MSB brainstorming

Showing posts with label art blogs. Show all posts
Showing posts with label art blogs. Show all posts

23 April 2009

Molotiu's Abstract Comics blog site



Andrei Molotiu, art historian, gallery comics artist and editor of the forthcoming anthology Abstract Comics, the first book to trace the history and survey the contemporary landscape of abstract sequential art, has started a blog to showcase the book and other work by some of the book's contributors including himself and Mark Staff Brandl. The link: abstractcomics.blogspot.com.

06 July 2008

Interview with Mark Staff Brandl at myartspace>blog


Brian Sherwin, artist and art blogger has interviewed me, the EuroShark for his website, myartspace>blog. Sherwin, originally from Illinois and now living in California, has conducted and published a series of interviews with visual artists including William T. Wiley and others. You can read his piece with me here.

The newest interviews appear here.

AUCH NEU gibt es ein kurzes Video Interview mit MSB auf Deutsch auf youtube hier.

You can also still access the recorded radio podacst interview Jason Miner did on Comic Book Talk Radio with MSB here.

24 July 2007

Belcher, UK: The Art of Greed

















Following an excellent Clive James article on Hirst’s Skull on BBC website I was moved to post a short reply…I elaborate a little more here..

I wrote then..

Cracking riposte Mr. James. Mr Hirst is the Barnum of our age and whilst not being a bad lad and kind to his mum he does produce some silly artworks. Even sillier is the stage-managed way he hoovers up press via his agent. Fair play in the kingdom of the skull the one-studded man is a chav. My friendly art dog has seen through the media fog for many a day mainly because being a dog he cannot converse with Mr Hirst in case he rips him in two and drops him in a tank. Unfair treatment of a critic but that’s the way life is these days. Would it be unwise if Moogee suggested that if current proportion of illegal diamonds on market as high as suggested then most of the sparklers on this Pearly King’s bonce are dodgy anyway?

I enlarge now…

Having re-read an Observer interview with Mr.Hirst’s ‘agent come bookie’ Frank Dunphy I have to eat my words. As a double act Mr. James’s comments on Morecambe and Wise and celebrity come much closer to the truth than he imagines. Mr Dunphy ex-bookie, Irish scallywag and theatrical agent to several dwarves, a python lady , Harry Worth( true talent) and The Nitwits( don’t ask but they cleaned up in Vegas apparently) is the real Barnum here. Fraud is the key. It is no longer anything remotely to do with art or even the trailing in his jetstream Jay (Etonian) Jopling who probably looked sadder than Mr. Cameron after a by-election when he realised said skull cost more to make (let alone sell) than his entire ‘White Cube’ gallery. How appropriate that it is the name of the gallery that signifies all that wrong with contemporary art culture. A white space devoid of feeling and intrinsic merit that reflects back contemporary obsessions with the vacuous, the fleeting and the vain. To that degree Hirst has produced an object of its time but that time as Warhol predicted used to be 15 mins..it substantially less …ask the Big Brother clone lapdancing for footballers how long she expected to ’cut her teeth’ on the lush pile carpets of instant glamour before returning to the barmaid role…

One White Cube is another mans Sugar Lump. Publicity for Jopling to keep him in his loft conversion or is it stockbroker manse? Publicity for dull-witted hacks on a hundred lifestyle mags to fill column inches instead of having to either read, investigate or think. Disposable culture bred on internet searches and generic theme writing born of laziness and bad teaching. The roots of our present malaise stretch far back into the teenage bedrooms and back of class Hello and GQ obsessed teenagers who have been coached in lifestyle living instead of values, grammar or numeracy.

The path to suburban Ikeadom is laced with diamond skulls, footballers wives and cocaine highs but nothing that lasts longer than a corporate blowjob or a pot noodle. Greed is all and pot noodle culture is what we feed our young from the Tate Modern to the inner-city community project where getting a five -second rap from a disgruntled teenager and wrapping it in special effects so that the published ‘outcomes’ satisfy some notion of ’substance’ for the funding body is all.

White breadism…..not something wholesome or genuinely meaningful is frowned on - fast food culture breeds fast food artists.

Shit in…shit out.

BELCHERESQUE...
real criticism not nepotism
http://belcheresque.wordpress.com/

16 July 2007

Belcher, UK: Abusing Art

The Museum of Modern Art, Oxford, England is to show a 100 paintings by Saatchi ’star’ Stella Vine. This is my response to her interview in U.K. broadsheet The Observer newspaper where she was afforded two pages of coverage.




Spot the real artist...

