Contemporary Art. Criticism of criticism)))

[iosif]

LCR,
Perhaps recruiting (inventing) exhibitions, as well as collecting (and even business) - also works. In music - DJs in art - curators. Promo governs the world

[LCR]

Сообщение от iosif

LCR,
Perhaps recruiting (inventing) exhibitions, as well as collecting (and even business) - also works. In music - DJs in art - curators. Promo governs the world

I totally agree with you - that does not necessarily mean that I agree with this trend.

You can also add - in the musical drama (opera) - director, on this occasion, too, can tell many interesting stories.

[iosif]

Сообщение от LCR

I totally agree with you - that does not necessarily mean that I agree with this trend.

You can also add - in the musical drama (opera) - director, on this occasion, too, can tell many interesting stories.

Dear LCR!
I am always very interested in your comments, but here especially. Therefore I would like clarification. Disagreement with the trend does, that there are other (non-promotion in the conventional sense) options for bringing this art to the recipient?
According to my observations, all successful in terms of kommerchesvom artists (both talented and untalented) is a promoter (or a pro - gallery owners, critics, dealers, or mother-sister-wives, children or the advertisers themselves, as Andriyaka, Tsereteli etc.).
Oh, I forgot another bulldozer with epaulets. It was the most powerful and most free promo for overclocked artists - on the final result.

[LCR]

Сообщение от iosif

Dear LCR!
I am always very interested in your comments, but here especially. Therefore I would like clarification. Disagreement with the trend does, that there are other (non-promotion in the conventional sense) options for bringing this art to the recipient?

No, it only means that I have these curators and directors in the coffin seen.

I do not like to talk about their personal tastes - after all, it is unclear why they should be of interest to anyone whatsoever, but there have itself to blame

I love painting, and I think so: the greater 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, or show really needs to "feed", but this show has nothing to do me

P.S. It is symptomatic that the curators fall into a rage at special exhibitions, which show no painting, but different ', Arta (video art, I simply hate, happenings, installation is an art - I do not argue, but that is another art that has me interested. Anyway, I'm not ready to go to London, so as not to miss the exhibition at the Tate, which the article appeared today on this site),

[Glasha]

Сообщение от LCR

I love painting, and I think so: the greater the artist, the less he needs to make his exhibition "invented." Accordingly, a case of real artists, curators and directors, there nothing to do but to usurp his greatness, or show really needs to "feed", but this show has nothing to do to me

Bravo, LCR!

[Евгений]

Сообщение от LCR

Accordingly, a case of real artists, curators and directors, there is nothing to do but to usurp his greatness, or show really needs to" feed ", but this show has nothing to do I

This is a controversial zayavlenie.Hudozhnik art dealer (gallery owner), the buyer, is the basis of the normal life of any artist.

[qwerty]

Сообщение от LCR

I love painting, and I think so: the greater 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, or show really needs to "feed", but this show has nothing to do to me

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:

[Konstantin]

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?

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.

[LCR]

Сообщение от qwerty

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.

[fross]

Сообщение от LCR

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.