The Blaffer gets many different people coming through it's doors each season. They're old and young, art-minded and not, interested and indifferent, but they all have an opinion on what hangs on the walls. But, what is that opinion? For those of you who have given tours of Mylayne and Sillman, what are people saying? What do they like the best? The least? How long do they look at the art?
I'll start. In a tour I gave, one student insisted that Trawler was not a fishing scene but the image of a tornado and it's destructive capabilities despite the objections of her classmates. And according to the Gallery attendants, Unearth is the crowd favorite in the Sillman exhibition.
Now it's your turn. "I think this art is . . . "
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4 comments:
In discussing the Sillman exhibition with some attendants at the gallery, one insisted Unearth appeared to be a spaceship, while another argued it was an umbrella land.
Art is... anything you want it to be.
The painting consists of many light "happy" colors throughout the large canvas, shooting out in rays from the top, and clustered in various squares throughout the piece. Overall, I believe the colors and circus-like content give off a very light-hearted mood making it one of the viewers' favorites.
which project a very light-hearted mood for the viewer.
I recall that either Claudia or Sillman mentioned that the paitning was partly inspired by Sienese painter Ambrogio Lorenzetti's Allegory of Good Government: Effect of Good Government in the City and the Country. The fresco is installed in Siena's Palazzo Pubblico and it is a huge, narrative map. I couldn't find any images that show the whole fresco....
Comments?
I've noticed for Sillman's work, some viewers liked the images better before they knew the inspiration. I guess they enjoyed trying to figure the abstraction or applying their own experiences to the images, rather than Sillman's.
I've always been intrigued by the idea of finality in a painting, especially in abstract work. I think it's interesting to know at what point an artist decides when a work is or should be considered "done." I imagine what the work would look like if the artist had made a slightly different decision, and how that decision would affect the whole work: for instance, how much longer it would take for the artist to get to that "finished" point, or if perhaps that one decision would even shorten the path to conclusion. I also consider the slightly voyeuristic idea of watching an artist work, and seeing how that interaction would affect the work. And so I've come up with a conceptual piece that I think would work well with your technique. The idea is actually pretty simple: it would be a matter of selling a finished piece that hasn't even been worked on or has only been begun. The owner would have to agree to let you work on the piece over a period of time of your own choosing and would not be able to protest the kind of changes that you would do to the piece. It's possible that you could work on the piece and then leave it for years and come back to it only to make slight changes or to even do drastic "renovations". ...... anyways, it's just an idea.
Cesar
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