Paint to Reality

From Arles, to Vienna, to Auschwitz

The Neue Gallerie in New York has an exhibition entitled: Van Gogh and Expressionism. German expressionism has always struck me as a narcissistic resignation to the evils of the world. And for all of Van Gogh's earnestness, he certainly showed a more restrained resignation that surely influenced the expressionists, who let it escape uninhibitedly.

I couldn't help but make these juxtapositions. Or better yet, the logical conclusion.


Van Gogh's Bedroom at Arles (detail), Vincent Van Gogh, 1889


Schiele's Room in Neulengbach (detail), Egon Schiele, 1911


Auschwitz Barracks

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Optical Art

Viewer Participation

Bridget Riley, To a summer's day, 1980

Unlike Conceptual Art, Optical Art, or Op Art, is really concerned about engaging the viewer. Various straight, concentric and undulating lines are used to create various types of illusions, the most important of which is movement. Color is also often used to manipulate these illusions.

A. Kitaoka, Brownian Motion, 2004

I don't think Op Art creators are as pretentious as Conceptual Artists. Firstly, there is quite a high degree of skill and knowledge required to make Op Art. Secondly, the goal is really to amuse, or at least to engage, the viewer. Unlike Conceptual Artists, who really work in their own vacuum and dogged seriousness, an Op Art piece only works if the viewer responds accordingly, and usually with surprise and pleasure.

The charm of Op Art is that it also is used often in fabrics.


Success has a real concrete definition.

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Conceptual Art

An arrogant snub




Conceptual Art is art where the idea matters more than the actual piece of work. The artist doesn't require any skill in the traditions of drawing, painting or sculpting, and rearranges objects to fit a concept - or an idea.

My whole critique of conceptual art would be too long for a blog posting. Suffice to say that it irritates me endlessly. Although I "get" it each and every time, I can never make art (or design) with such criteria, because really, my mind doesn't work that way. I feel that I would be cheating myself, and whomever sees my humble efforts, by using mental jig-saw puzzles to put my artistic projects across.

I also find contemporary conceptual artists to be cold and indifferent to the public despite the inordinate amount of time they spend to come up with "public art". This is very clear to me with a contemporary "artist" Gwen MacGregor, who recently used giant jello cubes to fill up a "public space" - a fountain, in this case.

There is something creepy about wading through jello cubes, of the very type that you might eat as dessert one of these days. I'm quite sure that the young children walked through it with trepidation, and it is only the adults who were gleefully amused.




The shortcoming is of course that MacGregor can never design a real fountain, either as a two-dimensional painting or drawing, or as an architectural piece. So, her "concept" becomes the art of the gimmick. And an arrogant snub.

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Tiffany Out the Window

The slow erosion of art in America


L.C. Tiffany: View of Oyster Bay

One of the astonishing things I learned about Tiffany's stained glass art works is that his masterpieces were destroyed ("massacred" to use the words of historian Paul Johnson) after his death during the Great Depression of the mid-1930s.

Although this may be attributed to the rejection of luxe and affluence that Tiffany's works induced, I think it was more of a rejection of beauty and aesthetics in art in general.

In fact, his popularity was waning even before the 1930s mainly due to newer developments in art.

His art nouveau style, which emphasizes nature, was being taken over by the more mechanical and industrial art deco, and Tiffany never took to the modern movements - fauvists and cubists to name the two that he disliked most.

He reacted to the introduction of modern art at the New York Armory in 1913 by making even more elaborate objects to decorate his homes.

Finally, though, his pieces, collected from various locations and by astute admirers, now fetch huge (and deserving) prices.

But, not until the damage was done.

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Foundations

I Corinthians 3:11-17


A message for all walks of life.

11For no man can lay a foundation other than the one which is laid, which is Jesus Christ. 12Now if any man builds on the foundation with gold, silver, precious stones, wood, hay, straw, 13each man's work will become evident; for the day will show it because it is to be revealed with fire, and the fire itself will test the quality of each man's work. 14If any man's work which he has built on it remains, he will receive a reward. 15If any man's work is burned up, he will suffer loss; but he himself will be saved, yet so as through fire. 16Do you not know that you are a temple of God and that the Spirit of God dwells in you? 17If any man destroys the temple of God, God will destroy him, for the temple of God is holy, and that is what you are.

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The Errant Architect

In search of the concrete


The National Assembly Building in Dacca Bangladesh, by Louis Kahn

Is architecture the last frontier?

Any self-serving, "artistic" architect can have his day in the field. Once his buildings have been commissioned by the "in crowd", and built, they are there to last. And hundreds, if not hundreds of thousands, of innocent people will get to visit these "emperor has no clothes" structures.

Paintings, on the other hand, go to the single individuals, albeit at exorbitant prices, and no-one else need see them ever again.

So, this is the ultimate conceit of these modern architects. It is a means of forcefully interjecting into society their inner drives and inconclusive ideas.

I think that is why they are such globe-trotters. They cannot commit to a local style, where eventually the inhabitants will demand a building they can relate to.

By shifting geography constantly, they can dot the world's landscape with their inner musings, until they either get rejected, or find another location and move on.

This was how Louis Kahn lived.

His last piece that was built, having taken close to 20 years from design to finished structure, was unsurprisingly in South Asia.

The formidable fort-like National Assembly Building in Bangladesh is another one of those buildings which bear absolutely no relation to the geography, culture and I would venture to say, even the aesthetics of that country.

I would have thought the Bangladeshi would have had more insight than bringing in another foreigner (haven't they been through that already?) to dictate one of the most important buildings of their country.

The National Assembly is where democratic decisions are made, at least in theory. Yet, looking at this building, what comes to mind is a prison.

But then, what we choose is a symptom of who we are. Perhaps it is in the psyche of the Bangladeshi, and let's be fair, of all us modern people, to accept submissively these buildings that get tossed out at us.

Kahn collapsed in a bathroom in New York's Penn Station, and his body was not identified for three days. He had just returned from a trip to India.


The Interior of the National Assembly in Dacca Bangladesh

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Self-expressing Architects

The Turning Torso

Architecture these days seems to be a balancing act, literally.


Toronto's new Royal Ontario Museum

The new Royal Ontario Museum, to be completed in June 2007 (I had last posted that it would have been in January 2007) is one of the latest examples.

Architects these days juggle between engineering, artistic and functional roles. But, they hold on to the artistic the most. And true to modern traditions, that means primarily self-expression.


The Turning Torso

The Turning Torso, designed by Spanish architect Santiago Calatrava, is supposed to represent the twisting human body from a drawing that he made. It took four years to complete and was millions (of Swedish currency, I presume) over budget.

In the end, the building looks as incongruous as the new ROM, and just as unstable.

So, what is behind this rush of strange and daunting buildings? I believe it is a disconnection between the architect and his environment, as both the ROM and the Torso testify, and as I wrote in these earlier posts on a number of other buildings.

Geography is of paramount importance in all the arts. Once we start ignoring the reality of our surroundings, what else do we have left but our imaginations? Then any twisted shape and form can take over our buildings.

In a later blog, I will write about one of the most important and spectacular examples of how geography influenced architecture, down to the perfect last stone.

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