Sarah--Again, I like this series so much. Something surprises me about seeing them on the computer screen verses having seen them in a gallery. My whole sense of them changes due ?perhaps? to the size. On the gallery wall, where they were large, and these plus others faced each other, they seemed so meditative and peaceful, really serene and very like Asian landscapes. Looking at them online, and small, they seem much more tempestuous and Romantic. The other difference is the edges. On the gallery wall, they seemed expansive, open, like they could draw the (pale) wall in; within the dark frame online, they seem more violent, like they want to break out or boil over. I would like to hear more about "withdrawing the hand." The idea intrigues me because it turns my thusfar admittedly classical notion of art completely upside down.--Kitty
Kitty, thank you for the insight regarding the works in their space vs. on a monitor. I agree that it does change them somehow, maybe it's just that black background - it seems to constrict rather than let them expand outwards. I am very interested in that sense of movement so I want to make those decisions less arbitrary.
Regarding withdrawing the hand, I had this beat into me at grad school, that leaving the hand (gesture, specifically) out of the work lets the work exist as if on its own, rather than the ego dominating and saying "look at me". So the concept of the work is of the most importance, not how skillfull the artist applies paint. That is why painting and drawing are struggling so much right now. I suppose this idea works regarding representational work (think Rembrandt- there is gesture but it makes up more than the sum of its parts, his work transcends his subject matter and the skill of his own hand). His work is so evocative. Gesture usually describes rather than evokes if that makes sense. Compare Rembrandt to deKooning 's women and you will see what I mean about ego (apply that to most all of modernism). The other day Michael said there is a period of freedom followed by a period of restraint...Every period reacts or builds onto the one before it. Thanks again for posting!
hey, when are we gonna see some more? just kidding...you can delete this post, i'm just bugging you so that you remember that you were going to put some more awesome stuff on this awesome blog of yours... =)
3 comments:
Sarah--Again, I like this series so much. Something surprises me about seeing them on the computer screen verses having seen them in a gallery. My whole sense of them changes due ?perhaps? to the size. On the gallery wall, where they were large, and these plus others faced each other, they seemed so meditative and peaceful, really serene and very like Asian landscapes. Looking at them online, and small, they seem much more tempestuous and Romantic. The other difference is the edges. On the gallery wall, they seemed expansive, open, like they could draw the (pale) wall in; within the dark frame online, they seem more violent, like they want to break out or boil over.
I would like to hear more about "withdrawing the hand." The idea intrigues me because it turns my thusfar admittedly classical notion of art completely upside down.--Kitty
Kitty, thank you for the insight regarding the works in their space vs. on a monitor. I agree that it does change them somehow, maybe it's just that black background - it seems to constrict rather than let them expand outwards. I am very interested in that sense of movement so I want to make those decisions less arbitrary.
Regarding withdrawing the hand, I had this beat into me at grad school, that leaving the hand (gesture, specifically) out of the work lets the work exist as if on its own, rather than the ego dominating and saying "look at me". So the concept of the work is of the most importance, not how skillfull the artist applies paint. That is why painting and drawing are struggling so much right now. I suppose this idea works regarding representational work (think Rembrandt- there is gesture but it makes up more than the sum of its parts, his work transcends his subject matter and the skill of his own hand). His work is so evocative. Gesture usually describes rather than evokes if that makes sense. Compare Rembrandt to deKooning 's women and you will see what I mean about ego (apply that to most all of modernism). The other day Michael said there is a period of freedom followed by a period of restraint...Every period reacts or builds onto the one before it. Thanks again for posting!
hey, when are we gonna see some more? just kidding...you can delete this post, i'm just bugging you so that you remember that you were going to put some more awesome stuff on this awesome blog of yours... =)
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