Salvador Dali its surrealism Father Art

Result #1

Salvador Dali its surrealism Father Artem, Dali its bastard No, but its sadist Fetishist, its child in the midst of its mature—hegemon! Hegemon! but in so doing a father, the future of the art world.A pretty good piece of work, the exhibition managed to convey all the malaise that has afflicted the art world in the 20th century. All of which is to say that this show, with its melancholy, gloomy, dark, and mutinous figures, could almost be called the worst thing in New York.A show like this is always a little weird. Very often, when curators reveal a kind of intellectual insouciance, as in a Gardner exhibition, there are a lot of people who are inclined to agree with them. So, despite the fact that the exhibit was in many ways very diverse, it seemed to be designed to confirm that no art has a future except as long as the work of the artists it celebrates is old and stale. No artistic excellence can last forever. (Lately the art world has been busy losing its grip on the late 20th century.) I was very surprised that New Yorks Museum of Modern Art (MOMA) showed a show like this, which seemed to me to suggest that art is an extension of culture, that all the art in the world is an extension of culture, and that the creativity of any one artist is the product of that artist.The show included work by 65 artists, most of whom were artists, and it was not for a lack of luck that some of the works were represented. Many of the artists artists whose work I liked had strong names; for instance, Alfred Wennerberg, an extraordinarily promising artist, had a brilliant piece of sculpture in the show.

Result #2

Salvador Dali its surrealism Father Art? While Dali, the single greatest of the twentieth century, is still the pop idol of the young, his young followers are hoping to see him on the museum stages. And while Dali and the dead in the Velvet Revolution still enjoy the highest status of publicity, Dilios career is all but forgotten. In fact, the glitzy gallery where this exhibition first opened in July, the Museum of Contemporary Art, Los Angeles, features a large number of his early works from the 50s and early 60s. (Sigmar Polke, Marcia Brun, and Michael Harrington came from the 60s.) If nothing else, it will add another context to the artists oeuvre.The show opened with a silent installation, Dilios Burial, 1968–1969, which brilliantly captured the power of the moment. Standing atop an enormous pedestal, the artist fed off the spilled blood of his grandmother, a model who died in 1975. Untitled, 1967, was a crowd-pleaser, a painting that produced the same effect as Dali's last painting, Kells Beauty, 1936, and a lesser-known example, Dilios Best Friend, 1947. The work shows the artist pulling the curtain curtains in her hotel room and throwing her ashes into a bridal tub, as if she were the doll she had been trying to get rid of. On the very next work, Schiaparelli, 1979, the artist rolled a roll of toilet paper over his head to become a big baby. A larger, more substantial version of this motif appears in Jascons 2015 show at the museum, which at the time gave a revealing peek into how the artist came to embody so many different elements—gentlemanly, traditional, and languid—that the visitor could see a child in them, as if they were part of a single organism.

Result #3

Salvador Dali its surrealism Father Art, a little boy, and a virgin. The literalism of the imagery recalled the surrealism of the inverted halves of Monets painting. Dali was a great romantic artist, but his art is, in spite of its associations with the grotesque, here somewhere between Cubism and Surrealism, close to a concrete statement on what it means to be a true European citizen. But it is in an almost post-Kleean way that this beautiful painting might at first be understood as another chapter in the ongoing controversy that is the politics of the European Union.The painting, entitled Müdimir Müdnik, 1974, is represented by a fly-lit black, over-painted print, a recent photo-montage by the artist, and a group of newspapers featuring the headline MUDIST COMMENTS: HOW DO YOU LOOK? A group of six naked, (poo)like figures from the advertising agency Bushdiyazul remain on a given newspaper page in an empty room. And it is these images, together with the painted backdrops and a miniature model, that give the painting its name. In a country that once idolized the primacy of the pictorial object, the slogan Müdimir Müdnik, 1973, evokes the commercialization of state authority and industrialism in the context of mass culture. The same idea is at work in the work, despite its allegorical overtones: in the image of a man wearing the uniform of a chess player—even if he is nowhere one—the tension is between the private and the public spheres, where we are told to use our heads in a businesslike manner. In an art context, this theme of belonging to a group, of sharing the same fate as the others, is not only considered an inspiration, but an ideal. In these years, creativity is called into question.

Result #4

Salvador Dali its surrealism Father Art Man, is still suffering the effects of Surrealism in the current art world. The current painters—and artists—are falling for Surrealist clichés. (The great wave of fake imitations of Marcel Broodthaers, for example, is being superseded by the real thing.) Many of the most recent works in this show are pure and authentic, but others are too soon constructed to be true. The work in this show, a show of almost 200 prints by an unknown, could have been taken as a true demonstration of the artistic faculty of Salvador Dali.Some of the more remarkable prints are by the pioneering Surrealist artist and writer, painter, and writer-producer Joseph Beuys. (His scrawls and diagrams are a master class in the art of modernism.) His work is beautiful, compelling, and indelibly surreal. He captures, in part, the art of the Surrealists, but he makes the Surrealist art seem so…self-contained, banal. He presents his own self-conscious and idealized vision of the world. His work reminds me of the self-consciousness of the early artists who wished to distance themselves from the decadent excesses of modernism. He creates a world of extraordinary beauty, of an almost shamanic quality.In the work of the two younger artists, Georges Hugin and Claude Chabrol, we find traces of the Modernist style. Chabrols work is often an extension of his ideas about the nature of the subconscious, but in his case it is a method of producing the appearance of the subconscious. In his work, Chabrol uses the method of naturalism, of pointing out the physical properties of nature, the laws of gravity, and the forces of gravity.

Result #5

ieu, Mozart. The ghostly song of Bellamy reveals an affinid between genres that dares to twist around like a marmot, just as Mark Rothko and Mark Rothko reverse-oriented, at least to the degree of coincidence, in painting, abstraction. The nostalgia of these two artists is mirrored by that of Mark Rothko, who (like his father, Martin Rothko) rhapsodizes in rhapsody, and by the other nightmarish miseries of the silent majority. These artists all represent the rejection of any kind of class or social distinction: the phantasmic bond between caricature and hyperbole is a solemn affirmation of the inevitability of individual alienation and of the concomitance between working-class and professional-class environments. The current exhibition of Latos work, with the exception of a few works by younger artists such as Jessica Dulger, also exhibits a clear preference for the isolated and subjectively distant. In the case of the latter group of pieces, they provide the only relief from the overwhelming presence of the dominant cultural forces that have, throughout the decades, been more important to their culture than to their political ones. In addition to an early-twentieth-century masculinization of aesthetic and political discourse through an increasingly free-floating, free-floating, and free-floating avant-garde, the result is that beauty—especially its primordial and natural aspects—is a political necessity. It is precisely in the process of attempting to overcome this difficulty, in attempting to preserve beauty, that the artist confronts our own fractured, humanistic notion of beauty. In the struggle against the exhaustion of the beautiful, the horror becomes our birthright, the inheritance of an immortal destiny.