Lightness is Difficult

As a wise man once said, life is serious, art is lighthearted. And this very description is what I find the most difficult about creating art. There is a tremendous distance between the seriousness of living a life (yes, even an artist's life...), and the light that the art requires.
Or is it the heart?

Both works are by Collier Schorr. Read more "Lightness is Difficult..."

Cattelan vs. Woodman

Looking for the above gorgeous image by Francesca Woodman, I came across Lucilees post where she asks the ever-recurring question about appropriation vs. plagiarism, in the context of the two works below:

Cattelan's installation, untitled, from 2007.

Woodman's photo, untitled, 1977.

The work seemed like a clear quote to me, but I searched a bit more.
Cattelan presented the installation in 2008 at his Bregenz Kunsthalle (the site seems to have almost no working pages) exhibition. It was on the highest floor of the building, and it looked like this:


Impressive. It's quite interesting, though, to see to what extent the presentation of a work can obscure/transform its dynamics. The first picture of Cattelan's piece without this second one creates a significantly different framework. (According to one commentator, this was the first time Cattelan used someone else's architecture to stage his piece.)
My Polish coleagues have linked Cattelan's work to feminism and eschatology. Crucifiction, yes, but what is beyond? Also, the white nightgown suggests a patient, eternal patient, hysteric person...
Although Iza Kowalczyk is right to point out that this work stresses the crucifiction more than the hanging in Woodman's version (where the chair in the front created a classic reference to this way of committing suicide), there is something in both these installations that I found crucial, and missing in the comments: the portrayed woman is not crucified. She is suspended by her own arms. It is a very uncomfortable position and requires significant effort.
There is a play going on here between victimization, self-victimization and empowerment. The subject self-objectifies thus getting higher.
One other thing, concerning a discussion on one of the sites, about eroticism. Is this too pure to be erotic? To me it seems to bring about the right amount of frustration by being so unbearably decent, and yet stretched to the limits . This is much more explicit in Cattelan's work - an installation, bringing about a specific, ambiguous visual perspective. This frustration of power, which plays namely on the the relation between the viewer and his subject, is a trademark of many of Cattelan's works. It's what often irritates me. And what makes me come back. Read more "Cattelan vs. Woodman..."

Higher

Beautiful Steps #2, by Lang/Baumann at the Utopics exhibition in the Swiss city of Biel. Read more "Higher..."

A moment to cherish, although you're not there

(thanks Maria!) Read more "A moment to cherish, although you're not there..."

A GIANT: BERNARD FUCHS (1932-2009)

Bernie Fuchs started out in a most unlikely place and time.

Born in a tiny rural town in the heart of the Great Depression, he grew up with no father, no assets or connections, no art training, and no prospects. He was even missing three fingers on his drawing hand (the result of an accident in his youth).



Yet, Fuchs was quickly swept to the top of his profession on a wave of talent and personal quality. The New York Artists Guild named him "Artist of the Year" by the time he was thirty; he became the youngest illustrator ever elected to the Society of Illustrators Hall of Fame; and for over forty years, his sleek, sophisticated, beautifully designed work was selected by one jury after another at the Society as among the best of the year. (Try to think of another illustrator who has been as influential to the field in the latter half of the 20th century.) As Walt Reed wrote, Fuchs' pictures "are probably more admired-- and imitated-- than those of any other current illustrator."

I met Bernie Fuchs a few years ago when he reluctantly agreed to be interviewed for an article I wrote about him. As much as I admired his work, I grew to admire him as a person even more. I never heard him utter an unkind word about anyone; he was humble and sincere to a fault, always quick to give credit to his colleagues, or to anyone who extended a helping hand along the way. But as generous as he was to others, he held his own work to the toughest standards, decade after decade, right up to the end.

I recently made a pilgrimage to Bernie's hospital bed. He was pale, gaunt and under heavy sedation. He could no longer eat or breathe except through tubes. He had lost the ability to speak so he used a little notebook for scribbling short messages to his family, who had gathered around him for the end. I looked down at his notebook and saw he had been sketching a human ear. I said, "Wow-- still drawing? You don't give up easily, do you?" He gave me a tight lipped smile and with a tough, defiant look in his eye shook his head no, he didn't give up easy and he was damn proud of it. That attitude, which was the core of his greatness, was still inside him then and would be the last part to leave.

The expression in his eyes alone was worth the trip to Connecticut.

Last night, Bernie's work was done. The wave that took him to the pinnacle of success in his field swept him onward to another shore.


From The Wolves, 1996
Read more "A GIANT: BERNARD FUCHS (1932-2009)..."

LOVE IS A STAR-GUIDED BRICK

In one of his most famous sonnets, Shakespeare claims that true love is the permanent thing, the polar star by which we can all guide our ship. Love, he explains, never alters its path no matter what kind of impediment it encounters:

Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O no! it is an ever-fixed mark
That looks on tempests and is never shaken;
It is the star to every wandering bark [ship]....

But here is an opposite view from Yeats. For him, love is crooked and bewildering. And you can forget about that polar star business, love will continue to drive us nuts until those stars have all gone out:

O love is the crooked thing,
There is nobody wise enough
To find out all that is in it,
For he would be thinking of love
Till the stars had run away
And the shadows eaten the moon.

The following episode from the ongoing love/hate saga of Krazy Kat and Ignatz mouse shows Ignatz determined to overcome all obstacles and consummate a brick toss:



Notice how Herriman has provided us with a polar star to make sense of the visual pandemonium. That sun appears to bounce up and down on the horizon, but we soon realize that it is the horizon (along with everything else in the picture) that is bouncing around. The sun is the only thing that remains constant. It is the fixed reference point that gives these drawings the continuity necessary for us to figure out what the heck is going on:











Herriman doesn't side with either Shakespeare or Yeats. Artists speak in pictures rather than words, so Herriman does not need to worry about reconciling the two conflicting texts. Leave that dirty work to poets and lawyers. Pictures enjoy an ambivalence (and a truth) that words can't match; Herriman depicts an undeterrable Ignatz and a polar star such as Shakespeare might expect, but any love that involves being brained by a brick probably belongs on one of those crooked corners Yeats describes.

Herriman does contribute the insight that sometimes the only resolution of conflicts is found in the limp exhaustion of the couple (whether from happy activity or sad).

Read more "LOVE IS A STAR-GUIDED BRICK..."

Don't you hate it when big commerce does something real good

See Sprint's Plug Into Now project (launched about a year ago and created by Goodby, Silverstein & Partners). Get impressed. And then goddamn it, move forward, do things no commerce can think of. Because it does have the feel of some excellent live art that's been around in the recent years. And let's say it feels just a tad late (and shallow, and not moving forward - but it's selling a product, for chrissakes!). Just late enough to feel that artists can still handle the commercial pressure.
Yes, they've been counting on viral marketing.
Yes, they think they might tap into a blog like this one.
Yes, they just did.
Because they're good. Is it a sin for a commercial enterprize to be good?
Well, they have the means. Get it while it's now. They play around with this idea, and they do it well.
I'm glad they do - it's an inspiring project. It makes me want to move beyond this. Now.
Read more "Don't you hate it when big commerce does something real good..."