This art speaks to me about how truly dangerous people can be. It is very pretty and interesting
This art speaks to me about how truly dangerous people can be. It is very pretty and interesting —philosophical but also funny. This first American New Image painting by Carolee Schneemann, Crematory, 1987, is a small, elaborate installation of ceramic sculptures that nod to the way we like to think about ceramic. It is not obvious from the work, but it would be worth noticing. Schneemanns piece is a labyrinth, with tunnels, passageways, pillars, platforms, and an extremely angular ceramist making a ceramic sculpture in front of her sculpture garden. Its a Zen-like play with the body, a space of interlocking lines that transmit signals to each other but remain invisible in the space where the bodies and bodies live, and that in itself is mysterious. In a way that Cherries Gothic ghosts (Peter Sellers and Paul McCarthy) occupy, Schneemanns piece is a nightmare. She thinks in the most classical terms, but shes also grotesque, malevolent, and frightening.The debut of this new patterned ceramic sculpture in Pittsburgh was good news for Pittsburgh. Its only natural that someone who has worked with contemporary art for a number of years should start doing a potteries. Its nice to have a main street come alive with ceramics. It also gives a voice to someone who has never been afraid to make art that looks like ceramics. Its hard to find a place to show this with any other artist I know. The sculptural group Pipes, Who Cooked Pottery and the Porcelain Museum have both made showings at the new Butlers in Pittsburgh this spring. Theyve also started to use ceramics as a base material.
(Rudolf Stingel), and that it does so in a way that suggests the subversive subversive power of unusual beauty. It is not merely a point of view, however; it is the artist, the painter, and the audience all at once.
to me, but what is perhaps the most striking feature of it is that it is very easy to overlook. Some of the paintings look so casual that it is difficult to take them seriously, but they are always interesting in their own way, just like any other paintings. Occasionally the boundaries between the paintings and the wall can become blurred, but otherwise the boundaries are almost always just a little bit off. There is something very sensuous about these paintings. They are not always alive with the vitality of their materials, and they arent often like paintings.
This art speaks to me about how truly dangerous people can be. It is very pretty and interesting but also funny and sentimental. They are more a commentary on the ways the culture of the individual is exhausted than it is on how smart or how intelligent a person is. That said, the art is just not very interesting, and it becomes actually dangerous and rather superficial. Its not very good.The obvious objection is that there is nothing intelligent in the work, and the works are small and poorly made. Also, the material is supposed to be a commentary on the art world—the work itself is supposed to reflect on the work of art. But when it is just self-posterizing and can be quite snide, the comment is essentially sophomoric. The actual work is a description of a product of the art world. Its content is less interesting than the description, and what the work actually says is an exercise in the parody of art.The group exhibition is about the domination of art by self-expression. The art world does not look like the world, it is merely a reflection on what a person really thinks and feels, the notional situation. For a long time the concept of self-expression has been purely esthetic, and esthetic art has always been regarded as separate from real social issues. But that is no longer the case. The work of art today has become so real a presence that esthetic esthetics and social issues are one and the same. The difference between a description of a product of the art world and its content is trivial and therefore meaningless. This is especially true in art that has become an extension of the social world, a representation of what the social world actually is. In the recent work of Daniele Simoni, for example, self-expression is implicit rather than explicit, and it is the latent or hidden self that is expressed, not the social environment. For Simoni, the appearance of self is a mask, a trick, a parlor trick, and not a social reality.