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Thread: Red Barn

  1. #21
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    I'm with Eddie. I'd buy it. I'd hang it. I think your dialect is fine and your music seems to be enjoyed by many so play on. I think you just know the right rifts to play. As far as the barn pointing off canvas... one's eye can follow the slant of the roof back into the composition or take the horizontal line expressway works as well.
    I think the artist runs into trouble in going too close to the edge of mixing the literal with abstract because then it becomes too easy for the critic to dismiss, and or, ignore it. I don't see this as any kind of new direction, but rather the same wonderful instruments you play very well. Picasso got to the point where a scribble or jots would suffice and so did Matisse and Chagall. I totally disagree that art must somehow make some profound comment. Picasso's most profound statement was in Guernica, but certainly doesn't dismiss the whole body of work that makes no social commentary at all unless it is about endlessly chasing skirts or fighting bulls.
    If art is a visual music...I don't hear any notes off key in this work at all.
    Most likely the only mistake I would say was in naming it. You stated the obvious, after the fact, which really is not the strength of the picture. Like MSIE pointed out, the last thing noticed was the barn. Had you named it the intrusion or the conflict... or encroachment or echoes of my past, and then left out the part about venturing into expressionistic landscape (when did you leave?) we probably wouldn't be having this conversation.
    Last edited by screenpainter; 02-27-2012 at 05:44 PM.

  2. #22
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    screenpainter said:
    I'm with Eddie. I'd buy it. I'd hang it. I think your dialect is fine and your music seems to be enjoyed by many so play on. I think you just know the right rifts to play. As far as the barn pointing off canvas... one's eye can follow the slant of the roof back into the composition or take the horizontal line expressway works as well.
    I think the artist runs into trouble in going too close to the edge of mixing the literal with abstract because then it becomes too easy for the critic to dismiss, and or, ignore it. I don't see this as any kind of new direction, but rather the same wonderful instruments you play very well. Picasso got to the point where a scribble or jots would suffice and so did Matisse and Chagall. I totally disagree that art must somehow make some profound comment. Picasso's most profound statement was in Guernica, but certainly doesn't dismiss the whole body of work that makes no social commentary at all unless it is about endlessly chasing skirts or fighting bulls.
    If art is a visual music...I don't hear any notes off key in this work at all.
    Most likely the only mistake I would say was in naming it. You stated the obvious, after the fact, which really is not the strength of the picture. Like MSIE pointed out, the last thing noticed was the barn. Had you named it the intrusion or the conflict... or encroachment or echoes of my past, and then left out the part about venturing into expressionistic landscape (when did you leave?) we probably wouldn't be having this conversation.


    ==============

    And that's why actually saying more than a cookie cutter "Awesome" or worse yet, saying nothing it all, is of some value.

    So continue to speak your peace, screenpainter. It's a gift to the artist and the rest of the community to share your point of view, in the open when it suits you, or in private if you prefer. By the way, your personal mailbox is full, so sadly I cannot communicate with you there.

    As to your pejorative use of the word critic, as you've included in your comments when you disagree, it implies something that isn't actually accurate. As I've told you before the last time you took umbrage on a similar point.

    I am a critic in the sense that I critique, more of a "have you considered. . . ?" kind of commentator as I've been doing since I was in Art School, where it was always seen as a service, and never to my knowledge about cutting or slighting someone. It's an admission that there is room to grow. The only absolute about Art is that there are no absolutes, though you may disagree on that point. But I'm casual about helping, though I comment a lot which is getting a little old. But I am precise from my perspective, especially when the person to whom I am commenting has acknowledged the value of my comments and have repeatedly asked me to. But I have resisted doing my talking in private chat precisely in order to allow disagreement -- not because I like to argue, but because it serves the painter to hear different points of view to help them expand their vision. But you know what they say about free advice.

    Now if someone is willing to pay money for a painting, who's to argue, eh? Especially when it's seconded. You almost sound like a collector defending your collection. I think in a way that makes you the dreaded critic.

    So be my guest, set the world on fire, GZ! I'll enjoy your commentary now that you're coming out.

    It's good for an artist to be passionate, if that passion gets channeled well. It still comes down to what the artist chooses to do, though, and I have always encouraged that level of integrity (operative word is 'encouraged'). It's the only sure fire way of finding who they are, otherwise it's merely flitting about listening to everyone else. Having something concrete and in the open gives someone something to make a clear determination, even if it's to find they don't like it.

    The forms are just forms as a playroom to work ourselves out like in a gym. It's the artist who is ultimately responsible for their 'body's' condition.

