My abstract attempt...
Nerd Gerl
make decisions based on that which did not, nor ever will exist. So I
did not enjoy it one bit sir. You'll forgive my preference of lazily
of drawing what is in front of me? I have not the time nor the
personality to think in such challenging ways.
===============
Naked Angel Art
http://www.rcip.com/nerdgerl
Andrew D
nerd...@rcip.com (Nerd Gerl) wrote:
+Hiya Foxy. I "did it" sorta. My analysis: nerve wracking. I had to
+make decisions based on that which did not, nor ever will exist. So I
+did not enjoy it one bit sir. You'll forgive my preference of lazily
+of drawing what is in front of me? I have not the time nor the
+personality to think in such challenging ways.
If you were consciously thinking about it you were trying too hard. It is
supposed to be a subconscious act otherwise it isn't "from within".
Next time you do a watercolour, look at your palette after 20 minutes and
there you go, you've created a subconscious abstract almost entirely free
of reference to the outside world. Now throw your painting away and work
out how to hang your palette.
Andy D.
"I'm a great speller - but a hopless tpyist!"
Gerry Attricks
right@the_end.of.my_tether says...
>Now throw your painting away and work
>out how to hang your palette.
While in school, during one semester of
painting, I used a piece of Masonite to
collect the scrapings and cleanings from
my palette and brushes. At the final
critique, it was the "most admired" piece
from my semester's efforts. True story.
Nerd Gerl
That has happened to me too. I drew a realistic picture of art
materials crammed together to hide any background space. And then I
drew a blown up 1-inch section of a crumpled cloth.
The cloth picture won 3rd place in an art show. Wasn't too happy 'bout
that!!
Nerd Gerl
<20021031141925.802$H...@newsreader.com>...
> Hi Gerl -
>
> I'm proud of you! Very few people have the cojones to be curious about
> something that's new to them, let alone try it themselves. They stay with
> the comfortable, the known.
>
> You've discovered something important - making abstract art is very
> difficult. I was a figurative painter for many years before I was able to
> create abstract work that I liked. Finally, after years of trying, it began
> to happen. I still have the first successful abstract painting I made. I
> walked around on a cloud for days.
>
> Of course you are right - the difficulty comes from not having anything
> representational to begin with, just working with forms and color as ends
> in themselves.
>
> When can I see your piece?
Well... you're gonna laugh, but here it is...
http://www.rcip.com/nerdgerl/analysis.jpg
WHAT?!?! That's not an abstract!! (lol)
Parts of it are I guess... I decided to be a bad girl and mix realism
with abstract to see what would happen. You can't see it from my
crappy photo, but there are scribbley lines around the 2
ghost-looking angels. I disregarded any detail INside the figures and
concentrated on scribbling the OUTside of the figures. (Okay, so I did
a little messin' around in the face of the larger ghost). Boo!
Anyway, I was constantly worried about (1) making the scribbles
intentional in appearance, (2) variating the values of the scribbles
in a way that was interesting, yet sensible, (3) adding TOO much and
not leaving enough for the viewer to wonder about, (and vice versa)
and finally (4) making the whole thing acceptable.
I know I did not pass the test of drawing non-objects, but as far as
abstraction goes, I think I like the figure in the upper left right
hand corner best. The ghosted angels were supposed to be easy to do,
but I discovered that they took just as much care to draw as the real
one.
I'll get a professional scan of this up on the website soon so you can
see all the detail in it. It's funny (to me anyway) to see all the
maddening detail in the real angel (you know I draw the hairs in the
feathers too!?), yet find absolutely none of that in the others in the
same picture. It was a REAL struggle NOT to do things. I mean I really
had to fight with myself not to add the feathers!! Here is another
horrible photo that captured *some* of the detail I ignored in the
ghosts: http://www.rcip.com/nerdgerl/3angels-cu.jpg
I gotta getta betta cam. :-(
Will I try it again? Yes. I mean, "doing it" gave me more ideas...
like for sculpture. I would not have thought of the sculpture idea had
I not tried this experiment.
=============
Naked Angel Art
http://www.rcip.com/nerdgerl
> Dan
> http://www.danfoxart.com
>
Mani Deli
>old...@noemailever.com (Gerry Attricks) wrote:
>> While in school, during one semester of
>> painting, I used a piece of Masonite to
>> collect the scrapings and cleanings from
>> my palette and brushes. At the final
>> critique, it was the "most admired" piece
>> from my semester's efforts. True story.
>
>That story has been around since I was a boy, if not longer.
And of course many including I did this. An amusing section of my book
deals with this and similar happenings while I attended a Bauhaus
Academy. Teachers who painted drivel very similar to that of Fox
couldn't tell the difference between schmiers or deliberate
accidental.
The Idiot who I exposed in front of the class offered this lame
excuse, "Your problem is that you don't take yourself seriously
enough."
Some years later I won a stipend to go to Europe on the basis of a big
schmier I painted the night before the jury judged. Its easy to fool
idiots if you learn their strategies.
> The way I
>heard it, a conventional artist submitted his palette to a show as a
>protest against modern art. When it won first prize, he gleefully pointed
>out that it was his palette, so modern art was therefore crap.
There are far more reasons why Modern Academic Art is crap that
indeed being one, a major one.
> 'We knew it
>was your palette,' the judges said. 'You unconsciously used your skills
>when you put color on your palette, and produced a fine painting.'
>
>There is probably some validity to the basic idea - as artists, we will put
>paint down in certain ways almost automatically, even on our palettes.
