27 01 2013

If you’re home on a Saturday night you might find this piece interesting. I did. I like the article better than the artist and his work. But that’s another story.

Walter Girotto

3 10 2012

Kitsch. His work could be on black satin. And it’s impact wouldn’t be lessened. Walter Girotto. Italian artist. The question I ask myself is… why am I bothering to blog him? I’m not sure. This is art. I was told when I was young. Or a more modest version. And for all of that, I don’t understand it. The attraction. People want to hang these in their homes. The meaning. What was the point of painting them… Its a job, stupid. The paintings remind me of toothpaste commercials. There’s something revolting about watching someone spit into a sink.

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Claudio Di Carlo

26 09 2012

Its all men think about. Apparently this is true for Claudio Di Carlo. Young women with long legs. Or just the legs. I keep looking for stories in his work. Something that gives those legs some apparent reason for being there. Outside of changing clothes I can’t find one. Of course you can’t go wrong with putting a picture of a pretty girl in. Right? What bothers me somewhat is that everyone looks like they’re going to a party or coming back from one. Doesn’t anyone every do laundry?

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Highway to Hell- Claudio Di Carlo from aluises on Vimeo.

Alex Grey

11 07 2012

Visions. Alex Grey is filled with them. I think everyone has them. Some are interesting. Some are well promoted. His ideas are a lot of Grade B philosophy as my philosophy professor used to say.

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The work does strike me as being sentimental and pretentious and dated. They might look great with black lights. And incense. And huge amounts of smoke. But when I’m washing the dishes, they do nothing for me.

Thomas Kinkade

9 04 2012

I used to see Kinkade’s paintings or paintings like them hanging from the walls of the Sears stores. And later in the homes of my relatives. What can you make of them? I find them a mystery. People say that they tug at their heart. And they match the couch. Kinkade felt as if he was the most popular artist of his time. Warhol ended that fallacy when he produced his Campbell Soup Cans. Of course soup cans aren’t art. But is Kinkade?

What will people think of this work generations from now? Will they speak to them? Will they tell them anything about us? That we were living in a dream world. But that is true of most people at most times.

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I have an idea. Of how to make Kinkade into an artist. But I’m not sure if I can get away with it.

Alexandra Manukyan

20 01 2012

Alexandra Manukyan‘s statement

“I focus on combining traditional oil painting techniques with surrealist symbolism to communicate the immediate and lasting impact of technological innovations on the human body and psyche. One recurring motif in my paintings often appears as the feminine form bearing the burdens of worldly grief and mistakes on her body bowing in resignation to a seemingly inevitable fate: the acquiescence of the corporeal state to the encroaching dominance of modern technologies conjoining itself like an apathetic demon of silicon and circuitry cursing more than fulfilling promises of beauty and comfort.”

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I don’t know what she’s talking about. Actually I do. She has to say something. About her art. She could have just said ‘maudlin’. (‘And then there’s Maudlin’) Without the tears. I suppose she has a vision. But why are all the models in their 20s? Her images would have been more effective in my view if she had used older models, perhaps unattractive models, or overweight ones. But that probably wouldn’t have been a good business move. I do like the use of the word acquiescence in her statement. But that’s an old Jon Stewart joke.


24 12 2011

This is the first time I have done this. Writing from a negative viewpoint. And I hope that the artist is not offended. (I’m sure she would be.) So I won’t mention her name. Its just that… her work.    I don’t get it. It has themes. Quite often. Titles. But mostly it is about texture, and colour. And layers. And composition. Its boring. And anti-intellectual. (I mean by that, ‘pretentious’). There are few if any visual ideas. Nothing funny. Or insightful. Satirical. I’m picking on this artist. But she is just an example of this kind of work. And there is a lot of it. I see it everywhere. Especially collage work from academic/art institutions. It pretends to be significant. And that’s what art colleges like. Pretend. I think they teach it.

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John William Waterhouse

8 12 2011

Odd it is. The Pre-raphaelites were begun as a protest. Against the conventions in art of their day. The late  1800s. John William Waterhouse was one of their standard holders. And yet this work has been adopted by the ‘smaltz’ of our era. The craftsmanship is wonderful. But the themes are derivative. And their use as a sentimental memory of a time that never existed. Some golden age of refinement and delicacy. And all this time Britain was pushing train tracks through the English countryside. Polluting the air with factories. Creating huge slums. And of course there was Jack the Ripper. The archetypal serio-killer. Not exactly what the brotherhood had in mind.

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William Shayer Snr

7 12 2011

I don’t know if these are humble paintings, common place lives in a world long gone. Or sentimental rubbish. Is this the way people used to live even if in an idealized world? Or is it a Hallmark version of history? My guess is Hallmark. But you need someone who knows something of these places and times to tell us if the details are historically accurate.

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But if it is sentimental rubbish. It does say something about us. Our wish to be protected from nature’s true face. From history’s vicious turns. (And I like paintings with cows in them.)


3 11 2011

Arcimboldo. What a strange artist. What strange art. Like a parlour game. The equivalent of our modern painting – dogs playing poker.

He was famous. Perhaps like Rod McKuen. Or the multitude of authors in the 50s who sold “Number One Best Sellers” and then were heard no more.

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His work (what survived) was re-erected by the surrealists. They must have been looking for some kind of roots. (Movement always do this. Although I don’t see how it makes any difference.) I’m not keen on his work. Once you’ve seen one, you’ve pretty well seen them all.