The one thing to say about poetics
is that it is one thing ;
poetry is poetics-as-poetics
and everything else is everything else ;
poetry as poetry is nothing but poetry ;
poetry is not what is not poetry.
is that it is one thing ;
poetry is poetics-as-poetics
and everything else is everything else ;
poetry as poetry is nothing but poetry ;
poetry is not what is not poetry.
original owner :
Ad Reinhardt
1963
Ad Reinhardt
1963
3 kommentarer:
"Art is too serious to be taken seriously."
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How To Look At Things
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"An artist, a fine-artist or free-artist,
An artist-as-artist,
Has always nothing to say,
And he must say this over and over again.
Especially in his work
What else is there to say?
In work or words
What in hell, on earth, or in heaven, is an artist up to when he says he has something to say?
All artists-as-artists say the same thing
The post- historic artist is the timeless artist-as-artist.
The artist-as-artist is the post-historic artist.
The post-historic artist is the
artist aware of himself as artist,
aware of art-as-art,
aware of everything that is not art in art,
inside or outside art.
The only way to say what an artist-as-artist is,is to say what an artist-as-artist is not.
A fine artist by definition is not a commercial or industrial or fashion or applied or useful artist.
A fine, free or liberal or abstract artist
is by definition not a servile
or professional or meaningful artist.
A fine artist has no use for use,
no meaning for meaning,
no need for any need.
A fine artist has nothing to use,
has no need for any meaning,
and would not use himself or his work for anything
A fine artist by definition
does not use or need any ideas or images,
does not use or need any help,
cannot use or help anyone or anything.
Only a bad artist thinks he has a good idea.
A good artist does not need anything. "
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"A free, unmanipulated, unmanipulatable, useless, unmarketable, irreducible,
unphotographable, unreproducible, inexplicable icon."
1. Art is art. Everything else is everything else.
2. Art-as-art. Art from art. Art on art. Art of art. Art for art. Art beyond art. Artless artifice.
3. Painters' painting. Painting's painters. Painters' painters.
4. Painting that "cannot be taken hold of", that "cannot be used", that "cannot be sold".
5. Painting "about which no questions can be asked."
6. Painting as "not as a likeness of anything on earth".
7. Icon as image as idea as symbol as ideal as form as icon.
8. Icon as device, diagram, emblem, frame, game, sign, spectacle, etc.
9. Device as empty. Diagram as dead. Emblem as archetype. Frame as (of) mind. Sign as forecast. Spectacle as invisible.
10. Painting as absolute symmetry, pure reason, rightness.
11. Painting as central, frontal, regular, repetitive.
12. Preformulation, preformalization, formalism, repainting.
13. Forms into uniform into formlessness. Style as recurrence.
14. Light as reappearance, dullness. Color as black, empty.
15. