tag:blogger.com,1999:blog-30667667.post8312456000190314544..comments2023-08-08T21:04:47.448+10:00Comments on something this foggy day: Imaging the ArtistAlihttp://www.blogger.com/profile/01860216271350147224noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-30667667.post-33062127577426539332013-04-07T10:55:37.978+10:002013-04-07T10:55:37.978+10:00Hi Andrew,
Apologies for the delayed response to ...Hi Andrew,<br /><br />Apologies for the delayed response to this. It is a long time since I have studied any sort of art theory, so I am not the best conversationalist on this point. <br /><br />The truth, either way, is that I am not convinced that art succeeds as art (or visual communication) if what it's supposed to be communicating is not visually clear. If I have to read an essay about a piece of modern art to understand what the artist meant, then it's not working as I see it. Just write the essay. Could the point not still be made that "meaningless" art doesn't image the creator in any way?<br /><br />That said, I do like Turner! I shall have to take another look at his works.Alihttps://www.blogger.com/profile/01860216271350147224noreply@blogger.comtag:blogger.com,1999:blog-30667667.post-69799331876548287102013-04-04T19:09:29.673+11:002013-04-04T19:09:29.673+11:00Interesting - I've been thinking about abstrac...Interesting - I've been thinking about abstract art, and Hughes' "The Shock of the New", and this post dovetails nicely.<br /><br />I'm not sure I agree with the premise that abstract art removes the artist from the work; it would seem to me the opposite, that abstraction is so intensely personal that it fulfills Pollock's statement in a way he perhaps did not intend - that abstract art is meaningless except to the artist, and indeed meaningless to the artist on any but an almost limbic level.<br /><br />If you look at the progression of Turner's work, there is an interesting sequence - the artist is almost wholly absent from the early Academic paintings, but in mid-career (around the time of the 'Fighting Temeraire') he is standing behind the viewer, with one hand, as it were, on the viewer's shoulder.<br /><br />Toward the end of Turner's career his paintings became abstractions, not so much of his psyche, but of his earlier framing and palette (and, perhaps, subject matter). I would think that 'Sunrise with Sea-Monsters' is a clear pitch from the 'Salve Ship'). <br /><br />Turner was certainly no Christian, but his work does ache with his fear of God's absence. Andrewhttps://www.blogger.com/profile/13230537202427640540noreply@blogger.com