Neon, Peter Liversidge. Antoine Watteau was formed as an artist in a recording studio that backs to a large volume of religious paintings, portraits of the king, etc.. These workshops were recorded acquire the highest quality and refined techniques and media. Later, Watteau knew the large paintings that Rubens for Marie de Medici and concentrated on his style in this orgiastic delight of his compositions, and worked within their subjects. Bacon's work is based on the composition of Velazquez and one of his memorable works is the portrait of Pope Innocent X he made in different versions. creation needs of teachers, is a rule of the great painters of his technical training and finding a personal style includes view and copy the classics to understand their strengths and findings. This learning translates into a compelling tribute to the art to evolve. The fact Bacon is not the same as that of Velázquez, his look, his talent, his personal status is completely different, and work and it becomes art progress and our vision and image memory feeds.
Laurel Woodcock, Quotation, 2006, blue neon.
This can happen if the building exists, ie if the artist does his work, draw, paint, sculpt, because in the end creates an original talent that prevails over the influence.
Laurel Woodcock, Quotation, 2006, blue neon. In contemporary art, where the master is directly proportional to the lack of creation, it rejects the original authorship and artists euphemisms plagiarizing works of appropriation, intervention or send them to. This makes a huge difference with the examples above, because after a play opens possibilities to revolutionize the art works they repeat or stolen seal, which predates and makes no representation of intellectual effort. Furthermore, when the work is the material (neon light, trash, found object, a ready-made, for example) the repetition does not make any creative involvement is irrelevant that the same object (again shoes, clothes, urinals etc. ) or change of purpose, the fact is that is something any and all things in their essence are the same: prefabricated objects. Then there are those who rule do the work, in which their job is only to think, not made or the performance or the object, and even people fornicating become a ready-made. Interventions that alter a finished work and pretend that this nullifies the original author. We went into a field in literature and music is clearly defined and that, in contrast, the visual arts has become a genre: the lack of ideas and parasitism as final work. If the transgression is stolen or involved the work of others what would become of the characters with this system? What would such seasoned writers with copyright if someone copies his novels and the awards as contemporary literature? In music who are always on the lookout for piracy What happens if someone takes over the work of a composer and sell it as yours? Not to mention the indiscriminate copying of the black market and take appropriate authorship. Or if a writer sends his book to another author's books black or ghost writers, are not works of writers, political memoirs, nobody takes them serious authors, if found to be more or less respected author sends to its books or copy this falls into abjection. Why what other arts is a crime in the contemporary art style? Because the lack of talent here is covered by the foolish theories to allow a system exists that is against the art itself, of creation and work.
Repetition and the systematic appropriation not question the authorship or originality, and are a blatant theft is the deliberate intention of preventing the development of art, establishing the denial of work as an ideology. This art has become a predictable and monotonous sequence of works. The examples are many from the appropriation of Duchamp's Mona Lisa, and after Warhol made this "work" of Duchamp, the French here, very delicate, could not resist the joke and took offense and do not accept going to see the Warhol exhibition at MoMA when he saw his "Mona Lisa" on the invitation.
Joseph Kosuth, Five Words in Green, 1965.
The hundreds of urinals from other authors, the prints of Goya and classic paintings stolen by Jake and Dinos Chapman and altered with interventions infamous, the complete works of Richard Prince who stole Marlboro ad and book covers the 60's; neon signs, the empty rooms, exhibitions or work ghost who steals the found footage film clips and reissued. Since the first white painting by Malevich in 1918, we have seen hundreds of versions parade until the end of white light from a video projector, or chistorete Loris Gréaud to say that his self-portrait painting is invisible.
amazing thing is that ideas are so bad and also they are predators, devouring as if they were sources of wisdom. In your deep limitations is his greatness? These repeats are sequences systematic exposures and symptomatic of the degradation in which they submitted to the building to highlight an ideological system. Looking for complete freedom, disassociating the art of the past fell into an ideological dictatorship, to destroy without bringing. This art does not create or proposes breaking aesthetic boundaries, imposes a lazy thinking easy to handle. His objects are not works, this repetition is propaganda that impacts the insistence, the ad to be seen more often is that going to penetrate the mind of the beholder. This reiteration of ideas intended to convince us that this is what we have now assimilated as art. His monotone answers you need to bring equality, have been standardized to the art as did the communist system to tyrannize its citizens intellectually and set the value of the individual does not exist, which prevails in a group. Why insult the authorship and originality, is a totalitarian system of equality. There is no hierarchy of values, there is a widespread implicit validity: if you choose a urinal or a neon sign, and trash is art. In this art fallacy intellectual freedom and prohibition, have forgotten that repetition is submission without reason. Equal mediocrity. Published in the Journal Replicante
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