But big painting in the present
art context tends to look like bombast, not grandeur, no matter how well - adjusted a picture's internal relations.
Not exact matches
Monographs on Chagoya, however, have devoted surprisingly little space to his editioned work (exceptions are Patricia Hickson in Enrique Chagoya: Borderlandia and Shifra Goldman in Locked in Paradise).3 Chagoya's 2003 codex The Misadventures of the Romantic Cannibals (Figs. 9a, 9b) made headlines when it was destroyed by a religious zealot in Loveland, Colorado last year, but while Eleanor Heartney and Faye Hirsch wrote analytical pieces placing it in
context, the Loveland event has
tended to overshadow critical discussion of Chagoya's
art itself.4 A thorough assessment of his printed work is long overdue.
My works
tend to land somewhere between Game
Art (in the context of contemporary art) and gamification leaning towards gamified life - coachi
Art (in the
context of contemporary
art) and gamification leaning towards gamified life - coachi
art) and gamification leaning towards gamified life - coaching.
Despite O'Doherty's debunking of this
context, the white cube mode of exhibiting continues to underpin much exhibition - making in the West, from commercial galleries that are designed to look like modern
art museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to websites such as Contemporary Art Daily that tend to privilege the flattened picture surfaces of post-minimalist paintings, which look good filtered through the even light of a laptop scre
art museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to websites such as Contemporary
Art Daily that tend to privilege the flattened picture surfaces of post-minimalist paintings, which look good filtered through the even light of a laptop scre
Art Daily that
tend to privilege the flattened picture surfaces of post-minimalist paintings, which look good filtered through the even light of a laptop screen.
By this, Morris explained, he views the
art world as a self - contained «culture» which
tends to dilute the
context of individual artists and their work.