artist
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The Trouble with Art Biennials Today
“The mega-exhibition is a form fundamentally unable to bear the weight of its own contradictions.”
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“Unlike the artists behind many of Shaw’s thrift-store paintings, the “bad painters” of art history were often technically skilled. They made a conscious decision to ignore the standards of good taste and good style, which wasn’t always intuitive.”
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We Dislike Hypocrites Because They Deceive Us
“Perhaps the most critical piece of evidence for the theory of hypocrisy as false signaling is that people disliked hypocrites more than so-called ‘honest hypocrites.’ In a fourth online study, the researchers tested perceptions of ‘honest hypocrites,’ who — like traditional hypocrites — condemn behaviors that they engage in, but who also admit that they sometimes commit those behaviors. ‘The extent to which people forgive honest hypocrites was striking to us,’ says Jordan. ‘These honest hypocrites are seen as no worse than people who commit the same transgressions but keep their mouths shut and refrain from judging others for doing the same — suggesting that the entirety of our dislike for hypocrites can be attributed to the fact that they falsely signal their virtue.’”
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Fuck yo feelings.
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“Stay true to yourself. An original is worth more than a copy.”
— Suzy Kassem
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How self-deception allows people to lie
We lie to ourselves to protect our self-images, which allows us to act immorally while maintaining a clear conscience. According to the very latest research, self-deception may have even evolved to help us to persuade others; if we start believing our own lies, it’s much easier to get other people to believe them, too.
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“What a funny thing painting is. The abstract painters always insist on their connection with the visible reality, while the so called figurative artists insist that what they really care about, is the abstract qualities of life.”
Marlene Dumas (b. 1953)
The White Disease
signed, titled and dated ‘The White disease Marlene Dumas 1985’ (on the reverse)
oil on canvas
51 3/8 x 43½ in. (130.5 x 110.5 cm.)
Painted in 1985.
Price realised
USD 998,500
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“So, you’re not an artist, but you give people advice on how to become one?”
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Why would you listen to an influencer who gave up on their own dream?
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what happens when you let your art be ‘influenced’ by other artists? – Tara Leaver
“And the big daddy that I learned from all this: I actually CAN’T paint like other artists, and nor do I want to. That’s the best thing this exercise has taught me over the years; it’s fun to experiment, to try out what other artists are doing, but if I only ever did that I’d be unfulfilled and dissatisfied. I’d be surrounded by a vegetarian buffet and craving steak.”
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“I write about my own work because I want to speak for myself. I might not be the only authority, nor the best authority, but I want to participate in the writing of my own history. Why should artists be validated by outside authorities. I don’t like being paternalised and colonised by every Tom, Dick or Harry that comes along (male or female).”
— Marlene Dumas
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On My Mind: The importance of words
There is of course a
difference between words in the artist’s mind and words of critique or
review. The artist’s words are words of intent, of defining the vision
or painting’s aim, and may be silent, or private. The critic’s words are
to conjure the achieved effect of the artist as the critic sees it. I
think trying to define what and why you are painting is important. These
words can enrich the way in which you put paint down, they can
determine what you choose to eliminate or emphasize. In itself a title
to a painting is already a lead-in both for you the artist and for your
viewer. I was recently looking at work of Korean painter whose work is
entirely abstract, a color field. His titles pertain to Korean pottery
referencing celadon and antique glazes. No question that expands one’s
appreciation/viewing.—Anonymous