If you need a good laugh...
Jeff Brown
WoN ereH
>... check out the biggest pile of BS I have come across in a long time...
>
>http://www.michaelrees.com/1.html
Amazing steam coming off that pile. Sad that many in the art community are
still trying to convince the public the emperor has fine robes.
Debra
Marilyn Welch
Everyone with a mouse is an artist.
M.
Andrew Werby
Marilyn Welch wrote in message <3905E7FF...@victoria.tc.ca>...
>This is what gives the internet its carnival culture.
>
>Everyone with a mouse is an artist.
>
>M.
>
[Michael Rees is a pioneer in making sculpture using a computer and rapid
prototyping technology. I like some of his stuff a lot, perhaps because it
relates to my own endeavors using 3d-digitized natural forms as sculptural
elements. He's also a better writer than his curator, although the "Artist's
Statement" format is generally uncongenial to artists and readers alike.
Unfortunately, as well as "walking the walk", if you want to succeed in the
Art World, you also have to "talk the talk", incomprehensible though it may
be to mere mortals...]
Andrew Werby
Chris Ray
>He's also a better writer than his curator, although the "Artist's
>Statement" format is generally uncongenial to artists and readers alike.
>Unfortunately, as well as "walking the walk", if you want to succeed in the
>Art World, you also have to "talk the talk", incomprehensible though it may
>be to mere mortals...]
Andrew: I can't believe that the writing could be understood by immortals
either. Michael Rees is doing himself no favor by including that amateurish
nonsense on his site. The fact that it was written by a so called "curator"
only compounds the foolish impression that it conveys which is so transparently
pretentious. In fact it's insulting to both the artist and the viewer..
Talking the talk is generally fine with me and I don't have a problem with
that but only if the comments actually relate to the work that one does. I
don't agree with some here who feel that an artist's statement is a useless
device. It can be very helpful to some and it can also provide some
interesting insights into the way an artist approaches the work.
One doesn't have to always explain the work itself. However knowing how one
arrives at certain forms and conclusions, which isn't always obvious, is often
very interesting.
Chris Ray
http://www.chrisray.com - contemporary sculpture
Crocus Design Works - web site design
http://www.websiteproject.com
Elijah
On 25 Apr 2000 19:50:53 GMT, croc...@aol.comnospam (Chris Ray)
wrote:
sculpt...@my-deja.com
Come on, now... give us just one good juicy example of some "art"
that just turns your stomach! I dare ya!
As to talking the talk- I have never and will never pander to the
effete academic snots that generate this kind of meandering
miasma of meaninglessness.
It has not hurt me financially- rather the opposite. I have supported
myself and my family in good style for 23 years doing nothing but
sculpture. The only job I have ever had as an adult.
I'm with Debra and Marilyn and the rest.
Its all carnies and crap.
And I wish artists with a trifle more talent had ready and afforable
access to this kind of technology.
Too many digital dweebs with 8,000 pencils drawing pictures. Not
enough artists.
Christopher
Sent via Deja.com http://www.deja.com/
Before you buy.
Mark Parmenter-White River Foundry
good and he is an upright dude. He really is a pioneer in the
computer/sculpture
The drivel written in that article is lamentable. I was hoping that kind of
thing was going away. Take it for what it is, a guy writing about something
he does not understand.
Mark Parmanter
"Andrew Werby" <and...@computersculpture.com> wrote in message
news:X7mN4.33821$k5.9...@news1.frmt1.sfba.home.com...
>
> Marilyn Welch wrote in message <3905E7FF...@victoria.tc.ca>...
> >This is what gives the internet its carnival culture.
> >
> >Everyone with a mouse is an artist.
> >
> >M.
> >
>
> [Michael Rees is a pioneer in making sculpture using a computer and rapid
> prototyping technology. I like some of his stuff a lot, perhaps because it
> relates to my own endeavors using 3d-digitized natural forms as sculptural
> elements. He's also a better writer than his curator, although the
"Artist's
> Statement" format is generally uncongenial to artists and readers alike.
> Unfortunately, as well as "walking the walk", if you want to succeed in
the
> Art World, you also have to "talk the talk", incomprehensible though it
may
> be to mere mortals...]
>
Andrew Werby
sculpt...@my-deja.com wrote in message <8e6hje$ksg$1...@nnrp1.deja.com>...
>Andrew- Is there anything you don't like?
[I'm hardly the Will Rogers of the contemporary art scene, really. There's a
lot of stuff called "art" these days that's incredibly lame, but why dwell
on it? I wouldn't include Michael Rees' sculpture in that category at all.
