categoria ~ aesthetiks

saiu o resultado da pesquisa da times online sobre os 200 artistas mais influentes do século xx.

como era de se esperar, picasso ficou em primeiro lugar. paul cézanne, que acho particularmente boring, levou o segundo e klimt ficou em terceiro. meu secessionista não me desapontou!

entre os que votei, ficaram de fora yoko ono, matthew barney, le corbusier, hélio oiticica, niki de saint-phalle e man ray.

os comentários são um espetáculo à parte:

where is tamara de lampeka??

boa pergunta! ou:

guess i'll throw out my piece by a frenchman named edgar degas, who didn't make the list.

surreal mesmo.

o próprio times comenta a incoerência do resultado...

several artists would seem to be enormously overrated. what is martin kippenburger doing in the top 20, rated above rothko and schiele and klee? it feels like a blip -- which is probably appropriate for a radical who likes to barge in irreverently. frida kahlo does not merit her top spot of 19. how can this solipsistic painting by-numbers-style recorder of her own misery be placed above munch, with his otherworldly scream? she probably represents the woman's vote. but then, why not put louise bourgeois far higher -- that septuagenarian who, rummaging about in the rag-and-bone shop of the heart, has had so pervasive an influence on future generations?

... mas vale lembrar que a votação estava aberta ao público internético e não a especialistas. os votos foram tremendamente emocionais. e, exatamente por isso, acredito que o ranking reflete bem os valores das pessoas de hoje em dia. bem, pelo menos das que se interessam por artes visuais.

curioso que, entre os candidatos, havia também artistas de performance, fotógrafos e videomakers. parece que o termo artes continua sendo fortemente associado à pintura.

cada internauta pôde votar em quantos artistas quisesse. a pesquisa totalizou um milhão e quatrocentos mil votos.

damien hirst viu primeiro: ossadas são a nova tendência em ornamentos para o lar. talvez isso explique a cifra milhonária que seus esqueletos atingem em seus sempre lendários leilões sotheby´s.

só que o lance agora ficou mais autêntico:

bonhams recently held its 'natural history' auction and two dinosaur offerings both fetched more than their estimated prices according to the new york times. a fierce looking tyrannosaurid skull sold for $206,000 while a more peaceful and popular triceratops head sold for $242,000.

não é tão exorbitante quanto um crânio de hirst; mas também não é para qualquer um.

the auction house refused to identify the buyers, but did hint that the dinosaurs were likely bought as "home decorations."

espero que sim. a hipótese carbono 14 me parece pouco plausível.

via news animal.

com o tradicional branco iridescente e texturas.

marcada reunião na galeria robic, são paulo, para possível exposição e representação das cool.agens; quem sabe, também das telas.

a ver.

for years we´ve heard gallerists say, "i´d rather go out of business than cut my artist´s prices".

o ótimo wooster collective explica: baixar o valor das obras de um artista pode alienar quem acabou de adquirir uma peça a um preço mais alto, além de se correr o risco de passar a impressão de que o artista não está mais tão in.

but this year, with the galleries facing the real possibility of shutting their doors, the discussion of cutting prices has changed. many gallerists and artists are admiting that the prices for a lot of the work over the past few years has been far too high, rose far too quickly and now are completely impossible to sustain.

é o vulgo estourar da bolha.

espero que se prolifere por todo sistema capitalista e tudo vá pelos ares, para que possamos livrar as crianças da escravidão. hahaha!

by the way, os preços das cool.agens de narghee-la no araka desta noite estão razoáveis. ainda hoje post sobre o evento.

curated by ill-studio, art of music reflects upon the profound influence that music has on art and simultaneously art has on music and recognizes their common creative approach. the leading idea of the show emphasizes the fact that artists tastes in music are always strongly related to their work.

me lembra quando o rafa disse que uma pintura do dalí era drum´n base.

urban art is art at its most accessible, available in the public arena for universal appreciation. however, by definition it is also an ephemeral art form, often disappearing as fast as it appears. by transposing their images from street wall to canvas, urban artists are now creating a permanent legacy without compromising the vitality of their art form and it is these works which are currently taking the market by storm.

gareth williams, da bonhams fine arts.

jörg colberg, autor do ótimo conscientious, é o curador da mostra de fotografia bare, em exibição na michael mazzeo gallery (stêitz). no blog, ele mesmo fala sobre a nudez dos sujeitos normais, os tabus e sua contraposição às imagens de corpos perfeitos na moda, cinema e publicidade:

needless to say, taken together with the fact that the kinds of naked people ubiquitously seen in advertizements for the most part represent idealized, artificial beauty standards, which are unattainable for the vast majority of the population, for a large number of people this development has resulted in an alienation from their own bodies, with eating disorders being an almost logical consequence.

e ele alerta:

the efforts of many other photographers - female and male - to portray the naked human body - female and male - in its most natural state, using subjects that do not conform to beauty standards unattainable by 95% of the population, have so far for the most part been ignored.

vale a visitinha virtual.

clap clap clap.

uma das jogadas que mais aprecio na dobradinha música/ internet é o ganho de controle que os artistas vêm adquirindo em todos os níveis de produção e divulgação de um álbum, incluindo shows. é uma delícia ver a indústria fonográfica tal qual a conhecemos fossilizar.

segundo o art news blog, o mesmo começa a acontecer entre artistas plásticos e galerias. embora não explique muito explicitamente o papel da internet nisso, it made me smile:

the art newspaper spoke with the british artist keith tyson about how artists are starting to take control of their career, rather than simply handing the reigns to the art dealer and hoping for the best. it's a theme that comes up more and more lately. here's a couple quotes from the article:

"galleries will promise you the world in terms of production costs but it comes at the price of complete control. there's a conflict of interest in having the people who retail your work being the same people that help you with production because they will try and own it." heith tyson quote

"the bottom line is that you need to be in the centre making the decisions with the gallery working for you, rather than vice-versa." gavin turk quote

i have no sympathy for the art dealers. i appreciate that running an art gallery is a tough business, but i'm happy to see them lose some of their power over artists. most artists will probably still stick to the traditional artist/gallery relationship, but it's good to know that you don't have to sell your soul to one art dealer if you don't want to.

the internet and business superstars like damien hirst and jeff koons haven't been good for traditional art dealers. it makes me think of the music business and their unwillingness to change.