THE BIG PICTURE (Part 2) Dilemmas

The birth of a new grandchild, visiting relatives, the end of the first semester, some personal issues and the holidays have gotten between me and my studio discipline for about two months now. This hiatus has caused me to spend an abnormal amount of time thinking and re-thinking certain modern dilemmas as they concern the world of art…especially as I work on my blogs. This series is really pretty much off the cuff and stream of conscious for the most part with only a couple of returns to edit or add a thought or two. So if they seem more like rants than rational statements or seem to go a little gonzo on some issues please forgive. This is how I clear the cobwebs, take account of and rebuild my world view from time to time. (big deep breath) --So here we go…


Walter King on 01.31.08 @ 07:31 AM EST [more..]

The Bankruptcy of Criticism

It is more or less consensual, even among artists themselves, that art criticism lost relevance and power. This happens not only in Brazil: in the United States, England and France it has been the subject matter of heated debates. It is unimaginable the appearance today of a Clement Greenberg (photo) or a Harold Rosenberg, for example, who both exerted a decisive influence in the American Arts in the 50s, 60s and 70s, or, in Brazil, a Mario Pedrosa, who helped building our critical discourse on Modernism. (Nevertheless, Greenberg still is the name which is immediately associated to the figure of the art critic, since contemporary production did not generate any relevant critics - Arthur Danto is too committed with the thesis of the "end of art" to assume that role).



Luciano Trigo on 01.28.08 @ 12:47 PM EST [more..]

The Aliya and Farouk Collection

I had my first ever solo exhibition in Malaysia on the 18th of April 2007. A preview of the paintings was held the day before, unannounced -for the select few revered nobles of the art world, the names of whom are mentioned in hushed reverence in galleries around Kuala Lumpur. It was a somber affair in a big airy gallery in the posher parts of Kuala Lumpur, the twin-tower capital city of Malaysia. I sat in my hotel away from the galley in tremulous prayer, not knowing what to expect.

I walked into my gallery the next day greeted by excited chatter. My stars had aligned. There were five paintings with red dots on them. I was overjoyed. And it was no less than Farouk Khan and his wife who had graced my soft opening with their presence and deigned to set their hearts on five of my larger pieces. The Khans are the most prominent collectors in town, as I came to find out. You cannot talk about the Malaysian art-world without referring to Farouk and Aliya who have, according to many accounts, singled-handedly, turned the fortunes of the Malaysian contemporary art scene around in the last few years.


Rajinder Singh on 01.24.08 @ 07:55 AM EST [more..]

Yuroz Weighs in on Prosperity versus Posterity -

For nearly three years, I have been a contributing blogger here on absolutearts. It’s an absolute honor to have the opportunity. The item that has generated the most response from readers was the October 14, 2005 post titled, “Posterity or Prosperity — Can Artists Have It Both Ways?"

The question is one that has vexed artists for as long as money and prestige have been attached to art. Some artists seem to rise above it, others are crushed by it. And, others still find their way to make peace with the fact they can create work from their vision and passion, make themselves wealthy, do good deeds for others and let the critics be damned.



Barney Davey on 01.17.08 @ 09:01 AM EST [more..]

Alibis

Some time ago, back in the nineties, an acquaintance said to me that I had been wise in my choice of alibi. I smiled and pretended not to understand, preferring to pass on the chance to respond adequately; I felt it was better that way because there’s always too much at stake at an opening to jeopardise the outcome giving-in to the venom of the odd jealous colleague. He made it sound like a compliment but I believe to have understood that he implied that my travels to India and the inspiration I got, and used unashamedly, back in those days were being perceived by some as an excuse not to tackle more ‘serious and pertinent issues’ more in keeping with my contemporaries. But the more I thought it over the more I came to realise that he hadn’t intended it as criticism but actually believed that finding the perfect alibi was part of the artist’s task. This worried me because in my view it isn’t.


Jose Freitas Cruz on 01.14.08 @ 07:34 AM EST [more..]

Art Fairs, Education and the best film I’ve seen in years…

The first part of this post kind of relates to some of the points in Michael Corbin’s post last week. In terms of art fairs, the UAE is now home to the two newest kids on the block, namely Art Paris-Abu Dhabi (see 6th December post) and Art Dubai. Both of these fairs have their critics (including myself to a certain extent) but a number of interesting local developments have emerged as a result, particularly in Dubai.

The first fair in Dubai last year demonstrated its corporate social responsibility (CSR) credentials by making the Al Madad Foundation http://www.almadadfoundation.org/ a major partner. A longstanding affiliation between the fair organisers and the UK based charity was used to raise funds, highlight issues of deprivation and ultimately to launch a brand new programme based in Dubai called START. http://www.startworld.org/index.html


Valerie Grove on 01.07.08 @ 09:24 AM EST [more..]

ART: the Big Picture (Part 1)

Some observations on the constitution and purpose of art.



I do not intend to judge only to observe in this introduction to my topic. So it will take the form of some
truisms and generalizations. In later parts I’ll allow more of my own opinion to enter the discussion. So let’s begin at the beginning and define art in its most general sense.

Anything made by human hands can be considered art. Art is neither utilitarian non-utilitarian or anti-utilitarian. A machine, like a well made antique watch, beyond it’s decorative engraved gold cover, may be seen as completely utilitarian. But its gears of different metals, the tedious intricacy of the movement and the jewels which both decorate and serve as numerals might easily be seen as art. Certainly the artifice required might still amaze us even a century after it has been surpassed in function and affordability by its modern digital siblings. It is no less an art form than architecture. Today we might call it Industrial Design. But that does not change the fact that it is artistically done and therefore falls into the general category of art.


Walter King on 01.03.08 @ 09:50 AM EST [more..]