Did you actually look at the pieces at
http://www.michaelrees.com/OLDindex.html ? I thought they used computer
technology and the RP medium well- they certainly would have been difficult
to do any other way. I also give points to someone who pushes their medium a
bit, stretching out ones idea of what can be accomplished. Assemblage-type
art may not be your cuppa tea, but it can be done badly or with a certain
style and grace. This was the latter, in my opinion.
>Come on, now... give us just one good juicy example of some "art"
>that just turns your stomach! I dare ya!
[Art is not for the weak of stomach these days. That German doktor that
managed to "plasticize" cadavers and pose them in lifelike positions- very
effective in an emetic sort of way. I saw some pictures from his "art
exhibition" on the Web, and that was closer than I wanted to get...]
>
>As to talking the talk- I have never and will never pander to the
>effete academic snots that generate this kind of meandering
>miasma of meaninglessness.
[Oh you nattering nabob of negativity...]
>It has not hurt me financially- rather the opposite. I have supported
>myself and my family in good style for 23 years doing nothing but
>sculpture. The only job I have ever had as an adult.
[It's good to know that this can be done.]
>I'm with Debra and Marilyn and the rest.
>Its all carnies and crap.
[Everything goes better with a little snake-oil...]
>
>And I wish artists with a trifle more talent had ready and afforable
>access to this kind of technology.
>Too many digital dweebs with 8,000 pencils drawing pictures. Not
>enough artists.
>
>Christopher
[Are you taking up the gauntlet? The technology is not that expensive
anymore, considering what it can do. There are service bureaus that can
"print out" 3d parts in a range of plastics, some of which burn out cleanly.
I think the challenge is to do something this way that wouldn't be possible
any other way, but yet is beautiful. Can you think of anything like that?]
Andrew Werby
http://unitedartworks.com
sculpt...@my-deja.com
> [Oh you nattering nabob of negativity...]
Can't help myself, I'm fictionally alliterate.
> [Are you taking up the gauntlet? The technology is not that
> expensive
> anymore, considering what it can do.
HAH! Some of it is not so expensive. Rapid prototypers are still in
the realm that Linotronic imagesetters were in 1988- strictly a
service bureau thing. And well beyond the means of any art foundry
I know of- no matter how useful a wax inkjet prototyper would be for
them.
> There are service bureaus
> that can
> "print out" 3d parts in a range of plastics, some of which burn out
> cleanly.
yup- you can take molds off them, too, but none of the plastics
available are really finished product quality materials. Mostly they
are suitable only for prototypes.
> I think the challenge is to do something this way that wouldn't be
> possible
> any other way, but yet is beautiful. Can you think of anything like
> that?]
Andrew- I regularly use these these bureaus when called for.
Mostly to design larger commercial products that require
visualizing internal clearances and a certain amount of
engineering. Some designs lend themselves well to the current
state of the desktop art. (I work on a G4 mostly with form•Z)
Anything that requires accurate planes and angles and arcs to fine
tolerances is often easier to model digitally. I have done sculptural
flowerpots in all shapes and baby strollers and kayaks and that
sort of thing. Some surface details such as leaves and textures
can be directly modeled. But the tools available are no where near
as facile as clay for most organic forms. Consequently- most of
what has been done is abstract- reflecting the limitations of the
technology rather than its power.
The problem is- as well trained as I am in molds and materials-
there are few organic forms imaginable that cannot be far more
readily reproduced traditionally. And more durably-
Or- for example- I can make a figurative work 10 inches tall the old
world way and resort to scanning and foam C.N.C. to make it
huge- a mixture of traditional and technological.
Now If I could get my hands on one of those positive feedback
sculpting systems!...... Alas- $15,000 is a lot to ask( not including
the puter)- and running a windows system is even more to ask.
(The only Microsoft product I have every thought measured up to
minimal expectations is the Intellimouse optical mouse-that thing
is a gem)
So Andrew- if you can get me a beta tester gig with one of these
systems, I'll be happy to whip out some stuff that would leave you
agog. Or if you are as rich as you seem to be, I will gladly and
graciously accept a grant.
But- I suppose I will just have to be patient, and wait until I can buy
a thrid party input arm that plugs into my firewire port and runs with
my Mac. For no more than 5 or 6 grand.
Another problem with virtual design- it is easy to generate objects
that can not exist in reality, or that can not be actually fabricated in
any way that is structurally sound.
