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if art is about communication between the artist and the viewer, there may be something missing. or just the fact that it's about what the artist experienced and not necessarily the viewer?
i read a passage of Picasso's to Francoise Gilot, to the effect that artists have a responsibility to communicate what their work is intended for instead of leaving it open to interpretation like a handbag with a mess of objects.
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Originally Posted by Jezku
if art is about communication between the artist and the viewer, there may be something missing. or just the fact that it's about what the artist experienced and not necessarily the viewer?
i read a passage of Picasso's to Francoise Gilot, to the effect that artists have a responsibility to communicate what their work is intended for instead of leaving it open to interpretation like a handbag with a mess of objects.
To me, abstract art is a visceral thing. It’s no different than music. The artists or composers spill their guts, so to speak, they put themselves on the canvas, and some viewers/listeners will have a positive response and some won’t. It is not important to get what the artist “meant”, it’s only important how it makes the receiver feel. Does it evoke something in the viewers life experience? Does it remind the viewer of something good or bad? I think the most satisfying thing that could happen to an artist is when they feel like they have achieved perfection, and the viewer recognizes it.
I am a huge fan of Marc Rothko color field paintings. To me, there is nothing to “get”. For all I know he was painting the holocaust. They make feel calm and peaceful when I look at them. Some I respond to more than others.
if art is about communication between the artist and the viewer, there may be something missing. or just the fact that it's about what the artist experienced and not necessarily the viewer?
i read a passage of Picasso's to Francoise Gilot, to the effect that artists have a responsibility to communicate what their work is intended for instead of leaving it open to interpretation like a handbag with a mess of objects.
Question: who is the artist trying to communicate with? It might be a huge public, a small specialized audience, or perhaps no one. I don't see a problem with any of these scenarios, myself.
Communication is a funny thing, too, especially when one is dealing with non word-based art forms. It can sometimes be really hard to know what is really being communicated, if anything -- and am thinking it can be subjective, especially with non-representational art. Not sure that's a bad thing, either.
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Originally Posted by bachslunch
Question: who is the artist trying to communicate with? It might be a huge public, a small specialized audience, or perhaps no one. I don't see a problem with any of these scenarios, myself.
Communication is a funny thing, too, especially when one is dealing with non word-based art forms. It can sometimes be really hard to know what is really being communicated, if anything -- and am thinking it can be subjective, especially with non-representational art. Not sure that's a bad thing, either.
I do not think an artist is “trying to communicate”. I think he is driven to put his work on the canvas. It’s the same as a jazz musician who is playing his feelings. If a viewer or listener gets it, that’s just a bonus, but it’s not the goal.
I do not think an artist is “trying to communicate”. I think he is driven to put his work on the canvas. It’s the same as a jazz musician who is playing his feelings. If a viewer or listener gets it, that’s just a bonus, but it’s not the goal.
I think great artists--in any medium--are frequently in communion with other greats. Miles Davis, for instance, unquestionably played off of his contemporaries like Herbie Hancock and John Coltrane, as well as long-dead artists, like Handel and Bach.
again i am *only* answering the OP's question about what it means to me.
i am not 'offering' my own comments to be used to 'prop up' any one else's opinions or 'agree' with them without my consent to them being used for that purpose. no 'need' to compare anyone's opinions, as they are about each person's experience with modern art, and equally valid for that reason.
that said, i am blocking this repeated exploitation of my own comments.
I am a painter and before I retired was a professional photographer. Many painters don't think photographers are "real" artists but their opinion does not matter to me, either as a painter or as a photographer.
I've won blue ribbons at good art centers for both representational and abstract paintings but my heart is in non-representational (aka abstract) art. To me a representional (aka realist) painting is unexciting after looking at it once or twice whereas non-representational makes me want to look at it again and lives in my mind's eye, probably trying to figure it out.
I just saw a terrific exhibit in Ft.Lauderdale of Frank Stella's wonderful work spanning 60 plus years of painting. He is 80-something and still creating fresh work.
Who cares what other people think is "good" art? and whether abstract art is worthwhile?
Talent will always rise to the top in the end.
I don't like every piece of abstract and modern art I see but I like that there is more open-ness and inclusivity, it's not all white guys doing the art anymore, there are people of color, women, etc. I like to see different points of view. That's beautiful.
'Many researchers believe postmodernism to have appeared as a reaction to modernism (as an allergic reaction, we’d like to add). Modernism aspired to free men from the hells and heavens of religiousness, from the fear of the former and the hope for the latter. But having sworn off heaven, modernism was driven to search for a new source obtained the function of a demiurge, the right to create his/her own universes instead of just imitating reality. And while a painter didn’t need anything but canvas for that, on the scale of society and politics the demiurges of modernism required ordinary people as their tools and means. Ordinary people were now bound to fit into and serve the demiurges’ perfect schemes.'
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