A dark derangement of lines
Leering out in masked smile.
Angular triangulation bursting
Moving pointedly, awkwardly.
Daring us
Fascinating us
Challenging us
To follow her up the stairs
Despite illumination demonic
Soft warm shades are found within
To drag us down with blind assent.
Sunday, 19 February 2012
What's it worth? : Sounding out art
A few years ago I wrote a piece about the commoditisation of art and then this week an article in the Independent rekindled my interest. The story is nothing new – people have always spent large amounts of money on big name paintings. I don’t have a problem with that because it’s their money, their investment and keeps the art market interesting. Currently London’s commercial galleries can afford to experiment and are putting on some seriously thought provoking stuff, e.g., Lazarides and their Old Vic Tunnels shows.
_1894-1895_Paul_Cezanne.jpg)
Everyone is agreed that the majority of art, for better or worse, is a commodity that can be bought and sold for stupendous amounts of money. As the Indy article says, ‘it emerged this month that Qatar had bought ‘The Card Players’ by Cezanne for a world record $250m at the end of last year’. Writing in the late 1990s Julian Stallabrass naively noted ‘the rise of art prices in real terms through the 1980s was a sign of the commodification of the art world as a whole, not merely the result of excess funds looking for investment projects’.[1] However I think this has changed; the wealthy are looking for a safe place to invest their money. But it still makes me think, what about art you can’t put price on? The art you can experience but can’t buy?
_1894-1895_Paul_Cezanne.jpg)
Everyone is agreed that the majority of art, for better or worse, is a commodity that can be bought and sold for stupendous amounts of money. As the Indy article says, ‘it emerged this month that Qatar had bought ‘The Card Players’ by Cezanne for a world record $250m at the end of last year’. Writing in the late 1990s Julian Stallabrass naively noted ‘the rise of art prices in real terms through the 1980s was a sign of the commodification of the art world as a whole, not merely the result of excess funds looking for investment projects’.[1] However I think this has changed; the wealthy are looking for a safe place to invest their money. But it still makes me think, what about art you can’t put price on? The art you can experience but can’t buy? Saturday, 18 February 2012
Untitled
Frenzied orgiastic colours
Obliterating self
Losing reality
In a mass of coiled bodies
Shapeless formless helpless
Losing sanity
Organic movement
Just accept dotted fluidity
Intricate dirtied balletic
No end no beginning
Losing focus
Surrender to tangled sensation
Obliterating self
Losing reality
In a mass of coiled bodies
Shapeless formless helpless
Losing sanity
Organic movement
Just accept dotted fluidity
Intricate dirtied balletic
No end no beginning
Losing focus
Surrender to tangled sensation
On Yayoi Kusama's Infinity Nets
From the minute dark intense
To the frenzied open nets
More rhythmically enclosing
Yet opens thoughts and
Imagination breathes infinitely
With happy textures
A distant suedelike softness
Focusing inward, hungrily
Grasping. Determined. Obsessive.
To the frenzied open nets
More rhythmically enclosing
Yet opens thoughts and
Imagination breathes infinitely
With happy textures
A distant suedelike softness
Focusing inward, hungrily
Grasping. Determined. Obsessive.
Subscribe to:
Posts (Atom)