i couldn't hide my perplexity and frustration.
all that money and those resources, and the art form gets a room. one permanent room. with an additional ever-changing series of rooms that seem to be dedicated consistently to the upper brow, the paranormal, the english.
we got some cindy sherman. and some ruscha. even a richard prince. but thomas ruff caught me.
(c) thomas ruff.
all that money and those resources, and the art form gets a room. one permanent room. with an additional ever-changing series of rooms that seem to be dedicated consistently to the upper brow, the paranormal, the english.
we got some cindy sherman. and some ruscha. even a richard prince. but thomas ruff caught me.
(c) thomas ruff.
bold choice, i thought. not only for new york. but for the upturned noses at the met.
did they even see it? could they see its beauty?
might they be able to read into the pixels, to see through the large frame to the inner picture?
cube next to cube, consisting of square next to square, and suddenly, just color.
one, solid block of color.
and it may be grey. or black. and devoid of life. but it is not the frame. it is not the big picture. it is complexity at its simplest.
at the same time, a derivation as well as an antithesis of marilyn minter, in a way.
(c) marilyn minter.
such pain and beauty in its drop of paint. and yet that paint is more alive and human than the pixel could ever be.
did they even see it? could they see its beauty?
might they be able to read into the pixels, to see through the large frame to the inner picture?
cube next to cube, consisting of square next to square, and suddenly, just color.
one, solid block of color.
and it may be grey. or black. and devoid of life. but it is not the frame. it is not the big picture. it is complexity at its simplest.
at the same time, a derivation as well as an antithesis of marilyn minter, in a way.
(c) marilyn minter.
such pain and beauty in its drop of paint. and yet that paint is more alive and human than the pixel could ever be.