I once saw a couple of Vine's paintings in a Stuckist show in the East End of London apparently the same one where Don Saatchi 'discovered' her. The Observer feature reproduced a family painting in its feature and mentioned that portraits of the Ipswich prostitutes would also be in the show. Sadly more of the reporter's questions concentrated on Ms. Vine's abusive or not-abusive past ( a la Emin) than on the work...indeed one felt for the interviewee as almost all comment on the formal structure of her work was negated in pursuit of 'good copy'. Trying to separate a fairly ordinary painter from the hype is difficult but it increasingly appears that Saatchi has given this particular 'Fair Lady' the Rex Harrison makeover. My objection is that because of his power he can do this to virtually any artist (maybe this was an artworld insiders bet?) and the laughable 'art-world' we now left with post Saatchi falls into place behind like a herd of lapdogs to praise her 'ability'...

The Museum of Modern Art Oxford was one of the best new galleries in the country in the late 1970's and early 1980's showing a range of work..Rodchencko, Mayakovsky, New French Painting that as a young art student I felt priviliged to attend. That standards have slipped this far that its latest director opts for a sensational yet threadbare parade of a troubled individuals amateurism is beyond a joke. Whatever Stella Vine is ...media personality, affable ex-stripper, troubled individual the one thing any fairly art-educated person can say is she is not a painter. So why is an institution like MOMA doing this?

Are they so impressed by her ability they could not resist her charms? No like any Blairite art institution it has scrabbled along with dwindling funding over the last two decades and has learnt to 'sell itself' for the greater good. A coffee bar was the first 'improvement' the new director made and as a son of a government official of such standing he was made an Oxford University College Dean it was no surprise that his improvements were waved through unopposed. Oxford is still a city controlled by a mediaeval and arrogant University system.

So when an opportunity to raise column inches ( note Observer already) who could resist Ms. Vine. Thus a cash starved and publicity-seeking art organisation chases bankrupt art simply because images of Princess Diana and Pete Docherty might 1) draw in public and 2) mention of Saatchi will ring the publicity bells....which it already has.

To attack this art as neglible, badly-painted sensationalist drivel will bring also the wrath of should have known better post-feminist critics who shamefully will do anything for a quick buck and a place in limelight. That Germaine Greer even thinks she can put her name to this show's catalogue shows that not only the artworld is living on a morally bankrupt plateau we have previously only imagined. I do not care if I am labelled a 'anti-feminist' for pointing out their shortcomings for the simple reason that I am not and never will be but I am simply pointing out crap art when I see it and the hordes of univerity hack-feminists dribbling over Tracy Emin will probably produce yet more academic tomes about the 'importance' of this latest 'she-warrior' for the arts. It is complete rubbish. The best female artists are still around they are simply not a party to the Saatchi circus.

If one wants a chilling vision of just how vile the new Saatchi driven artworld is then spend a few minutes watching the flood of inane, amateurish and frankly sexist images that flood his gateway to the stars i.e. Saatchi Gallery online. Born of a belief in 'access for all' it is like a X Factor for bad art. Vote for me, look at me, give me a show the poor fools who subscribe seem to be saying..gimme gimme gimme ....is this present generations mantra and they are being suckered in the same way Barnum spewed out his mantras..you can fool some of the people all of the time.

There is nothing 'good' about any of this. It cheapens the art world - it gives young students a prostitution mantra to do anything to be noticed...'wow factor' the colleges now inculcate any budding artist with from day one of their foundation courses. Don't bother learning to paint or draw you too can be a Stella Vine just make it newsworthy...prostitutes, murderers, rapists..then tell people it post-feminist investigation....bollocks.

It is pathetic both as an intellectual idea and as actual art. All you need as a female artist is to confront the dragons of the patriarchy and you too can be Saint Joan of Art, or Stella or Tracy. Meanwhile the power remains clenched firmly in the abusers fist. After Saatchi a host of charlatan dealers swarmed around the disorientated Ms.Vine and made cheap deals like a pack of internet groomers. Meaning is lost in this kind of vacuous society. Art values are destroyed. Who is top of the heap is determined by people who know nothing about the intrinsic values of art but only commerce and making insider bets to increase their standing. How many of those dealers were women one wonders...?

As art the show at MOMA will be amongst the very worst that poor institution has displayed in its history. It is perhaps the final nail in a downward slide in the art-world in general that has sold itself for a handful of silver. Our magazines, our websites, our galleries are tainted and we are the poorer....cheap trash is IN buddy!! so dumb down and wallow in the mire...capitalism stuffs the revolutionaries mouths with silver before the corpses are cold...

Does this matter?Yes, a country and a society that sells itself like a cheap stripper is demeaned. I visited Valencia in Spain last week and the difference in overall attitude, funding, and most importantly erudite discussion of art was so marked as to be shocking.
The Spanish system has in inate understanding of the intrinsic merit of artists and what they produce. It does not abuse its artists or treat them like call girls and strippers (male or female). The sexist agenda at work here is strengthened by tawdry and sensationalist shows like this. Women are once again the victims of a system that is patrimonial. I did not see a single female artist accorded such treatment in Spain.

