These posts evolve around an article I work on to submit to the Drawing Research Center, theme being the idea of art criciticising critics… I start with “Quoting Carravavagio- by Mieke Bal who works the thesis of art as dialectical and chooses Carravagio.. because she is such a scholar and authority on “narrative”- my interest in writing about abstract narrative levels in art and in art as critical requires I catch up on a lot of her writing. They say Winston Churchill had a hard time learning to read, not because he could not- but because he had so much response it was hard for him to get to the next page.. her book is some 300 pages long and, similarly, so far I am only on page 34… this could be… a long… series of blogs folks- and Winston- …long enough … posssibly… to one day- breakout of the spam empire? Let me know… The drawing above has something of a quotation within a quotation in that the Carravagioesque yet cubist Matisse Piano lesson is obviously being quoted here. The theme is “Passage” ie the chiaroscuro element which links areas in a painting also symbolizing in a sense communicability itself… I have used the software to create in the grey area a form that is like a printing plate of the white drawing, as also a passage.
Communication: I thinking , you know, kind of about the movie PI which has a theme relating to narrative levels also: by contrasting anthropomorphism towards animals and anthropomorphism towards God…that is , the logical fallacy (I see you therefor you see me, or I understand you therefore you understand me) So how is the animus of art communication trans personal through the art quote which endeavors to transform the recognizable to a cognate?
There is the name: Michelangelo Carravagio- his name is already a quote and his art takes the idea of anatomical seizing of knowledge as the artists point of insertion….. And he discovered he could create an abstract underpinning to a realist painting by developing the ideas of sinews as a formality branching out to other forms. Closer to our time Serra chose a list of joint forms to create sculpture from, by relating to the verbal underpinning. I also use joint forms, but visual origins in ancient Asian housebuilding forms and I present them on open circuits, to attract my own writing, they are not defined to language as are Serras. Bal uses images that she calls overwriting in which artists write literally on their canvas , well, you can take it from there, but to me overwriting is closer to How Rober Smithsons writing has described- a kind of insane dialectic that destoys the logic it uses.. but in art terms…. succeeds in elevating consciousness… any way I think I am ready for page 33 and netflix spam I just wrote your review are we friends or what? My favourite spammer( netflix doesnt get credit for this ” your bloggs have been gettting kind of boring lately- I miss your great ones.” Hey! I think this one counts… but credit where credit is due: every true academic has to say about PI that the animal training by pointing with stick is like the philosophical adaptaton to nominilism ie meaning cant be actually put into words- can only point- so stories… can tame God? Let me know how it goes…
Also: ” you are a very bright individual” signed kwqnedgfde@gmail : I have ruthlessly destroyed at least 500,000 spam but I might keep that one. Thanks gfde.