    (PS - When someone wants me to not comment about their paintings, I stay at a polite distance and smile and wave because that's the level they're operating at. No slight meant or taken. Artists are a trip, including myself. )
    "Not a bit is wasted and the best is yet to come. . ." -- remembered from a dream

  3. #23
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    you know I love your comments and we all do. and the in depth commentaries are always greatly appreciated. and most of us can handle your helping us grow with our art as well. I suppose you are right I am a collector defending my collection. I love your dialogue. Don't ever stop. The forums are diminished by your absence imo, whenever that occurs. I am just disagreeing to be starting the conversation, or, in this case, continuing one we have started to have before. Basically my point can be summed up in the old saying beauty is in the eye of the beholder and sometimes on the wall of someone who paid a lot for it. I would agree that monetary compensation is important for the artist. I sure have seen some ridiculous stuff go for millions though. Like that guy who just does colored circles in perfect columns and rows. And then he has the chutzpah to hire a staff to paint the colors he chooses inside the circles. He doesn't even paint them anymore. He gets millions for them. yech. Yet, I think the people can vote with their eyes and hearts as well as their money. So in that respect, I can like it, you may see it as flawed. I just wouldn't want the experimenting to stop. I actually prefer the detailed comments as to why a painting doesn't work. That is really helpful to overcoming the things that fight against us. I will clear out the mailbox for sure. And we can fire up the dialog in your other wonderful thread on art as well. My point is, don't stop. I love alternate views and the artist can make a more valid decision from having the more angles and viewpoints exposed. I think its wonderful to be able to take a more negative crit and learn from them too. I am all for free speech and differing opinions. Someone has to call you to task once in awhile too my friend. And yes, we are... a trip.
    Last edited by screenpainter; 02-24-2012 at 05:16 PM.

  4. #24
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    Thumbs up nice!

    nice!

  5. #25
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    Pennsylvania
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    gxhpainter,
    "Red Barn" literally vibrates with vivid, bold colors and form. It is
    as if the scene might be attempting to dance exuberantly off of
    the confining canvas. The spirited energy that this piece evokes
    is juicy candy for the eyes! Just love it and so well painted!


    Mairzie Dotes

  6. #26
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    Originally Posted by screenpainter
    you know I love your comments and we all do. and the in depth commentaries are always greatly appreciated.. . .

    Basically my point can be summed up in the old saying beauty is in the eye of the beholder and sometimes on the wall of someone who paid a lot for it.
    I would agree that monetary compensation is important for the artist. I sure have seen some ridiculous stuff go for millions though. Like that guy who just does colored circles in perfect columns and rows. And then he has the chutzpah to hire a staff to paint the colors he chooses inside the circles. He doesn't even paint them anymore. He gets millions for them. yech. Yet, I think the people can vote with their eyes and hearts as well as their money. So in that respect, I can like it, you may see it as flawed.. . .

    ==========

    No sweat.

    Just as an asides, I wasn't trying to get you to talk in private particularly, aside from my thanking you for showing me that groovy Google search for pics feature. I prefer commenting out in the forums for the reasons mentioned. But whatever.

    Not sure who the artist is you were referring to specifically, but I recognize the idea. It's not my cup of tea to look at if it's that mechanical design stuff using flat primitives like a first semester design student. However it might inspire someone. Sounds kind of Bauhaus. Everything has a context which matters greatly. I think their being at particular places in the evolution of Art adding their link to the chain makes some stuff that seems less than virtuoso, shall we say, important. We can agree I think that Art is way more than brushwork. Consciousness has a lot to do with it.

    I have mentioned it before over the years, as to the money that fellow is commanding for his paintings is almost certainly the manipulations of investors to increase the worth of their collections. It's the salesmen and financiers flexing their muscles giving them bragging rights for selling something of little intrinsic worth for some exorbitant prices. I really wonder just how much is the doing of the artists themselves.

    But that has nothing much to do with GXHPainter's painting here, and I apologize to him for such an extreme digression. __________________
    "Not a bit is wasted and the best is yet to come. . ." -- remembered from a dream

  7. #27
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    Gary, wonderful painting.

  8. #28
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    Lima... thanks I really appreciate your comment..seems this stirred up quite a controversy....but all is well in the end..

  9. #29
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    Quote Originally Posted by gxhpainter View Post
    Lima... thanks I really appreciate your comment..seems this stirred up quite a controversy....but all is well in the end..
    Forever known in the history of the old west as the red barn incident.
    Sorry we scared most decent folk out of the city.

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