I like the Picasso's bull by the way.
Did you know that he had countless prototypes of that rendering? In full
color, black and white, different seasons, times of day etc...and his final
he presented was that one sketch line.
A Finish friend of mine told me that tale when I was in Sweden. I love stuff
like that. It makes sense. If he sold all the prototypes for profit that is
his deal not mine.
Most of those cats, like Michaelangelo for example, were kind of slaved
artists. Van Gogh had his brother to pimp him out. There are to many
circumstances to really make a rule about what's right and wrong. I think
your appeal is doing what you believe and odds are most/ the majority has
not acquired a taste.
Seriously, don't you think putting the business cap on and then switching
back to writing poems is not going to have some affect on your expression?
Once you start doing it for an audience is one thing, once you start doing
it for a paying audience is another and when you decide to completely sell
out...
I'm rambling and haven't even had my morning coffee. Have a great weekend
everyone.
On Sat, Apr 17, 2010 at 12:01 PM, Angel Robert Marquez <
[log in to unmask]> wrote:
> Well, I think my point is more coming from the perspective that yea Picasso
> and many others are passionate romantics about what they do and are
> compelled to produce 'without' calculating why beforehand. When at the same
> time you can get some greedy f*ck watching from the sidelines taking notes
> and presenting the same operation that appears legit; but, in reality it is
> a shallow knock off that gets past the masses because their is to much to
> consume to differentiate.
>
> I find nothing wrong with doing what you love. I just personally think the
> order should be find out what you love and do it not figure out a way to
> make money and pretend to do what someone else is already putting their
> heart into and commercializing it to the point of making the passionate one
> a competitor that needs to be shunned.
>
>
>
> On Sat, Apr 17, 2010 at 11:43 AM, Mark Weiss <[log in to unmask]>wrote:
>
>> I don't know the Arles museum or what kind of mass production you mean.
>> Picasso mass produced art--there are something like 2200 etchings, lithos
>> and linocuts, and that's just the prints, all hands-on work by the man
>> himself. And he painted like his clothes were on fire. For some of his work
>> he had studio help (a printer, ceramicists), but his own part was
>> labor-intensive. He was a one-man factory.
>>
>> Best,
>> Mark
>>
>>
>> At 01:39 PM 4/17/2010, you wrote:
>>
>>> If you want to check out mass production in the visual arts,
>>> don't miss the Picasso Museum in Arles.
>>>
>>> Hal
>>>
>>> Halvard Johnson
>>> ================
>>>
>>> The Perfection of Mozart's Third Eye (downloadable and free) is @
>>>
>>> http://www.scribd.com/doc/27039868/Halvard-Johnson-THE-PERFECTION-OF-MOZART-S-THIRD-EYE-Other-Sonnets
>>>
>>> [log in to unmask]
>>> http://sites.google.com/site/halvardjohnson/Home
>>> http://entropyandme.blogspot.com
>>> http://imageswithoutwords.blogspot.com
>>> http://www.hamiltonstone.org
>>>
>>>
>>>
>>>
>>>
>>> On Sat, Apr 17, 2010 at 1:37 PM, Mark Weiss <[log in to unmask]>
>>> wrote:
>>>
>>> > Warhol took existing images, had his staff solarize them and applied to
>>> > silkscreen. He used them endlessly, varying the number of the an image
>>> in a
>>> > given piece and the color. The images themselves were mostly iconic
>>> images
>>> > of a very few celebrities. One or two of these establishes the concept.
>>> The
>>> > rest, I think, is way too much-masturbatory repetition and money in the
>>> > bank, milking a largely undereducated clientele. I understand the
>>> importance
>>> > of the concept in art history. The idea of multiples had been around
>>> for a
>>> > long time, but marrying it to high prices was brilliant. The art market
>>> was
>>> > thrilled.
>>> >
>>> > The question isn't whether this or that series is "brilliant," but
>>> whether
>>> > it's a one-liner. Does one learn anything from living with them, and
>>> for how
>>> > long? If the duration is short we're talking fad or interior
>>> decoration. And
>>> > eventual footnote status. Right now, of course, you can buy a Warhol
>>> for
>>> > more than most old masters, if you're so inclined.
>>> >
>>> > I wasn't talking about Warhol's commercial art work (drafting). Google
>>> > Warhol Drawing and select images.
>>> >
>>> > I'm aware that you're not alone. I also don't think much of Norman
>>> > Rockwell.
>>> >
>>> > Best,
>>> >
>>> > Mark
>>> >
>>> >
>>> >
>>> >
>>> > At 01:20 PM 4/17/2010, you wrote:
>>> >
>>> >> Unless I am hearing wrong here, I re-hear an aka 1963 dismissal of
>>> >> Warhol's silkscreens (??). I find, and I am far from alone, that
>>> many of
>>> >> those series (conceptually and in realization) are flat out brilliant.
>>> Talk
>>> >> about period geist and social/capitalist critique and the shear chilly
>>> >> pleasure of looking (say, the Jacqueline Kennedy grieving portrait
>>> series) ,
>>> >> Warhol has it in spades. Then again Sontag (during the same time
>>> frame)
>>> >> dismissed Diane Arbus - in retrospect - rather stupidly - missing
>>> the
>>> >> significance of one the great photographers of the 20th century.
>>> >>
>>> >> Thank goodness Warhol gave up drafting. I would say.
>>> >>
>>> >> Stephen V
>>> >> http://stephenvincent.net/blog/
>>> >>
>>> >
>>> > Announcing The Whole Island: Six Decades of Cuban Poetry (University of
>>> > California Press).
>>> > http://go.ucpress.edu/WholeIsland
>>> >
>>> > "Not since the 1982 publication of Paul Auster's Random House Book of
>>> > Twentieth Century French Poetry has a bilingual anthology so
>>> effectively
>>> > broadened the sense of poetic terrain outside the United States and
>>> also
>>> > created a superb collection of foreign poems in English. There is
>>> nothing
>>> > else like it." John Palattella in The Nation
>>> >
>>>
>>
>> Announcing The Whole Island: Six Decades of Cuban Poetry (University of
>> California Press).
>> http://go.ucpress.edu/WholeIsland
>>
>> "Not since the 1982 publication of Paul Auster's Random House Book of
>> Twentieth Century French Poetry has a bilingual anthology so effectively
>> broadened the sense of poetic terrain outside the United States and also
>> created a superb collection of foreign poems in English. There is nothing
>> else like it." John Palattella in The Nation
>>
>
>
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