Adonis Diaries

Posts Tagged ‘art

I DON’T GET “ART”. And I’M SICK OF PRETENDING

You think that you are an artist, and a few friends artists, or not, think that you are indeed an artist…and I don’t comprehend what’s so artistic in your “production”…Does this situation prove that you are no longer an artist, or that there is no chance for me to learn to be an artist if I put my mind into that domain? For example:

1. Let’s consider how Seth Godin understands art. He posted “How being artistic can be taught?”:

‎”All artists are self-taught. Techniques, skill and a point of view are often handed down, formally or not.

Of course, it’s easier to get started if you’re taught.

But art, the new, the ability to connect the dots and to make an impact–sooner or later, that can only come from one who creates, not from a teacher and not from a book.” End of Seth quote

And if we are taught the wrong way? Can we recover with bad practice? The theme in Seth piece is that there is the Genes factor that is the determining element…Actually, if not a single member in the extended family nurtured you in one field of art, it is doubtful that you’ll consider art as a field to pursue. You have not been initiated and exposed to an artistic field as kid, and the odds are that you failed to practice enough in art to become an acceptable artist…

2. Glen Coco has another approach to art. She wrote 11 months ago:

“You know what? I’m sick of pretending. I went to art school, wrote a dissertation called “The Elevation of Art Through Commerce: An Analysis of Charles Saatchi’s Approach to the Machinery of Art Production Using Pierre Bourdieu’s Theories of Distinction”. I have attended art openings at least once a month for the last five years, even fucking purchased pieces of it.

The other night, after attending the opening of the new Tracey Emin retrospective at the Hayward Gallery, I’m finally ready to come out and say it: “I just don’t think I get art”.

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I’m like, 99% sure that nobody’s ACTUALLY into art and it’s just some exclusive club you can only join, if you’ve got more money than interesting things to communicate to the rest of the human species. Just as nobody wanted to be the first one to go up to the Emperor and say “dude, I can see your arsehole”, nobody wants to be the one to go up to the lady in the above photograph and say “you are at least 50 years old. What the fuck are you doing?”

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Look at these fucking guys! Just to be clear: They are in the process of spending three minutes looking at a photograph of a woman they don’t know sitting on a chair. Can you imagine how quickly they’d be skipping over this photo if it was in their mum’s holiday snaps?

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This video, for the minute that I watched, was literally just what you see in this picture. Tracey riding a fucking horse. What you can’t see from this picture is the room full of people staring at this with one hand on their chins and super serious expressions. One girl was even taking notes!

There are times I wish I possessed the requisite attention span to absorb endless amounts of totally pointless bullshit.

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If that film isn’t ridiculous enough for you in its current format, how about watching it while hunched over on a teeny-tiny chair so you look like a complete twat while you’re doing it?

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Are you fucking kidding me? Just in case you can’t tell from the picture, this is a photo of Tracey rubbing money against her vagina. Which people are going to pay money to look at. That’s like a Zoolander joke that the writers rejected for being “a bit transparent”.

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This piece deals with themes of “making kids who have been dragged to the exhibition even more pissed off than they already were by presenting them with something that would be fucking awesome to play on, but that they’re not allowed to touch”.

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“God, people that don’t get why this shelf full of car boot sale crap is meaningful are so crass and uncultured.” Imagine having to explain this exhibition to an alien or a medieval time traveler. Bet you can’t.

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According to the exhibition guide, this piece is one of a number of small pieces that “can easily be missed or walked past – but you have to read them, give them time.” I think perhaps I need a little more time to read this one.

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I have never wanted to do anything more than Catwoman the fuck out of this room.

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After saying “fuck everything about this place”, I started to head towards the exit, where I ran into noted Brummie horsewoman Janet Street Porter. After reading recently Janet’s fantastic and thought-provoking piece in the Daily Mail about what a travesty it is that the English language has gone from the beauty of Shakespeare to a series of senseless emoticons and hashtags, I was surprised to see her looking at such unskilled art. She must have been researching a piece about the devolution of art from this:

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To this:

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Alright, I’ll Do It – I’ll Give Art a Second Chance

I Trolled Some Kanye West Fans

Couple Blogging Is Lame

Occupy Twilight: RPattz Die Hards Take Stratford

What use is of art? What is the origin of art?

Is art (esthetics) an expression of a world vision and a hierarchy of values? Is an artist different from art?

Let me extend a few quotes, just to set the tone and provide ideas for the discussion.

The young French author, Emile Zola, arrogantly wrote: “My ideals are my loves and my emotions”

Theophile Gautier wrote: “The most useful part in the house is the toilet.  I believe what are most beautiful in the house have no usefulness whatsoever.”

Pierre-Joseph Proudhon wrote: “The artist is called upon to share in the creation of the social world.  He is to shoot for the perfection of mankind, physically, mentally, and morally.  The glory of an artist is an appreciation of the process for perfecting mankind.”

