Category: Art & Design
In fact, a smooth and amazingly blended rainbow trout mask replica..
...but they are all quite good
...drives a cartoon..
..fast and bulbous ..fast and bulbous ..and a tin tear drop.
Am I really seeing that?
Did I really see that?
I am one who tends to think that concern regarding homosexuality is exaggerated beyond its true importance in WN circles.
Perhaps because I was at one time confronted directly and from a complexity of different angles with the implication to myself, but having no doubt that I wasn’t, and wanting to be unburdened of any accusation’s tedium, I was forced to make efficient intellectual work of putting aside any such accusation, to master the ways in which the issue could be deftly set aside as it is - largely irrelevant.
by Neil Vodavzny
Re-animating nature is another way of thinking of Whitehead’s conception of more or less “letting it be”. The ancient Greeks may well have thought of nature in a more animated sense than we do. Materials such as limestone and wood have an organic origin, and the sense of inherent dynamism may have come naturally (Greek temples evolved from wooden ones, retaining the organic sense). The Bible alludes to Man being moulded from clay, clay being the raw material for the potter’s wheel.
If nature wasn’t animate, even the greatest artist would be unable to let it be, so that’s probably a traditionalist view of art, ie, studying nature, life-drawing, landscape etc. Since the Renaissance, what seems to have happened is that nature has been corralled by science, so it is no longer the preserve of artists. Modern art is correspondingly thanatopsic, with no understanding of materials or craft, deathlike in its nihilism. Almost all traditionalist contemporary art is popular and commercial, where studying the essentials is a prerequisite. Art as a wordling or narrative form of myth-making is alive and well - in pop-culture.
A near-perfect instance of someone presenting a personal mythology through a mastery of various techniques and intricate craftwork, allied to subconscious or intuitive powers, is Patrick Woodroffe’s Mythopoeikon. Just how far you can go with an etching is shown in Mickey’s New Home, a self-produced children’s book); depth and stop-out (to bleed the sky), then aquatint applied in graduated tone (creeping bite) mythopoeikon2. You know what they say about etchings, and this plate shows why. As you see from the illo, he’s essentially self-taught. What that means is he learnt a trade, the practical skills and techniques needed to become an artist who uses the subconscious, instinct and feeling. In fact, this applies to others in the field who work “in the school” of .. (comic artist/creator Rob Liefeld is routinely scorned for his naïve style but at least he possesses adequate skills, and the work has a sort of rough honesty).
Known primarily for sci-fi book jackets, here’s a typical multi-media effort, Neq The Sword (Piers Anthony, Transworld) mythopoeikon3.
Having conscientiously done preliminary research for this part of The Maze on craftwork, I have to say that both Derek Whitehead and David Hamilton have a tendency to abstraction. Doubtless this goes with the territory, but it isn’t easy to sell such things except to the converted, it can be admitted. Some practical examples help to it make palatable, so I’ll attempt to weave those into the discussion.
Whitehead delves into the interrelation in Greek art of techne, praxis (production), and poiesis (world-founding). The work of art brings into being through a type of facility of production something imbued with the tension of spontaneity
Both the artist’s vision and the activity of production combine in the world-founding. It might not be recognized so much nowadays, but the aim of art is not expression. Up to the late Renaissance, it was more to do with apprenticeship, learning a trade then, after long years of strenuous graft, finally practising the craft and discipline of art-making.