>Picasso used a newspaper as a palette - when a sheet got full he threw it
>away and began again. 'It's a shame,' he said - 'some of them are pretty
>good paintings!'
How do you like this excuse? Would you want a jerk who believes this
sort of nonsense to be your teacher? It reminds me of the room full of
Chimpanzee paintings that got passed off as fine art in a Paris
exhibition.
As to Picasso I'm sure many of his newspaper paintings were indeed
better that a lot of his trash being passed off as masterpieces.
...no skill no art!
Want to get away from the indecipherable imbecilities and absurd pretensions of the modern art establishment?
Check out my web page http://www3.sympatico.ca/manideli/
Andrew D
Fox) wrote:
+Hi Gerl -
+
+I'm proud of you! Very few people have the cojones to be curious about
+something that's new to them, let alone try it themselves. They stay with
+the comfortable, the known.
+
+You've discovered something important - making abstract art is very
+difficult.
What's difficult is allowing yourself to be convinced that what you've
produced is art when you're used to dealing with the representational. It
is more to do with acceptance than productivity.
Richard
On 30 Oct 2002 16:51:22 -0800, nerd...@rcip.com (Nerd Gerl) wrote:
>Hiya Foxy. I "did it" sorta. My analysis: nerve wracking. I had to
>make decisions based on that which did not, nor ever will exist. So I
>did not enjoy it one bit sir. You'll forgive my preference of lazily
>of drawing what is in front of me? I have not the time nor the
>personality to think in such challenging ways.
I had to make a set of four paintings for my class. The one that gave
me the most satisfaction was the one that was completely realistic.
The one I enjoyed the least was the one where I used modeling paste. I
think of abstract art as nothing more than a play of colors and
textures.
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Richard
On Thu, 31 Oct 2002 20:24:03 -0500, Mani Deli <ma...@sympatico.ca>
wrote:
>How do you like this excuse? Would you want a jerk who believes this
>sort of nonsense to be your teacher? It reminds me of the room full of
>Chimpanzee paintings that got passed off as fine art in a Paris
>exhibition.
To put it simply, this sucks.
I want no part of this.
I want to be a painter in the grand tradition of the classical
masters. So far I think I'm making good progress towards that.
Andrew D
Fox) wrote:
+old...@noemailever.com (Gerry Attricks) wrote:
+> While in school, during one semester of
+> painting, I used a piece of Masonite to
+> collect the scrapings and cleanings from
+> my palette and brushes. At the final
+> critique, it was the "most admired" piece
+> from my semester's efforts. True story.
+That story has been around since I was a boy, if not longer. The way I
+heard it, a conventional artist submitted his palette to a show as a
+protest against modern art. When it won first prize, he gleefully pointed
+out that it was his palette, so modern art was therefore crap. 'We knew it
+was your palette,' the judges said. 'You unconsciously used your skills
+when you put color on your palette, and produced a fine painting.'
+There is probably some validity to the basic idea - as artists, we will put
+paint down in certain ways almost automatically, even on our palettes.
+Picasso used a newspaper as a palette - when a sheet got full he threw it
+away and began again. 'It's a shame,' he said - 'some of them are pretty
+good paintings!'
A minute ago I read your other post in which you declared my suggestion as
nonsense. Now here I find you suggesting there's some validity in the
argument that the unconscious act of an artist can itself produce good
art.
Nerd Gerl
<c45b61ca.0210...@posting.google.com>...
> I think I like the figure in the upper left right
> hand corner best.
Dammit!! I meant the RIGHT... I meant the damn RIGHT!!
Is it any wonder that I *don't* drive?
Andrew D
Attricks) wrote:
+In article <right-31100...@i204-142.nv.iinet.net.au>,
+right@the_end.of.my_tether says...
+
+>Now throw your painting away and work
+>out how to hang your palette.
+
+While in school, during one semester of
+painting, I used a piece of Masonite to
+collect the scrapings and cleanings from
+my palette and brushes. At the final
+critique, it was the "most admired" piece
+from my semester's efforts. True story.
I don't doubt that at all (and that's not a comment on your other work btw).
Richard
On 31 Oct 2002 18:39:28 -0800, nerd...@rcip.com (Nerd Gerl) wrote:
>Is it any wonder that I *don't* drive?
Yea, why don't you drive?
Gerry Attricks
right@the_end.of.my_tether says...
>It is more to do with acceptance than productivity.
I would expand on that and say it has more
to do with one's education and knowledge of
the art-world-at-large. People who live and
learned in places where art has minimal
meaning - and I'll stick my neck out and
refer to them as "provincials" - might think
that regional realism is all that is valid
in art. I know - I live in such a locale.
Where if it isn't "southwestern" it isn't
saleable locally.
Andrew D
Attricks) wrote:
+In article <right-01110...@i204-025.nv.iinet.net.au>,
+right@the_end.of.my_tether says...
+
+>It is more to do with acceptance than productivity.
+
+I would expand on that and say it has more
+to do with one's education and knowledge of
+the art-world-at-large. People who live and
+learned in places where art has minimal
+meaning - and I'll stick my neck out and
+refer to them as "provincials" - might think
+that regional realism is all that is valid
+in art. I know - I live in such a locale.
+Where if it isn't "southwestern" it isn't
+saleable locally.
And those "learned" people you might prefer to associte with will often
turn their noses up at anything that IS recognisable. All too often they
fail to see beyond the obvious in representaional art ("why didn't you
just take a photo dear?") yet they insist they are the authority on what
makes great art.
From what I can see of this crowd, the thing that makes some work truly
outstanding is the type of hat the artist wears. The stranger the hat, the
better the art.