meeting on the quai of the stream of subconsciousness

meeting on the quai of the stream of subconsciousness -- with passerby walking dog, seagull, trees and cloud of unknowingness (own work, 2008, 21 x 30 cm, mixed media on paper)

yeah, today's drawing...and don't even have the time to comment on it. sorry. maybe sunday.

woman, man 5 (spirituality, eve & adam continued)

park encounter iii (own work, 2005, 15 x 24 cm, mixed media on paper)

just to keep the blog rolling a bit...i would like to do `a drawing a day' also, but i find that all this internet activity costs an amazing amount of energy, which i frequently don't have.

above a rather shy encounter...man woman noticing but not really acknowledging each other, although aware that each is aware of the other...

woman, man 4 (spirituality, eve & adam continued)

park encounter iv (own work, 2008, 20 x 30 cm, mixed media on paper)

well, not to lose the thread on spirituality, man and woman altogether in the storm of (post)postmodernism...

much of the famous art on man & woman seems to center around sexuality (i think i will visit sexuality also specifically, somewhere to come on this blog). but for me `woman & man' is even more reflective of a certain spiritual bond which -especially if humanity would evolve along lines that i deem spiritual progress- could also quite naturally exist between any two given people regardless of sex.

but in my experience it's usually that in the framework of `romantic love', which allows woman and man to come real close to each other, this closeness is acceptable, even sought after. whereas in other frameworks, people shy away.

a detail of the above drawing:



park encounter iv (detail, own work, 2008, mixed media on paper)

maybe i will find some time to go into this `mixed technique' and subject later on. the thread will be continued.

postpostmodernism & postmodernism 3: meaning

francis bacon, study for a bullfight no 1 first version

perhaps i should start by saying that various sources have confirmed me as being very `postmodern' in my opinions and even in my artwork. this could explain why i compare postmodernism to puberty: i never really got over puberty either, but life goes on anyway. one cannot undo puberty, likewise i feel we cannot undo postmodernism. because postmodernism is just the reflection of a (to me higher/deeper whatever you wish to call it) insight that we have gained in the nature of truth.

to be more precise: we have found out that there is no absolute truth, and that the previous quests for absolute truth have brought countless wars and social disasters. [and also infrequently, somewhere, on the sidelines, some remarkable works of art/literature/philosophy/science/...]

in the visual arts, likewise there is no absolute aesthetics. previous quests for absolute aesthetics have brought countless mediocre works and museums filled with them. [and also infrequently, somewhere, on the sidelines, some remarkable works of art...]

so the resistance, the rebellion, whatever. let's show everybody how relative everything really is. let's deconstruct the ignorant people's preconceived notions of art, let's become societal prophets by creating art that educates society about its postmodern predicament.

but this means a shift in the `meaning' of art. `meaning' is redirected, transposed from the work of art to include the onlookers. and `meaning' can also be: to show these onlookers that there is no absolute meaning. [sorry to be so obscure, can't help it, that's what you get on the meta-level of meaning, and that's the mess postmodernism has justly gotten us into.]

for me, this type of meta-meaning isn't enough. at least, not in the long run. to kick against absolute truth is one thing, but to find personal truths is another. and although the first certainly is useful, imnsho, the second should not suffer from it too long.

so take a moment to consider the above painting by francis bacon. does it not capture a lot of this `relativity of meaning'? it also distorts space, spatial links between event and onlookers, temporal links between bullfight crowds and the second world war,...but what makes it a great painting imnsho is that it is painted in a painstakingly developed personal style, it is a personal painting expressing some personal truth...not meant solely or primarily to educate me about my ignorance on the meaninglessness of meaning...

and then consider francis bacon's second version...where the onlookers have all but vanished...:



francis bacon, study for a bullfight no 1 second version

postpostmodernism and postmodernism 2

mark rothko, magenta, black, green on orange

the wikipedia entry on postpostmodernism suggests (to me) a wide variety of interpretations, most having to do with the idea that postmodernism is somehow past its prime.

what strikes me from my personal perspective is that there are but a handful of artists from the postmodern period whose work really gets to me - to be precise: there are many individual art works that get to me, but they mostly seem to be exceptional in the artists' oeuvre. so i mean artists whose work gets to me more than a few times, work in which something fundamental to me seems to be developed. And then again, are these artists anywhere postmodern in the art-philosophical sense? also, none of them are alive anymore. [of course my knowledge of modern art is rather limited. i look forward to discovering artists which disprove my contention about postmodern art].

of course, for me there is mark rothko. then, for me personally with rather contradicting/conflicting feelings: joseph beuys. also francis bacon, especially when he focuses more on spatiality than on gruesomeness (of which i'm not a fan at all). i'm also intrigued by constant (nieuwenhuys), also especially his more spatial paintings. perhaps i'll think of some more (oh, i wrote something already on chuck close, ok perhaps he should be in this list also...)

to be continued.

postpostmodernism and postmodernism 1

ok. time to tackle some art philosophy again, just for the fun of it, but perhaps even more because i promise(d) to do so in the subtitle of this blog.

i'm intrigued by the word `postpostmodernism', which sprang in mind easily to describe a certain feeling i have about postmodernism. what i do in such a case of spontaneous word genesis is to google up `postpostmodernism' and to see that -like many similar words- it has been discovered/manufactured by many others. but with google results in the thousands, not tens of thousands, meaning that it's still kind of uncharted. [correction some days later (9 nov): don't know what went wrong, but latest search turned up 19,600 results...with a wikipedia entry post-postmodernism]

in other words, humanity - a very small and insignificant part of it at least- is working to develop some pastures called `postpostmodernism', but it's not sure that they be fertile grounds, where the claims are precisely and where the fences should be. obviously, this has something to do with the pastures called `postmodernism'.

to me postmodernism has always felt as a sort of inevitable crisis, comparable to puberty. Just like puberty, in postmodernism anything goes, and anything is challenged. mostly because `absolute truth' has become `obsolete truth'. somewhere along the line, perhaps also due to the enormous emotional crisis from the second world war, a large enough number of people realized that the concept of `absolute truth' is fallacious. to maintain `absolute truth' one is in fact forced to manufacture and/or swallow untruth after untruth.

more accurate would seem the picture of manifold truth. truth depending on one's point of view. anything goes, and anything is challenged, but...



clay butler, you're standing on my neck

(thank you clay for the kind use of your cartoon).

eve & adam 4: tamara de lempicka

while i'm at it:



tamara de lempicka, adam and eve

how superstylized style still allows for sensuality.