From:
"Bill" <Bill@zzzzzzzzzzzzzz>
Date:
Tue, 8 Jun 2004 08:32:52 -0700
Subject:
aesthetics
Original Message -----
Quoted text begins.From: "Bill Urmenyi" <bill@------------- >
End of quote.
Quoted text begins.So far all the people who have entered into this discussion are practicing
artists. I do confess to also being a tutor in fine art sculpture at the two
best, world renowned, art schools in the country. --
End of quote.
Bill, it is possible that mainly practicing artists have entered the
discussion about aesthetics because one needs a certain amount of expertise
or hutzpa (or both) to be able to defend one's position against an
established artist and art instructor such as yourself on a hot topic such
as, for example, your proposition that Duchamp's urinal was one of most
important works of the last hundred years. Perhaps others of the "lurkers"
such as myself out here have the same reaction to such art as the humorist
Dave Barry [who devoted most of a deligtful column a few months ago to his
thoughts on such important works as a "found" well-used stuffed recliner
with its stuffing coming out -- on sale for $2600-- and an exhibit that did
nothing but make the periodic sound "booooop", offered at an even higher
price]. Duchamps 1915 "found" snowshovel, entitled "In advance of a broken
arm," and no different > from what one could buy today at Ace Hardward
(except that it is in Yale University's Art Gallery) is similar. The
established art world takes such works seriously, a reaction that he and I
both find perplexing.
I personally make sculptures that are (or my goal is that they be)
aesthetically pleasing, while at the same time addressing issues that have
particular meaning to me. For example, out of white alabaster I carved four
semi-abstract fish swirling about, with one about to be sucked down by -- or
about to avoid -- a whirlpool. The rest of the world reacts as though they
are merely fish in a pleasing configuration, as indeed they are. To me, my
art addresses larger, different issues: in that partcicular case, human
sexual desire, competition, the desire to commit and the fear of doing so
(among others). Perhaps as Ken Barnes says about another friend of his [I
know Ken but don't think he knows my work] my art is weakened as a result,
but as I'm doing the art to satisfy my own needs, that hasn't been an issue
for me. (Not that I don't also want others to like it and be impressed by
my work.) But those "story" elements weren't issues specifically addressed
to the viewing public, and perhaps wouldn't be discernable except to my
psychiatrist (if I had one) -- as perhaps I ought, my friends might add.
Similarly, I need to find a personal connection in the art that I buy, or
else I'm not interested. Seeing a watercolor of two grizzled trees on an
island, deformed by the salt spray, does nothing for me until I imagine them
as a metaphor to a couple who have weathered the storms of life. Perhaps
the artist meant only to paint trees as a pretty sight. But if I find a
connection that fills a need in my life, then whether or not intended, I am
attracted to it.
But then, I'm only starting my second year and my seventh-ish piece as a
stone carver, and have no formal art education (I'm a lawyer by training),
so I have no claim to expertise, other than -- I'm sorry to have to say
this -- I know what I
like.
Sorry for the long reply: all this would be much easier over a beer.
Bill, I'm curious what led you at 50 into art [I'm 57], and where you now
instruct.
Bill Weissinger
- References
- message 00067: aesthetics - Bill Urmenyi (07 Jun 2004)
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