darn, I have to get a better camera! They come out so fuzzy!
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Post by nomuse on Jan 1, 2008 17:03:51 GMT -4
Heh. A long time ago I decided that when I did "art" the first letter would not be capitalized. It makes it simpler. Instead of worrying if what I'm making is really original, inspiring, even life-changing; I can just worry about it being properly crafted and appropriate to the needs of the moment.
By the by, I like that duostitch...um...duotich. Set designer friend of mine often talked about how in classic tryptich's there'd be a progression of time across the panels, almost like sequential art. In your painting there, there's a sense in my mind at least that the sun is lower in the right-hand panel, with just a hint of a storm to come that night.
Anyhoo. The best stuff I seem to do is when I'm on deadline. That's when I really have to dump all the baggage, stop intellectualizing about what I'm trying to do, stop with the endless thumbnails and sketches, stop worrying about whether this is really the best possible answer or if there is a better one if I keep working on it, and just finish the dratted thing.
I remember a design I did for "Imaginary Invalid" on a miserly budget. Centerpiece of the design was to be a pair of large imposing busts, representing the medical authority that ruled Argan's life. I knew I couldn't carve them "sober," so I waited until the last minute; waited until I had less than an hour to get them from raw styrofoam block to the first coat of paint. Tore into them bare-handed and went right into total Zen. In twenty minutes I had two deeply lined and bearded individuals and I was bleeding from my fingertips. I hadn't even noticed.
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raven
Jupiter
That ain't Earth, kiddies.
Posts: 509
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Post by raven on Jan 1, 2008 19:31:23 GMT -4
have a fondness for Peter Brugal the Elder. I love how he combines amazing landscape with humans who are not hero's but at the same time are each individual. They are not smeared into a mass of light and shade like the Impressionist, distorted to the point of understandability of abstract, or deified like baroque. His work has both a feeling of history and surprising contemporaneous, of people living out ordinary lives in ordinary ways, each as important as the last. I like that about his work.
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Post by Ginnie on Jan 1, 2008 19:55:18 GMT -4
have a fondness for Peter Brugal the Elder. I think he was way ahead of his time. Who else at the time painted the common man? Oh and my duotich isn't correct. Although they are meant to be side by side, they don't actually represent exactly the same scene. I guess they qualify more as a 'pair'. But it is interesting what you said about time across the panels. That's something I can keep.
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Post by Ginnie on Jan 1, 2008 19:59:45 GMT -4
I remember a design I did for "Imaginary Invalid" on a miserly budget. Centerpiece of the design was to be a pair of large imposing busts, representing the medical authority that ruled Argan's life. I knew I couldn't carve them "sober," so I waited until the last minute; waited until I had less than an hour to get them from raw styrofoam block to the first coat of paint. Tore into them bare-handed and went right into total Zen. In twenty minutes I had two deeply lined and bearded individuals and I was bleeding from my fingertips. I hadn't even noticed. Reminds me of Neil Young when recording 'Tonights the Night' album. He and the band would drink and smoke up all night till about two in the morning. Finally, when Neil thought they were sufficiently drunk and stoned, they would start to jam and record. He wanted a rough and ragged sound and feel to the album - and he got it. The record company wouldn't release it for a few years and considered it unfinished. Listen to 'Tired Eyes' from the album and you can hear what I mean.
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Post by JayUtah on Jan 2, 2008 1:08:50 GMT -4
A triptych need not strictly continue the same scene across three panels. Three different but related scenes can compose a triptych. It is only required that they be displayed in horizontal sequence and close enough together to be obviously related.
The proper Greek term for two panels would be diptych. Duo- is Latin whereas di- is Greek. And the p belongs not to the prefix but to the root.
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reynoldbot
Jupiter
A paper-white mask of evil.
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Post by reynoldbot on Jan 3, 2008 7:34:23 GMT -4
Careful guys. When you start throwing the word sequential around, you start talking about the precursors to comic books.
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raven
Jupiter
That ain't Earth, kiddies.
Posts: 509
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Post by raven on Jan 3, 2008 19:02:27 GMT -4
if you look at miniatures, cave paintings and illuminated manuscripts from around the world, you see a lot of stuff that could be described as the precursor to this art form.
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Post by Ginnie on Jan 3, 2008 20:22:20 GMT -4
The proper Greek term for two panels would be diptych. Duo- is Latin whereas di- is Greek. And the p belongs not to the prefix but to the root. Oops! Should have known better. Ptych = 'to fold' As when the painted church panels were hinged together. My son hates it when he says a word, and I say to him, "...which comes from the Greek word...". Sometimes I would even make something up just to bug him... ;D
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raven
Jupiter
That ain't Earth, kiddies.
Posts: 509
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Post by raven on Jan 3, 2008 21:11:07 GMT -4
"Kimono is come from the Greek word himona, is mean winter. So, what do you wear in the wintertime to stay warm? A robe. You see: robe, kimono. There you go! " Try that one some time. ;D
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Post by nomuse on Jan 3, 2008 21:32:52 GMT -4
What's funny is where the good Japanese word "Tempura" comes from. Not unlike your example there...
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