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Everything posted by jfutral

  1. I do want to address this. I don't appreciate being misquoted or flippantly mischaracterized. I did NOT say "Modern Art is the logical result of the Enlightenment". I DID say "there was a definite philosophical underpinning in Modern Art that makes it the logical result of the Enlightenment project." Big difference. _Modernism_ is absolutely firmly rooted in the Enlightenment. That is not a logical fallacy, that is simply being mildly observant. The whole secular/sacred, reason/emotion, material/immaterial bifurcations, eschewing of tradition, and exaltation of self that Modernism tends to tak
  2. Conspiracy theory, no. But a mechanistic institution and prevailing method, built on consumerism and finding the next bigs thing to monetize that certainly does create an elitism, yes. Like I said, just ask the fore runners of lowbrow art who got shunned by the Modern Art institutions. Of course all they did was create their own thing. I agree about the aesthetic thing and the whole "return to realism". In the end that is just a preference and theological and philosophical theories are just that. More later, Joe Crap. I just lost everything I wrote by inadvertently closing the window
  3. Well, I do think there are many artists who were contemporary to the Modern art movements that would not be classified as Modern Artists. But there was a definite philosophical underpinning in Modern Art that makes it the logical result of the Enlightenment project. While Kandinsky may not have been a realist or representational artist, his philosophy is directly rooted in the material/immaterial dichotomy created by the Enlightenment project. Obviously many of the artists mentioned in rebuttal would not fit into the Modern Art machine that helped create the High Art elitism that is still hold
  4. While I agree with the sentiment about the current art "establishment", and apparently so does much of the U.S. if the recent NEA studies about attendance are any indication. As I mentioned in one blog elsewhere, there is a good chance that what is dying off needs to die off in the same way a forest fire is good for forest growth. I disagree with his opinions of Pollock, et. al. I am very fond of the Modern artists of the early 20th century. Joe
  5. Just a few counter points, but nothing substantive to the OP, so feel free to skip. The NEA doesn't give directly to individuals. They do give to organizations who do give individuals. Probably not directly to programs directed to individuals. I think the individual artist angle to strong arming is unlikely. But until recently the NEA (and influentially other granting organizations) favoured presenting organizations who are free to support individual artists. Been a part of several performance projects where Maya Angelou was a part. Usually the peer/citizen review panels have little to do wi
  6. In the OP, you wrote this: "It's about the drive to produce propaganda, and the inability of artists to see that this is what's going on. " I have serious doubts that the artists who involve themselves in this "outreach" really do not see what is going on. If anything they are probably sympathetic to begin with and gladly, probably enthusiastically, appreciate the call. So if/when Maya Angelou writes her poem, I have no doubt it will be as much from the heart as if she found other inspiration to compose. And I would be hard pressed to believe that she had not already done so. But what is th
  7. I was also just wondering if the level of realism employed in the media also has an impact on how much deviation you, as a viewer, are willing to allow. Movies and books (print being more associated with "fact" dissemination) are more prone to a higher level of scrutiny than maybe dance or paintings, music being the most dis-associative. Joe
  8. Alright. A little more directly to the point. here is a youtube clip from our DVD called Last Dance. Maurice Sendak and Pilobolus collaborated on this piece on the Holocaust. I still don't know how to make active links. Last Dance nudity controversy If that didn't work here is the url: http://www.youtube.com/watch?v=XNBweJR8Wng There is brief male nudity in the clip so be forewarned. My point is whenever we are presenting history it is always an interpretation of history. Especially when it involves something as catastrophic as the Holocaust, we aren't just trying to list the facts of his
  9. Wow. This is very much along the lines of stuff I've been thinking about lately. That's a lot of stuff to think about, all related yet can each be handled on it's own, what are facts? Is there ever really such a thing as "just the facts?" I used to do a lot of recording and frequented a couple discussion groups. One thread that I always remember was a guy who came looking for a microphone that did not colour the sound for a symphony recording he was doing. He wanted the microphone to reproduce accurately what was being played. He never did get the idea that there is no such thing. Every microp
  10. A friend of mine was his lighting supervisor. Our conversation about Shen Wei being a recipient is what prompted my thread about art without the pressures of life. Joe
  11. I'll second this. I was just in Philly and went to see the Frida Kahlo exhibit. Excellent museum. Decently priced for all that is there. Lots from Rodin. Joe
  12. That's pretty funny! Not to detract from the humour or irony of it all, but I've met a couple of collectors and buyers and the hot thing for now (and has been for a short while) is modern art along the lines of the abstract expressionists. I know you aren't into that sort of thing, but just sayin'. That's where the big money is, although I've also heard that some socialist realism is coming up, too. I met a collector in Dallas who is big on found art right now. So maybe you can combine those three styles and REALLY hit it big. Joe
