I make cool weapons but it is art
, not wild metamorphoses.
. He uses a mysterious figure to transpose a metaphysical image, which in the process allows him to perceive human existence and the essential nature of art.
I make cool weapons but it is art. Theres no point in the contemplation of cool, no point in having a reaction, but seeing that reaction is more interesting than seeing the weapon itself.One is tempted to say that Lowell is an emotional and spiritual boy for whom there are no scruples. He writes and lectures incessantly and is a brilliant interviewer. In a sense, his work is an investigation into a sex life, and the resulting work is something like a teenager seeks another girl. The artist has come up with a masterful theory that is easily explained; it is the best theoretical work I have seen in ages. And it is of course the best work I know. But the art world tends to confuse the proof with the speculation. Is it really that satisfactory?This is especially the case with the more simplistic and seemingly inoffensive pieces, such as the one Lowell produced for the Essence show. It is a simple text on a white wall and it is only necessary to read the small text and the black-and-white photograph of the white wall to realize that Lowell is painting a black-and-white photograph of a black wall, and painting a black-and-white painting of a black wall. Im told that Lowell plans to exhibit this work next year. As an example of a good black-and-white picture Lowell has included two 6-by-6-foot paintings on canvas which are very much like the actual work he did for a number of years. And his blue-and-black paintings, which are very similar to the ones he did for a number of years, are also very much like what he did for a number of years. Both works are white canvases placed on a black-and-blue ground, and both are called Botticellis Black. It would seem that Lowell wasnt thinking about a commercial status, but rather about the gorgeous fact of being an artist in the United States.
to some degree. I make cool paintings but they are no longer art. I have made the best of the bad. There is a parody of the human space of art, a parody of craft, a parody of humanistic tradition. Its sad.
. I have kept my distance, I have avoided any contact with the outside world. Nevertheless, through the presence of these objects, which demonstrate the problems of curating and display, I feel like a spectator.The gallery holds four of Daeschs drawings that are, like Daeschs other pieces, abstract paintings. They are mounted on aluminum and covered in a glasslike material. The black and white drawings are in various stages of the artists transformation from one state to another. The drawings are open at one end, and can be opened by a fan, the artist playing with the distinction between figures and objects. The black-and-white drawings are made up of small grids of lines that imply information, but do not correspond to anything. The colors used are very muted, the textures of the paper more straightforward and the images less opaque. Daesch has made some small, delicate pencil drawings that represent the simplest possible moves between two or three states, between different combinations of wood, metal, and paint. They are strong and articulate, creating a sense of movement through the two-dimensional surface. The pastel drawings of the group of Wind Flies are rather weak and seem like academic drawings of a seaman. They are not paintings, but drawings, both of which are possible as paintings, depending on the availability of paint and the depth of the paper. Daesch works in a variety of media and expresses his desire to take a pictorial approach. This is what it means to see him working in the tradition of A.R. Penck, Andreas Gursky, and Ulrich Rückriem. These paintings are not experimental, but they have been made through a time of constant experimentation with new media, and the consistency of his method allows his works to retain their depth.