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@Kaustav You may have noticed from my responses that I am just having fun with it really, I am laughing at the absurdity of it. I guess that could be a metaphor for life. (oooh I've gone deep )To me, I see that what happens in this video/performance is played (pardon the pun) out like a joke. It would not have looked out of place as a Monty Python sketch.When we tell a joke we set the scene for the listener like a little story, so the listener can at least establish what they think may happen. Then they are hit with the punchline which is not what they expected, it all goes into another direction. With the hopeful outcome that this surprise will make the listener laugh.Of course, as humour is subjective, it won't always have that response. And we know that this is true in art.So while there may be many who don't agree with me dismissing it as a joke, that they may have got something profound from it and consider that I have missed the point/meaning, thats fine.As for the blank canvas kind of art thats not my thing either, to me it represents a demonstration of non of the artists talents unless of course that is the extent of them. If its minimalist enough to require a title then I will go for Shear Laziness.
discussion. I can really recommend the
book “The Painted Word” by Tom Wolfe. It is a subjective, disrespectful and
angry book, but hilarious in places. Quote from Wikipedia: “His [Tom Wolfe’s] stance was that modern art has
moved away from being a visual experience, and more often was an illustration
of art critics' theories.”
I too get
irritated, but normally not by artists. I think most artists are struggling to
get by and adapt to an art world where the premises have been set by pompous
and self-satisfied art theoreticians and critics. And the curators are playing along, trying to satisfy these premises. Because the
art world is controlled, not by artists, but by a small circle of curators,
theoreticians and critics, who have invented their own criteria for what art
should be. Oh, I could og on and on...😖
But I don’t
dislike abstract art as such - there is a lot of abstract art that I really
like – paintings with gorgeous composition, colours and texture. I think the kind
of art that @jodie2025 describes, is more of an example of conceptual art. As
far as I have understood it, in conceptual art the theoretical explanation
accompanying an image is more important than the image itself, so as long as you
can create a lengthy theoretical explanation it does not really matter if the “image”
that you present is actually nothing –
As for John Cage’s piece 4'
33", I think perhaps it will be easier to accept (or dismiss) it if it is understood
as a philosophical / theoretical exercise more than as a musical composition. As a foreign music
student in England aeons ago I had to sit throught lots of such "listening" sessions, and what happened was that one became intensely
aware of all sounds in the room – so perhaps a kind of mindfulness exercise. I
did not find it very relaxing, though…😄
@Kaustav Good point, and you got me thinking about the kind of reaction there must have been to Picasso`s work when he was modern. It probably set the fires to debates that are still burning today (as other artists have through the ages).When I was a teenager I didn't particularly care for Picasso`s work. That changed as I aged to the point that now when ever I see The Weeping Woman it nearly always brings me to tears.
Lol, @Boudicca. How will you be pricing them? By the inverse sqaure inch method - the smaller the picture the more minimal it is and so the higher price?
To be honest, I have no feeling for it, so I just simply cannot relate. I often have similar challenge with abstract art. But I can say for certain that these blank canvases were much more interesting and fun to view in the late sixties and through much of the seventies with my friends back then with our mind expanding experiences and hallucinations if you know what I mean, hee, hee, hee.... Lol!
Minimalism is alive and well in Tasmania. Here's what won $20,000 for this year's Lloyd Rees Prize for the painting that best depicts "light in the landscape". 15,830 feet above the Great Lake
Oil on board
100 x 100cm