While flatwork artists can throw an image of any ole thing on the
wall- there is about sculpture a certain element of engineering.
It will be great when VR 3D and holodecks are a reality and
sculpture is freed from the constraints of gravity vs modulus of
elasticity- but until then, and until a more facile way of
manipiulating 3D data is affordble for my studio- I have to remain
straddling the two worlds of yesterday and tomorrow- taking from
each only what I can convert into income now.
Marilyn Welch
I thought there were so many, many cylinders,
making for too much repetition.
Furthermore, it is not a genre which I
care for or actually know very much about,
that counts me out as a good judge of the
art work. My response was mainly to the text
which was not a good monograph. I do have
some experience at reading.
Marilyn
On Thu, 27 Apr 2000, Andrew Werby wrote:
>
> sculpt...@my-deja.com wrote in message <8e6hje$ksg$1...@nnrp1.deja.com>...
> >Andrew- Is there anything you don't like?
>
> [I'm hardly the Will Rogers of the contemporary art scene, really. There's a
> lot of stuff called "art" these days that's incredibly lame, but why dwell
> on it? I wouldn't include Michael Rees' sculpture in that category at all.
> Did you actually look at the pieces at
> http://www.michaelrees.com/OLDindex.html ? I thought they used computer
> technology and the RP medium well- they certainly would have been difficult
> to do any other way. I also give points to someone who pushes their medium a
> bit, stretching out ones idea of what can be accomplished. Assemblage-type
> art may not be your cuppa tea, but it can be done badly or with a certain
> style and grace. This was the latter, in my opinion.
>
> >Come on, now... give us just one good juicy example of some "art"
> >that just turns your stomach! I dare ya!
>
> [Art is not for the weak of stomach these days. That German doktor that
> managed to "plasticize" cadavers and pose them in lifelike positions- very
> effective in an emetic sort of way. I saw some pictures from his "art
> exhibition" on the Web, and that was closer than I wanted to get...]
> >
> >As to talking the talk- I have never and will never pander to the
> >effete academic snots that generate this kind of meandering
> >miasma of meaninglessness.
>
> [Oh you nattering nabob of negativity...]
>
> >It has not hurt me financially- rather the opposite. I have supported
> >myself and my family in good style for 23 years doing nothing but
> >sculpture. The only job I have ever had as an adult.
>
> [It's good to know that this can be done.]
>
>
> >I'm with Debra and Marilyn and the rest.
> >Its all carnies and crap.
>
> [Everything goes better with a little snake-oil...]
> >
> >And I wish artists with a trifle more talent had ready and afforable
> >access to this kind of technology.
> >Too many digital dweebs with 8,000 pencils drawing pictures. Not
> >enough artists.
> >
> >Christopher
>
>
> [Are you taking up the gauntlet? The technology is not that expensive
> anymore, considering what it can do. There are service bureaus that can
> "print out" 3d parts in a range of plastics, some of which burn out cleanly.
> I think the challenge is to do something this way that wouldn't be possible
> any other way, but yet is beautiful. Can you think of anything like that?]
>
> Andrew Werby
> http://unitedartworks.com
>
>
>
>
>
Andrew Werby
Marilyn Welch wrote in message ...
>Actually concerning the art work at issue here,
>I thought there were so many, many cylinders,
>making for too much repetition.
[Cylinders? Are we on the same page here? Are you talking about the spinal
columns? Which vertebra are expendible?]
>Furthermore, it is not a genre which I
>care for or actually know very much about,
>that counts me out as a good judge of the
>art work.
[I wonder if one has to like a style of art in order to be able to criticize
it. Probably it depends on the intended audience- if it is a general one,
then no, but afficionados won't respond positively to criticism from
outsiders.]
My response was mainly to the text
>which was not a good monograph. I do have
>some experience at reading.
>
>Marilyn
[I think we're all in agreement there...]
Andrew
eri...@my-deja.com
i kinda come from the school of"put it in the front yard and see how
long it takes for someone to steal it", meaning i let my work speak for
itself, many of those who know me think me an incredible critic,as i
sneer at most of the showings and displays that appear around here,. few
understand it's seldom the work,it's usally it's the pretence that
accompanies the presentation of said work,for myself i follow the creed
of if i want it i get it,be it information or merch.i don't need someone
to expound on the merits of a thing or product, but then this is a
formula that works for everything,if eveyone thought like me there would
be a lot of out of work salesmen,.....the work may have merit, but
coverd in the crap as it's presented it's hard for anyone(real) to stop
and look,...