  13. Speaking english. That was amazing. Joe
  14. First let me say, I think this is the great thing about art. People can be drawn to different things. Yeah, that Francis Bacon and the Modern Project affected everything didn't they? It all became about the material world. In that way, Realism is more Modern than Modern Art. That's an interesting perspective. I think it all is missing something, or rather, representational and non-representational art/artists all try to show what can't be seen. I don't think non-representational is "missing" anything more than representational or realistic art. Well, I don't think abstract or non-repr
  15. I like Pollock's work. Seeing his stuff live, as with most any visual artist, is a far more rewarding experience. Klee and Kandinsky, as with much of the Bauhaus group, were greatly influenced by music and wanted to do visually what music was doing, producing beauty non-representationally. Representational story telling can be great, but there is no reason to think this is the sole purpose of art. The way I think of it is much like Fujimura once posited on his blog, premodern art asks how do you depict a flower? Modern art asks what is a flower? And postmodern art asks is there a flower? Ano
  16. I hope you will post back a simple (or not) summary of how it went or what was discussed for those of us who can't be there. Thanks, Joe
  17. I'm a little annoyed with myself because I can only vaguely recall that I think this was an important question in my post, but I can't remember what caused me to ask it. I guess it is like when Jesus talks about how easy it is to love those who love you, but to be more like the Father we have to love those who hate us. So, does great art come easy or does it come from struggle or discomfort? Sort of like the quote about kicking darkness until it bleeds daylight. Did the great artists fight their art? Are those the moments we recognize their contributions? Joe
  18. Only in as much as it's presence or absence affects the well that artists draw from (no pun intended, OK, maybe sort of). Kind of along the lines of how sometimes it seems one gets more accomplished when one has less time to accomplish things. I wonder how much being free from the "burdens of life" might actually pull the rug out from under the artistry. I guess it depends on what burdens and what inspires an artist. But then there were the artists who were driven to use their art to earn money. Van Gogh wanted to and was convinced he could make his money painting portraits. If he wasn't try
  19. While I have more recently come to appreciate Cezanne's work, it isn't as an artist as much as a technician. This could explain part of that sense. Joe
  20. As someone who works for a dance company that is associated with nudity and partial nudity on stage, and some of it very sensual, I think the question boils down to what the person (viewer or performer) can handle. I've said this elsewhere before, some people can handle a glass of wine, some people fall into alcoholism. Some people can eat nuts, some can die from eating nuts. As for profanity, I think one of the most hilariously ridiculous ideas is watching a movie on TV and the profanity is overdubbed. Most of the time it is quite obvious what was really said and the overdub is more of a dis
  21. Is art always creativity responding? Does art need to be created from a point of inspiration? I was thinking about the genius grants and wondering is there really anyway for an artist to create free of life? If the idea is to allow an artist to create free of the burden of paying rent, buying groceries, etc., is that really possible? I remember hearing Frank Lloyd Wright say his biggest regret is that he was allowed to create unchallenged. When an artist has a muse, isn't that creating in response? Can we truly create being totally "set free"? Do we always require some sort of push back? And
  22. I'm no actor. I don't even play one when playing around. But I will say that Shakespeare never made more sense to me than when I lit (Atlanta's) Jomandi's production of Julius Caesar and it was set within the Nation of Islam. Somehow, giving the lines that southern, african-american, full-gospel accent and drawl _without_ changing any of the words, I finally understood every word. But that's just me. I'm a southerner. Joe
  23. (Shameless self-promotion) My company (Pilobolus) is performing at the Joyce (on the corner of 8th Ave and 19th St) until the 11th. Joe
  24. Along the lines of searching museum/art galleries, can anyone suggest places for live music? Preferably jazz, secondarily blues or folkish (think CSN or Joni mitchell). Right now I have come up with the Blue Note, Les Paul's Iridium, and Jazz Gallery (Roy Hargrove will be there when I am!) and of course B. B. King's place, although I didn't see anything all that interesting happening there on the calendar. Any other less known but worth the effort places to check out? I usually need something late night as our show won't really be over until 10:00+/- and we have no shows on Sunday. Again I am
  25. Almost two weeks ago Pilobolus premiered a new work at the American Dance Festival in Durham, NC, at Duke University. It is a collaborative effort with Israel choreographers Inbal Pinto and Avshalom Pollak. Someone I'm told, probably with their cell phone, had already posted clips of the work on the internet. I haven't found them, myself, But this really got me thinking more about this issue from an artist's perspective. The art world, not just the RIAA , is going to have to confront this either to acceptably work through it or be blindsided by this phenomenon. Granted, there are lots of art
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