Music Pioneer Brian Eno on Art by Maria Popova “Stop thinking about art works as objects, and start thinking about them as triggers for experiences.” “Make good art,” Neil Gaiman advised in his endlessly heartening counsel on the creative life. English musician and visual artist Brian Eno, born on May 15, 1948, is celebrated as a pioneer of ambient music and one of the most influential artists in modern musical sensibility. In an entry dated April 23, nearly twenty years before our present-day fame factory of manufactured attention, Eno makes a prescient observation: Attention is what creates value. In a related meditation, he considers confidence as the conferring mechanism of value: The term “confidence trick” has a bad meaning, but it shouldn’t. Gene Davis: Night Rider (public domain via The Smithsonian Institution) Stop thinking about art works as objects, and start thinking about them as triggers for experiences. Where do you work? William H. Gene Davis: Davy's Locker (public domain via The Smithsonian Institution)
L'ARTISTA E LA SUA REALTÁ - ArtsLife | ArtsLife di Mark Rothko Qual è l’immagine popolare dell’artista? Mettete insieme un migliaio di descrizioni e il risultato composito che ne verrà fuori sarà il ritratto di un idiota: egli è ritenuto infantile, irresponsabile nonché ignaro o ottuso nelle faccende quotidiane. Un ritratto che non comporta necessariamente una censura o una forma di crudeltà. Questo mito, come tutti i miti, ha la sua fondatezza. Per quanto possa sembrare strano, l’artista non si è mai lamentato nel vedersi rifiutate quelle virtù degne di stima di cui glia altri uomini non potrebbero fare a meno: capacità intellettive e discernimento, conoscenza del mondo e condotta razionale. Non inganniamoci con visioni di un’età dell’oro affrancata da questa cacofonia: questa in doratura eè un falso artistico. Non sempre a tucti è sì pregiato e caro Quel che’l senso contenta, ch’un sol non sia che’l senta, se ben par dolce, pessimo e amaro. Il buon gusto è sì raro Ch’al vulgo errante cede In vista, allor che dentro di sé gode. Tratto da:
Susan Sontag on Beauty vs. Interestingness by Maria Popova Defying consumerism and the banality of the beautiful, or why our capacity for astonishment endures. “Attitudes toward beauty are entwined with our deepest conflicts surrounding flesh and spirit,” Harvard’s Nancy Etcoff wrote in her fantastic meditation on the psychology of beauty. The essay was in part inspired by Pope John Paul II’s response to the news of countless cover-ups of sexual abuse in the Catholic Church: He summoned the American cardinals to the Vatican and attempted to rationalize the situation by stating that “a great work of art may be blemished, but its beauty remains; and this is a truth which any intellectually honest critic will recognize.” Sontag writes: However much art may seem to be a matter of surface and reception by the senses, it has generally been accorded an honorary citizenship in the domain of “inner” (as opposed to “outer”) beauty. The subtraction of beauty as a standard for art hardly signals a decline of the authority of beauty.
Évaluer l’Art : Propriétés ou Conventions Demandez à un crapaud ce que c’est que la Beauté. Il vous répondra que c’est sa femelle avec deux gros yeux ronds sortant de sa petite tête, une gueule large et plate, un ventre jaune, un dos brun (Voltaire, Dictionnaire philosophique). Les philosophes de l’art se sont beaucoup intéressés à l’existence implicite ou explicite de propriétés dont seraient dotées les œuvres d’art. Il est remarquable que les économistes ont, eux aussi, proposé de décomposer les objets banals en caractéristiques. La Balance des Peintres Dans son Cours de peinture par principes, Piles (1708) distingue quatre propriétés (composition, dessin, coloris et expression) et évalue sur cette base 56 peintres « les plus connus ». Au moment de sa publication, la Balance fera l’objet de louanges et sera considérée comme une façon intelligente de caractériser le génie [1]. Les propriétés vues par les philosophes et les économistes Les historiens de l’art n’ont, par contre, pas apprécié la démarche de Piles. (*) p = ax + bz
How to Tell Good Abstract Art from Bad By Nicole Tinkham When looking at a famous abstract painting do you ever think “I could do that”? If you’re wondering how something so simple can be considered a masterpiece, you’re not alone. Is it really as easy as we think or is there true artistic talent behind these works of art? Believe it or not, there’s science proving that there is in fact a difference between a painting done by a professional and random splatters on a canvas. The Research A study done by two psychologists shows that statistically people CAN tell an abstract painting done by a professional artist vs a child, chimp, gorilla, elephant, or monkey. What to look for in “good” abstract art Just because this research tells us we can distinguish an abstract painting done by a professional vs a non-artist, that doesn’t mean it’s easier for us pick out certain paintings from others. 1. 2. 3. 4. 5. 6. There are so many different feelings toward abstract art. Comment below or connect with us on Facebook! In "art" In "Acetate"
Analyse d'oeuvre : Guernica de Pablo Picasso Présentation de l’œuvre Titre de l’œuvre : « Guernica » Genre de L’œuvre : Peinture historique et engagée Artiste : Pablo Picasso 1881 – 1973 Date de création : 1937 Catégorie (domaine / thématiques possibles) : Arts du visuel Arts, Etats et pouvoirArts, techniques, expressionsArts, ruptures, continuités 0ù trouver l’œuvre : Guernica a été exposée pour la 1ère fois dans le pavillon espagnol de l’Exposition Universelle de Paris en juillet 1937. Repérage chronologique : Repérer l’œuvre et indiquer des événements historiques proches susceptibles d’alimenter des liens, des correspondances entre les œuvres. 1814 : Francisco de Goya, El très de mayo 1830 : Eugène Delacroix, La liberté guidant le peuple 1907 : Pablo Picasso, Les demoiselles d’Avignon Cette toile n’est pas comme les autres exemples donnés engagée, mais elle est un jalon marquant dans l’ensemble de l’œuvre de Picasso. 1937 : Pablo Picasso, Guernica1987 : Barbara Kruger, I shop therefore I am 1990 : Christian Boltanski, Réserve Le cubisme
Les Archives de la critique d'art : des ressources sur l'art contemporain Timothy Morton: What If Art Were a Kind of Magic? - ArtReview From the ArtReview archives: one of the thinkers associated with ‘object-oriented ontology’ argues that we’ve been thinking wrongly about art since the beginning of the Anthropocene For object-oriented ontology (OOO), art is far from a superficial and exclusively human-flavoured region of reality. Whatever human art is, it is telling us something very deep about the structure of how things are: ‘the structure of how things are’ being a pretty good paraphrase of the word ‘ontology’. Indeed, one of the things that art is telling us – that we still allow it (as opposed to what we expect from science textbooks, for instance) to tell us, perhaps – is something profound about the very workings of causality itself. Thinking this way about art is so counterintuitive that we might consider it absurd or dangerous, even crazy. To begin to get a feel for OOO’s radical conception of art, we will need to go on a short journey. Happily, that particular extinction didn’t occur.