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qwerty
Are you on Rothko, for example.
And by the way, it is interesting that wrote about the Impressionists in France (not to insinuate that there are not put in one row and do not compare)?
At the beginning of the flow that can not draw?
And now, so who can say? Maybe today's "creation" we just do not understand?

Цитата:

It is, culture is certainly not for aesthetes. It will be interesting, and culture in this process will complete certainty. It will Drinov, which in the discussion ohazhivayut opponents.

This is from LJ Gelman, although the phrase may not be his.

Цитата:

Сообщение от qwerty (Сообщение 16076)

A rare case where I can not agree with you. In my opinion, of how conceived exhibition, depends very much. The most glaring example - the exhibition Filonova in St. Petersburg and Moscow: the same work in different exhibition design look quite different. Exhibition in the Russian Museum was, in my opinion, an order of magnitude stronger than in Moscow. Or two or three years ago in the Luxembourg Gardens was an exhibition of Modigliani, I saw him before many times, but the last remembered, but the rest - no. How different looks Munch in Oslo and Bergen (if anyone does not know: Munch quite a long time lived in Bergen, and in the local museum it very much). Things in Bergen - excellent, but small, plohooborudovanny museum, not very good lighting - and quite another impression.
Another thing, if we take any of average artist, that no matter how tuzhsya - above its level does not rise. Although, if you look at recent auctions of contemporary art sale, then mused, is it? Artists are mediocre, and the prices are flying up - means that everything is decided by supply?: Confused:

I think we are talking about different things, maybe I did not accurately express his thoughts.
I do not deny either the importance of the exhibition space (it is - as acoustics in the concert hall), nor the value ekspozitsionera (stress ekspozitsionera, and not the curator). But I do not like it when the curator, "drag a blanket around herself, leaving artists to freeze: eek:

Actually, this and says the author in the beginning of this story.
The curator of the need, where art has a more aesthetic load (ie, taste score will not be possible), it has replaced ethics, calls, protest, whatever you want, wherever he may propose - or impose - their reading all of these issues. Painting Mediators do not need.

Цитата:

Сообщение от LCR (Сообщение 16286)

Painting in brokers does not need.

Mediator - not the conductor. The difference is that the first increasing the proportion of (the material in the first place) their participation involved in the creation of a particular substance, and sometimes the only, the values for sale. The latter are mandatory and necessary function of the chain connecting the artist-viewer to convey to the audience that has been created by the artist in the whole manifold.
The quality of the work and the other can be assessed only in the context set by each of these types of goals. The mediator was able to increase the average cost of works - fellow worked well. The conductor was able to convey the artist's vision in the best form and win the attention and love of the audience to the artist - a goal achieved.

Americans have a saying:

Цитата:

$ 10 - to who invented the $ 100 - that those who did, $ 1000 - to those who sold.

There was somewhere in the section "forgotten names. And certainly there are instances when people invested in promotion, but nothing worked.
All manufacturers are dreaming to get rid of intermediaries (sales channel) and with the advent of the Internet has been shown that here now. But with the development of the Internet - it was necessary to "channels" here.

Цитата:

Сообщение от LCR (Сообщение 15996)

the more the artist, the less he needs to make his exhibition "invented".
Accordingly, a case of real artists, curators and directors, there is nothing to do but to usurp his greatness

Absolutely right, thanks.

He remembered: One very well-known banker, Rothschild, in my opinion, once said: "Do you want to make a lot money - work! Works a lot, no weekends and holidays, 18 hours a day! And work well for 15 -20 years! And want to earn VERY MUCH Money - up with an idea! "

Цитата:

Сообщение от Meister (Сообщение 16416)

remembered: One very well-known banker, Rothschild, in my opinion, once said: "Do you want to make a lot money - work! Works a lot, no weekends and holidays, 18 hours a day ! and work well for 15-20 years! And you want to earn VERY MUCH Money - up with an idea! "

You lied Rothschild as trooper. Do not "think of the idea" and "force the other to work for themselves.

Цитата:

Сообщение от LCR (Сообщение 16286)

Curator needed, where art has a more aesthetic load (ie, taste score will not be possible), it has replaced ethics, calls, protest, whatever you want, wherever he may propose - or impose -- his reading all of these issues. Painting Mediators do not need.

Here, I completely agree. Although some paintings are not superfluous intermediaries. Remember the story about Tarkhova and Vollara:)?

Цитата:

Сообщение от qwerty (Сообщение 16466)

Here, I completely agree. Although some paintings are not superfluous intermediaries. Remember the story about Tarkhova and Vollara ?:)

Attention!

In my last message, instead of "Painting Mediators do not need" to read "Painting with the translator does not need" , so the term "intermediary" in this context ambiguous - in my sentence, he must mean not dealers and gallery owners and curators, or, in the words of the article's author, critics and writers. "

Understandably, or explain it again? : p

LCR, now it is clear, is another matter.:)