I despise our present greedy, neurotic, ill-educated, sexist and arrogant yet impoverished system. It is time true values were once again brought back to be top of the agenda. Call me rightist etc etc but when the BFI is collapsing and a commentator in the same paper can lament the fact that after a 10 fold increase in funding the film industry is collapsing perhaps it time to point out that despite 6 billion in arts funding we have more artists than ever, more galleries than ever, more publicity than ever...and guess what... 90% of it is all shite.

p.s. In Valencia I saw a show of photographs of Frida Khalo......she was strong, talented and a beacon of light throughout her life right to her death-bed....Vine and Emin are nowhere near...Khalo did not need a Saatchi to become famous and she would probably have spat in his face...if only people like that were feted..but Saatchi likes to pick artists that cannot fight back...

BELCHERESQUE...
real criticism not nepotism
http://belcheresque.wordpress.com

15 April 2007

Brandl: Einzelausstellung an der Chicago Kunstmesse





Der Ostschweizer Künstler Mark Staff Brandl wird an der kommenden Kunstmesse in Chicago, dem Chicago Art Fair (27. – 30. April 2007) mit einer Einzelausstellung vertreten sein. Damit ist Brandl einer von 50 namhaften Künstlern, der an dieser prestigeträchtigen Messe am so genannten Artist Project an einem eigenen Stand ausgestellt sein wird. Der Anlass wird am Donnerstag, 26. April mit einer Vernissage im weltberühmten Merchandise Mart in Chicago eröffnet (350 West Mart Center Drive).

Die internationale Messe für Gegenwartskunst, Art Chicago 2007, führt ihre 20-jährige Tradition als eine der weltwichtigsten Kunstveranstaltungen auf einem neuen Ausstellungsgelände, dem Merchandise Mart, fort. Der Anlass, den die ganze Stadt neben der Hauptattraktion Art Chicago mit vielen Kunst- und Kulturprojekten feiert, wird über 30'000 Besucherinnen und Besucher anziehen.

Mark Staff Brandl wurde 1955 in der Nähe von Chicago geboren und ist dort aufgewachsen. Seit 1988 ist er in der Schweiz wohnhaft. Seit 7 Jahren wohnt er in Trogen AR. Seine Ausbildung in Kunst, Kunstgeschichte und Literaturtheorie absolvierte er an der University of Illinois, Illinois State University, Columbia Pacific University. Zurzeit ist er Doktorand an der Universität Zürich.

Brandl ist international seit 1980 als Künstler tätig, hat verschiedene Auszeichnungen erhalten und ist mit zahlreichen Publikationen und Ausstellungen an die Öffentlichkeit getreten. Seine künstlerischen Arbeiten wurden unter anderem von Galerien und Museen in der Schweiz, Deutschland, Italien, Ägypten, der Karibik sowie in Städten wie London, Basel, Paris, Moskau, Chicago, Los Angeles oder New York gezeigt. Als Kunstkritiker schreibt er regelmässig für die Zeitschriften The Art Book (London) und Art in America (New York), bei denen er Corresponding Editor ist. Er ist auch Kurator der Collapsible Kunsthalle. Einige seiner Werke wurden vom Museum of Modern Art in New York, dem Whitney Museum in New York, dem Museum of Contemporary Art in Chicago, dem Victoria und Albert Museum in London, dem Thurgauer Kunstmuseum, dem Kunstmuseum St. Gallen, dem Museum of Contemporary Art in Los Angeles, der Graphischen Sammlung der ETH Zürich, dem International Museum of Cartoon Art, dem Kunstmuseum Olten und anderen aufgenommen.

Im Rahmen des Artist Projects werden gross- und kleinformatige Werke ausgestellt. Brandl wird eine Serie von Covers-Bilder zeigen sowie die neuen, grossformatigen Gemälde, Dripped Portrait und Portrait and a Character. Zur gleichen Zeit wird in den Räumlichkeiten des Sharkforum Sharkpit eine Wand-Malerei-Installation zu sehen sein. Der Künstler feiert seine Inspirationsquellen, besonders die seiner Kindheit, die seiner Berufung zum Künstler zu Grunde lagen — u.a. die Billboardschriftmalerei und Schaufensterdekoration seines Vaters und seiner Mutter sowie die Superhero-Comics und deren Künstler.

