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Joan Miro "Painting and Anti-Painting" @ MoMA, open to members through tomorrow and the public Sunday — then it is going to be mayhem crowds. Mind-blowingly awesome, the range of works on display...yet it only spans ten years.
Also they're installing these massive screens for Pipilotti Rist's video installation in the 2nd floor lobby, I think that properly opens on the 19th but it's pretty wicked thus far. Several-floor-tall violet curtains all over the place.
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I would like to talk about this more, hanajibu. It seems that one of the prerequisites of successful contemporary art is its size. Like for anything that is museum worthy, it has to be fucking humongous, and I can't help think that the artist is trying to impress the viewer with the size of the work, because he can't impress him with the work's substance.Fashion is a form of ugliness so intolerable that we have to alter it every six months - Oscar Wilde
StyleZeitgeist Magazine
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didn't you know that size is everything?
For some work, size is important and is relative the idea being expressed. When it comes to collecting this is not always the case. There are those collectors that really seem to try to understand and appreciate the work in entirety, in whatever size the artist determines relevant. However, there are others and maybe those are the ones driving the market right now, that always want the big drawing because they are buying to buy and someone told them to buy the big one, the bigger is better notion.
Sometimes in an extremely expansive space, visually seeing something overwhelmingly large can be quite nice and very powerful. But there is also something quite beautiful about seeing a wonderful photograph, for example, in a smaller size. It then becomes more about the object and experience for me rather than just experience.Distraction is an obstruction of the construction.
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Originally posted by kira View Postdidn't you know that size is everything?
For some work, size is important and is relative the idea being expressed. When it comes to collecting this is not always the case. There are those collectors that really seem to try to understand and appreciate the work in entirety, in whatever size the artist determines relevant. However, there are others and maybe those are the ones driving the market right now, that always want the big drawing because they are buying to buy and someone told them to buy the big one, the bigger is better notion.
Sometimes in an extremely expansive space, visually seeing something overwhelmingly large can be quite nice and very powerful. But there is also something quite beautiful about seeing a wonderful photograph, for example, in a smaller size. It then becomes more about the object and experience for me rather than just experience.Fashion is a form of ugliness so intolerable that we have to alter it every six months - Oscar Wilde
StyleZeitgeist Magazine
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Would Dali's clocks be a big deal if they weren't soft?
I will definitely check the Miro show, thanks for the tip.
Unfortunately it's almost finished, but I highly recommend Jennifer Steinkamp @ Lehman Maupin on Christie below Houston (http://www.lehmannmaupin.com/#/exhib...fer-steinkamp/)
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Originally posted by justine View PostWould Dali's clocks be a big deal if they weren't soft?
I will definitely check the Miro show, thanks for the tip.
Unfortunately it's almost finished, but I highly recommend Jennifer Steinkamp @ Lehman Maupin on Christie below Houston (http://www.lehmannmaupin.com/#/exhib...fer-steinkamp/)Fashion is a form of ugliness so intolerable that we have to alter it every six months - Oscar Wilde
StyleZeitgeist Magazine
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Originally posted by Faust View PostNot the same thing. I would argue that the degree of impact of Dali's paintings would vary only slightly depending on the size of the painting, whereas no one would give a shit if Koonz's Christmas decoration was a size of one that goes on a Xmas tree.
As for the Koons decoration, you just might have gave him a new idea to make few bucks this Christmas season ; or expect to see a giant Christmas tree decoration ball at his next show :)
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lots of museum are getting bigger and bigger, most cater to and build huge rooms for epic intallations by serra for example. as the museum becomes the artwork, artists are being allowed and encouraged to work on grand scales. koons puppy is a masterpiece which was made in 1992 for documenta IX before this trend, he simply wanted to pun off the guard dog by creating the most loveable creature possible covered in live flowers, one that exceeds expectations in every way, the way koons oftens chooses to illustrate the big theme "love". and if i remember correctly make a gesture to his son ludwig stranded in the italian porn stars hands. how he got this thing to work is almost a miracle. to see it in front of gugg bilboa from a few block away is among my top ten art experiences.
Last edited by philip nod; 11-02-2008, 11:58 AM.One wonders where it will end, when everything has become gay.
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Originally posted by philip nod View Postlots of museum are getting bigger and bigger, most cater to and build huge rooms for epic intallations by serra for example. as the museum becomes the artwork, artists are being allowed and encouraged to work on grand scales. koons puppy is a masterpiece which was made in 1992 for documenta IX before this trend, he simply wanted to pun off the guard dog by creating the most loveable creature possible covered in live flowers, one that exceeds expectations in every way, the way koons oftens chooses to illustrate the big theme "love". and if i remember correctly make a gesture to his son ludwig stranded in the italian porn stars hands. how he got this thing to work is almost a miracle. to see it in front of gugg bilboa from a few block away is among my top ten art experiences.
Distraction is an obstruction of the construction.
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Originally posted by Faust View PostNot the same thing. I would argue that the degree of impact of Dali's paintings would vary only slightly depending on the size of the painting, whereas no one would give a shit if Koonz's Christmas decoration was a size of one that goes on a Xmas tree.
Ultimately, those are just examples of why I'm confused at why we're "separating" scale from being a formal element of a piece? It seems as integral to an overall work as "color" or "surface" in those terms and it seems unusual to think of it in contextual terms but then consider any piece that could have its primary formal element completely changed and still function in the same manner.
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Originally posted by Faust View PostI would like to talk about this more, hanajibu. It seems that one of the prerequisites of successful contemporary art is its size. Like for anything that is museum worthy, it has to be fucking humongous, and I can't help think that the artist is trying to impress the viewer with the size of the work, because he can't impress him with the work's substance.
from what I've heard from friends regarding Bilbao, the Koons 'Puppy' and the Bourgeois 'Maman' are far more interesting than the art inside the museum.
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Originally posted by Servo2000 View PostI'm not sure I agree with that - it seem to me that a two-story tall Dali piece would be absolutely monumental. I can't really imagine it having much impact either if it were the size of a postage stamp.
Ultimately, those are just examples of why I'm confused at why we're "separating" scale from being a formal element of a piece? It seems as integral to an overall work as "color" or "surface" in those terms and it seems unusual to think of it in contextual terms but then consider any piece that could have its primary formal element completely changed and still function in the same manner.
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Originally posted by Servo2000 View PostI'm not sure I agree with that - it seem to me that a two-story tall Dali piece would be absolutely monumental. I can't really imagine it having much impact either if it were the size of a postage stamp.
Ultimately, those are just examples of why I'm confused at why we're "separating" scale from being a formal element of a piece? It seems as integral to an overall work as "color" or "surface" in those terms and it seems unusual to think of it in contextual terms but then consider any piece that could have its primary formal element completely changed and still function in the same manner.Fashion is a form of ugliness so intolerable that we have to alter it every six months - Oscar Wilde
StyleZeitgeist Magazine
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