Ella's Notebook

想念這個方格, 抽空再寫個一小篇.
這是許自貴先生的立體作品 - 變色龍. 說不上來. 就是非常喜歡.

這一陣子累壞了, 心情上的與身體上的. 難過的事無法用言語述說, 只想化為許先生的變色龍, 可以掛在牆壁上, 眼睛瞪著大大, 身體壓的低低的, 匍匐著斜眼看人. 歡喜悲傷, 一切隨緣.  ^_^

Art Taipei 2006: www.art-taipei.com 
I enjoyed this visit very much. =)

Patricia Piccinini, Nature's Little Helpers - Surrogate
(for the Northen Hairy Nosed Wombat), 2004, Mixed Media
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Nobody's art work can move me like Munch's paintings do.
He is actually the key reason for the existence of my love of fine art.

Now you can listen to the audio guide to his retrospective exhibition from the website of New York MOMA:  http://www.moma.org/exhibitions/2006/Munch.html
It's an amazingly wonderful museum tour online.
Take a look, you will like it. =)

 Melancholy, Edvard Munch
1891, Oil on canvas, 72 x 98 cm
Photo source: New York MOMA

      我以為  每個人都有屬於自己的一幅畫 

                        那是一方天地  無際的自由
                        屬於心靈深處  最真的聲音

A short summary of 'Rauschenberg and Cage' from the book 'Varieties of Modernism' by Paul Wood, Yale:

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Robert Rauschenberg, born in 1925, is a modern artist generally regarded as the harbinger of a full-blown postmodernist art.

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During 1951-2, he produced a series of completely white canvases, devoid of brushmarks and any other gestural traces of the passage of the artist's hand because they were painted with a roller.

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 http://www.artnet.com/Magazine/reviews/robinson/robinson3-17-2.asp

John Cage, 1912-1992, later put a statement to accompany this work:

'No subject / No image / No taste / No objective / No beauty / No message / No talent / No technique (no why) / No idea / No intention / No art'

For Cage, art should be:
'an affirmation of life–not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply to wake up to the very life we're living'. 'No value judgements are possible because nothing is better than anything else. Art should not be different from life, but an art within life.'

Cage gave Rauschenberg the confidence to believe, as he later put it:'the way I was thinking was not crazy.'
'It is as if, by being so empty, the white painting could be filled with anything.'

What Rauschenberg went on to do is: to refuse to differentiate between things that could and could not be art. As Cage said of it: 'It is a situation involving multiplicity.'

Rauschenberg was conferred having been the first to achieve a 'postmodernist painting' later with his evolved 'combine paintings'.

http://en.wikipedia.org/wiki/John_Cage
http://www.guggenheim.org/exhibitions/singular_forms/highlights_1a.html

'The collapse of the atom was equated in my soul with the collapse of the whole world...Everything became uncertain, precarious and insubstantial. I would not have been surprised had a stone dissolved into thin air before my eyes and become invisible.'

- Kasimir Malevich, 1878-1935     

White Cross on Gray, Kasmir Malevich, 1921

An interesting read:

I bought these cards when I visited London. They are so amusing!
I wonder if A-bian could take things like this? 

http://www.b-deck.com
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the lurid glow. the delicate bearing. the psychological weight  
the reason why we can never ignore portrait painting

'Just a Glimpse' by Steve Hanks,
Watercolor, 5x4.25

http://www.eslawrence.com/artist.cfm?page=p&ID=17
http://www.bnr-art.com/Hanks

Modernity

– the key difference between modernity and life in the past lay in its ‘ephemeral’, ‘fugitive’ and ‘contingent’ aspects, based on Baudelaire’s descriptions.

– a volcano under our feet, a profound sense of social alienation, living between the cogs of a huge machine, artificial and unidentifiable.

Modernism

– foregrounded the claim for art’s autonomy with respect to the wider modern condition.

– not the result of technical incompetence, but an effect of the pursuit of aesthetic independence, which was itself art’s survival strategy for the modern world.

Post- modernism

– purports to ‘reread’ virtually every imaginable sector of human enquiry from politics to art, history to geography.

– a meltdown of assumptions about social relations, psychic identities, the constitution of knowledge and the relationship of humankind to nature itself.

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Gerhard Richter (b.1932),  Motorboot,  1965