Die Covers-Werke sind Gemälde in verschiedenen Formaten, welche die Sichtstruktur der Comic-Heft-Titelseiten verwenden: aufdringliche Beschriftung, Preise, Daten, Nummerierung, Bilder und so weiter. Anstatt ein Bild einfach zu kopieren, wie Pop Künstler es taten, konfrontiert Brandl diese Form als eine geerbte, doch unvollständige Grammatik, die er dazu zwingt, Lob, Klagen, Wünsche, signifikante und kritische Gedanken auszudrücken.
Die zwei neuen Gemälde verschmelzen Einflüsse von Jackson Pollock, Roy Lichtenstein, Jacopo Tintoretto und dem Superhero-Zeichner Gene Colan. Sie scheinen mit geschleuderten Tropfen von Schildmaler-Email-Farbe gestaltet zu sein. Aber die Striche und Linien verwandeln sich zu Repräsentationen ihrer selbst. Von Distanz betrachtet mutieren die ausdrucksstarken abstrakten wirbligen Linien, die mit einem Rapier gemalt scheinen, zu Pop-Bildern von flüssig gezeichneter Gesichtern.

Brandls Kunst erklärt, wie eine neue, robuste Malerei Einflüsse und Innovationen aus anderen Genres in sich aufnehmen und sie innerhalb ihrer eigenen visuellen Denkprozesse umrahmen kann. Sein Werk ist konzeptuell und intellektuell, und dennoch unterhaltsam sinnlich; vielsagende bildende Kunst, jedoch stark wie populäre Kultur. Für Brandl ist dieses nicht “Fusion” oder “Crossover”, sondern ein persönlicher und disjunktiver Dialog der Schlichtung. Andeutungen und Impurismus sind seine ästhetischen Tugenden

Kontakt:

Website des Künstlers:http://www.markstaffbrandl.com/

Sharkforum Sharkpit
Wesley Kimler
2046 W. Carroll
Chicago, IL USA 60612
+1 312 942 9078

Chicago Art Fair / Artists Project
Shawn Kahle
Vice President of Public Relations
Merchandise Mart Properties, Inc
312-527-7074
skahle@mmart.com

03 April 2007

exex: Peter Dew und Neil Young




peter dew: the feeling arranger, the heavenly conductor and me, or:
a different story for every set of eyes

peter dew legt musik von neil young auf.

> donnerstag, 5. april 2007, 20 uhr
> nocturne surprise um 22 uhr



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peter dew (*1967, lebt und arbeitet in st.gallen) ist ein sammler. er trägt materialien wie drähte, plastikteile oder hölzer zusammen und baut damit ganze universen, verbindet die absurdesten gegenstände zu kleinstskulpturen, fügt diese wiederum in grössere zusammenhänge ein und setzt sie zueinander in beziehung. seine installationen sind unübersichtlich und chaotisch und doch in den einzelheiten ordentlich und präzis. dews neuste installation «oh, but what if i want to go down that way?» gründet auf einem komplexen system von wegen, die als netzwerk die zum teil disparaten einzelteile zusammenführen, verbinden und zu einem einzigen geflecht von verweisen und bezügen - auch auf filme, songs und stories - verdichten.
am donnerstag vor ostern legt dew an der bar musik von neil young auf. die ohnehin vorhandenen bezüge seiner arbeit zu musik und film werden dabei nur noch offensichtlicher und so wird sein dj-set ganz natürlich auch zum soundtrack für seine aktuelle arbeit. ebenso zwingend für die anreicherung der installation «oh, but what if i want to go down that way?» ist auch die nocturne surprise um 22 uhr: «a matter of life and death» (von michael powell/emeric pressburger mit david niven und kim hunter, uk 1946) entführt die zuschauerinnen vom england des zweiten weltkriegs direkt ins jenseits. kamera, kulissen und kostüme, alles sehr raffiniert und alles sehr elegant ... der film ist trotz seines alters in jedem fall eine entdeckung!

weitere informationen zum projekt unter http://www.visarteost.ch

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projektraum exex, oberer graben 38, 9000 st.gallen
telefon 071 220 83 50, e-mail exex@visarteost.ch
öffnungszeiten: donnerstag 9 bis 12 uhr und 13.30 bis 17 uhr
oder auf anfrage

30 March 2007

Belcher: Aesthetic Grounds...

Very interesting post re. 'Vernacular' and plagiarism on this blog at present

http://www.artsjournal.com/

Public Art, Plagiarism & Vernacular

also they looking for art critics...must be some out there???

Aesthetic GroundsThe dialogue on public art and public space has almost no American art critics. We need some.
Public space is addressed in the socio-political critique of modern culture or in the propaganda of the smart growth, new urbanism and/or green sustainability. And 30 years after the invention of public art, the artists and administrators of the genre are afraid to establish criteria beyond acceptance or tolerance. To have critics of these art forms, new verbal and visual images must flow everyday. With consistent writing to focus thoughts, empathy and make-believe, aesthetic grounds emerge. The human pleasures of public art and public space deepen - and that is the goal of this blog. Glenn Weiss, January 24, 2007