***A lot of re-posts lately. Busy at work. If you have any questions, drop me a line.
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:
Hughes wrote a review for Time entitled the “Princeling Of Kitsch.”
As previously posted, The Critic Laughs, by Hamilton:
The modern doubt, ironic detachment and profound unease:
Beauty is no quality in things themselves, it exists merely in the mind which contemplates them; and each mind perceives a different beauty.