From a reader: The New York Observer-The Trial Of Ryder Ripps: ‘An Embattled Artist On Haters, Angry Muses, And Threats:‘
One brander calling out another in the marketplace in a bid for fame, celebrity and self-promotion?:
‘The show is called “Ho,” as all the paintings are based on Instagram posts from the feed of model Adrienne Ho—the self-curated building blocks of her own personal brand—and to see the huge diptychs in person, the torrent of bilious blog posts hellbent on exposing Mr. Ripps as a misogynist, seems a little overblown. They’re just oil works on square canvas, but I was a tad surprised at how skillful they were, given that my exposure to Mr. Ripps had thus far been through the ad campaigns of his design firm, his internet hijinks, and his collaborations with fashion designers like Nicola Formichetti and rap producers like Mike Will Made It. Not through painting.’
Where post-pop, (some) art history and theory, meets coding and game design, meets post-Koons art marketeering?
Some people from Jeff Koons’ workshop were involved with the oil paintings.
Robert Hughes really didn’t like the lack of acquired skill and mastery of materials many moderns lack.
There have been a lot of virulent reactions to ‘modern’ life and technology ranging from utopian futurism to nihilism to consumerism and a kind of dejected anti-consumerism and spiritual malaise.
Camille Paglia wants to tilt the culture more towards art education, but manages to resist the more virulent strains of secular ideology filling the modern hole, pushing back against the radicalism of feminist ideology when it encroaches upon aesthetics:
Let’s suppose this isn’t your thing, not worth your time, and perhaps, you’re thinking, beneath you. But let’s also suppose that each of us have our own personal, moral, ideological, aesthetic and various other reasons for those suppositions: ‘I just don’t care,’ ‘Art should elevate the soul,’ ‘It’s not good art,’ ‘I don’t like what my ‘culture’ is producing,’ ‘This guy can’t even paint,’ ‘It’s a sham and a hustle,’ ‘Art for its own sake, technique and talent trump personality and celebrity…’ etc.
Perhaps you agree with at least one of these reasons, and I may agree with you, but whom do you trust to introduce new and good art to you and to maintain the pursuit of the good and the beautiful?
On that note, here’s an unbold theory: Tom Friedman is not really Tom Friedman:
Many years ago, a man named Jerry Ludkowitz was plucked from relative midwestern obscurity (struggling financial planner) for public appearances. Behind the scenes, however, an algorithm was designed to explain environmental thinking and some particulars of Middle-Eastern wars and politics to large audiences. Early on, a sweater-vest was decided upon as essential, and seeing as how no journalist could likely be so logical and strategic, the perpetrators remain at-large.
Many on the Left naturally distrust ‘Tom Friedman’s’ lack of commitment to the ideas, envying his journalistic establishment credibility and mainstream appeal, but loathing his watered-down commitment to ‘the People.’
Many journalists and those who may know something recognize perhaps some design there, some good data entered into the system, but remain baffled at the jumble of folksy analogy-jargonese.
Also On This Site: Denis Dutton suggested art could head towards Darwin (and may offer new direction from the troubles of the modern art aimlessness and shallow depth…the money and the fame) Review of Denis Dutton’s ‘The Art Instinct’
Denver’s Devil Horse may be flirting with kitsch: From The Wall Street Journal: Denver’s Mustang Or ‘Devil Horse’…and I like his work:…Joan Miro: Woman
From Grist.Org Via The New Republic Via The A & L Daily: ‘Getting Past “Ruin Porn” In Detroit’…Marketplace aesthetics in service of “women”: Dove’s Campaign For Real Beauty: Pascal Dangin And Aesthetics… Roger Scruton In The City Journal: Cities For Living–Is Modernism Dead?…Brasilia: A Planned City
Hughes wrote a review for Time entitled the “Princeling Of Kitsch.”