THE SELF CONSCIOUS TIME
|Consideration of art.||historical|
All valid…but we resent that analysis for we recognize that the mystery rests in the totality, its power in the experiencing.
PROFESSIONAL ART EDUCATION
Overwhelming source heritage cannot be primitives although great art has been produced by people who did not have an alphabet.
Verrochio Leonardo apprentice.
Present how to work…what kind of work
Academy, revolt now the permissive position
Number and the individual the special corricula
Art appreciation: tourism vs. involvement
The value of frustration and resistance
Time for distillation…rely on expert…everyone expert. UCLA plays…walkie talkie or the rote French guide.
Past…repository for works which existed in other contexts…precious shrine…a mausoleum
Present…theater of the arts…the competitive arena for the contemporary artist
Number…box office attendance…gimmick point of view.
Existentialist reference…self merchandizing
School of anguished despair
Every time selects heroes in re the emergency.
Mechanical process life, ex. Piatigorsky recording
SCIENTIFIC AFFECTATION…LAB EXPERIMENT
Phony exploration Where did you go? Way out
What did you see? Nothing
New forms…let’s run up the flag and see if anyone salutes it.
Picasso and the art of primates bit the reporter
Readership flight of fancy, poetic analogy, merchandising concepts, the war of ideas apart from the reference.
Critic and the cult of the new
Obsolescence tradition atavism
Categorical necessity coming from the need of immediate communication.
Promotion…star system arena obsession
Supply demand, death and money
The only sound investment enjoyment
The danger of prestige acquisition status, friends
The danger of speculation investment
Margin buying, marginal experience
The associational value my marvelous friend
The eye of the beloved
Continuity, development identity…trade mark
Dissipation, dilution Neutra site
Success and the hero
The public image glamour bandwagon
Express your time
Courbet – history is not a bus from [which] you can alight at your convenience
Judge a work on its own terms…decide whether the terms are acceptable.
ARTISTIC PROCESS…GIOVANNI MORELLI 19TH Cent.
Signature in the detail; lets himself go
Intimacy and the sketch
Disassociation pure art
Glory of youth
Weakness of an art that refuses to ripen
Context; it’s all a lie, Picasso [“Art is a lie that makes us realize truth.”]
“I don’t mind telling a lie, but I abhor inaccuracy.” [sic] Samuel Butler
CLIVE BELL 1913
The representative element in a work of art may or may not be harmful; always it is irrelevant.
Test! Heighten our perception increase intensity of the experience
Non-product American position…
Faith in a work of art as a vehicle of self-expression and expectation that it clarifies some moment of historical consciousness…axiomatic