Plato refused poets political positions on the ground that they are more inclined to passionate emotions than rational thinking.

In the same vein, Rousseau agreed with the prohibition of Switzerland on banning theaters because theater pieces encouraged emotional outburst.

Compare the above statements and positions with Conrad‘s description of the artist in his preface to The Nigger of the Narcissus:

The artist appeals to our capacity for delight and wonder, to the sense of mystery surrounding our lives, to our sense of pity, and beauty and pain…and to the subtle and invincible conviction of solidarity that knits together the loneliness of innumerable hearts, to the solidarity in dreams, in joy, in sorrow, in aspirations, in illusions, in hope, in fear which binds men to each other, the dead to the living and the living to the unborn...”

Do you think that it is getting pretty tedious to carrying on controversial topics or subjects?

In heated debates, we end up cutting short on discussions by labeling them “useless controversial subjects”; meaning “I am not interested any longer in giving further thought on the topic; I have no inclination to read and study and discuss the topic any further; I refuse to taking a position on the matter since I will not get involved; this is not a pragmatic subject and none of my concerns…”

There is this perception that only ignorant people hoard discussions and prevent level-headed persons to participating rationally in the debate.  Thus, when someone gets passionate about a concept or idea or takes firm positions and stands, we relegate the individual into the category of irrational and not serious type.

As if feeling passionate is the sole monopoly of non rational people.

As if a passionate person is basically an artistic kind, isolated in his own subjective world, caring about his own perception of love, emotions, and what is beautiful and right.

We have this perception that only a professional in particular disciplines (meaning earning a living from the profession), has definite, intransigent positions in their topics of interests, methods, techniques, and world views conceived from his unique perspective point.

As mankind evolved and communicated his idea and cultures, spread and disseminated knowledge and varieties of arts, it is normal to admit that many factors came into play to influencing approaches to arts, perspectives, purpose of art, utility and personalization of artistic works.

Thus, trying to taking definite positions on the driving force in enhancing arts cannot be correct, but the discussion is nonetheless interesting and informative

What is the critical influence, the core or origin of artistic impulses? I tend to conjecture that the main catalyst was this drive for individual discrimination from the masses, the common culture, the predominant social environment, and  customs.

My conjecture is that as man evolved, and realized that he is more endowed than the surrounding animals, he got very frustrated that he also is to die like any other animal.

Worse, certain animals lived far longer than he did.  This discovery was not comforting.  “Since we all have to die then, my death has to be different” was the conclusion of mankind.  How different?  This is where imagination and art come into existence.

Art is an individual signature, no matter how it is influenced by external forces, and no matter how society would like to view artistic productions.

It is unfortunate that education systems are cutting down on artistic programs and courses and depriving students and children opportunities to discovering their talents, passions, and potentials.

Nelson Chip: Tagger (February 4, 2009)

 

            I got the idea of this article out of a chapter in the French book “Like a drifting eagled” by the Lebanese author Alexandre Najjar. 

Nelson Chip is a tagger; that is how he describes his profession.  Nelson cannot help it; he always carries a painting “bomb” to tag his graffiti on anything drab, ugly, plain boring; he tags on crumbling walls, graying train carriages, dirty metro subways but never on private properties, telephone booths, private cars, or window shops. Nelson is not a drug addict or a drunkard; he works alone and by night fall; he likes his privacy and solitude. Nelson tags works of art, messages of peace, of hope, expressive words in order to cheer up what he judges to be drab and uninspiring; many gangs try to emulate his artistic calligraphy design by tagging their war names for narcissistic exhibition. 

            Larry Chip is his brother; he also paints.  The ID plaque on his combat uniform states “CDR-Larry Chip-Combat Artist”.  The Navy Art Gallery dispatched Larry to Kuwait during Desert Storm war against Iraq in 1992.  Larry’s job was to draw soldiers and immortalize the G.I.  He then painted over 30 of these portraits for the exhibit in his honor.  During the war, Larry was distinguished and received recognition by painting graffiti on missiles and bomb shells destined for the Iraqi civilians.

            Two brothers, two artists; Nelson is serving jail terms for carrying a painting bomb in his bag; he is charged of “voluntary defacing, degrading, deterioration of public properties and monuments”.  Nelson is no longer permitted shaving foam; he said: “My hands itch when I carry a painting bomb; I have to relieve my idea, to express my revolt; I have then this irrepressible desire to paint”   Larry returned home a War Hero; the famous and glamorous are flocking to watch his artistic “chef d’oeuvre” in Washington, DC.

            Two brothers, two artists “painters”; Nelson’s art are still emulated by the little people to express their frustrated emotions and miserable living.  Larry’s graffiti disintegrated; only the hate mongers are emulating his art: the Zionists painted blasphemous graffiti on missiles and shells targeted to Palestinian babies in Gaza.


adonis49

adonis49

adonis49

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