Open letter: To: artists, curators, writers, gallerists etc... At present the art world has no ethics, it has no dignity, it is completely morally bankrupt and totally hypocritical.
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Open letter: To: artists, curators, writers, gallerists etc… At present the art world has no ethics, it has no dignity, it is completely morally bankrupt and totally hypocritical. While the…
Just read this please . & share …
Milestones in an Art's Maturation
- Moments of meta
- Self-conscious vanguard making “serious” versions of the thing
- High-handed denounciations of those who don’t take it seriously
- Realization of the artistry in seemingly simplistic early works
- An entire work of meta
- Valuing process over product
- Mass enjoyment becoming a…
« My Chuck Close Problem » [extracts]
I have been following Close’s work for over 13 years. In 1998, I drove ten hours to see an exhibit of his at the Seattle Art Museum, and I was completely blown away. I’ve seen videos of him painting and photos of his work in progress, so I understand how he creates his images. I believe my digital mosaics were not copying his art but rather a logical extension of the creative process.
Scott Blake self-portrait made with color tiles (2008)
YOU DO NOT HAVE PERMISSION TO USE MY WORK WHICH IS COPYRIGHTED. NOR DO WISH TO BE ASSOCIATED WITH YOUR PROJECT. YOU MUST SHUT DOWN YOUR WEBSITE IMMEDIATELY OR I WILL BE FORCED TO TAKE LEGAL ACTION.
Close is known to be very adamant about not accepting portrait commissions, so if you are not lucky enough to be one of his chosen sitters, you will never get to see your face immortalized in his signature style. I simply wanted to make his art accessible to the masses in a new and exciting way. Close is all about “process,” and I feel what I’m doing is the next logical step in that process. He makes work that looks like pixels, so why not make it out of pixels?
(…) I believe my art is fair use, but I don’t have a war chest to back up that assertion in a courtroom, so the wealthy bully wins by default. My only recourse is to publicize my defeat in order to shine a light on these types of situations. My hope is that Chuck Close develops a sense of shame and regret, realizes his mistake and offers up an apology. I want this article to serve as a point of reference for current and future artists. The worst part about this whole mess is that it makes established visual artists like Close seem petty. By not embracing new and interesting ways of making art, he is contributing to the widening of the generation gap. His irrational fear of computers has made him wildly out of touch with my generation and generations to come. I feel he singled me out because I choose to work in a medium that he finds inferior.
I think Close is confusing enterprise with creativity; they are not the same and in some cases can work against one another. In the end, I believe Close’s misguided and hypocritical actions will do more harm to his legacy than any so-called “derivative art” could ever do.
A story to be heard!
Watch TED talk with Scott Blake
The History of Non-Art: Part 1 [extracts]
The most groundbreaking art of the 20th century is called avant-garde. But perhaps these pioneering artists were not so pioneering after all.
Venus of the Rags, 1967/1974
Precisely 100 years ago, something seemingly irrelevant occurred: “In 1913 I got the joyous idea to mount a bicycle wheel on a stool and watch it spin.” These are the words of French artist Marcel Duchamp (1887-1968). The combination of these two objects is now considered a masterpiece in 20th century art history. Duchamp came up with the term “readymade” because he practically had not made anything; he only put it together. In 1917, Duchamp didn’t even put two things together, but merely signed a urinal with a pseudonym and dubbed it “Fountain.” Since then, his readymades have been interpreted as an attack on painting, on aesthetics, on the art market, on good taste, on art as manual labour and even on the idea of the artist as a genius. And precisely because of this, Duchamp is today celebrated as a genius, as the big mysterious exception that changed the course of art history and anticipated our contemporary conception of art.
Q: - What do you make of the contemporary art world?
A: -It’s a mixed bag. So many people make a good living out of contemporary art that you can’t help but feel a bit uncomfortable. I suppose it mirrors the massive inequality within capitalist society – it’s about the richest 1 per cent and what they buy.”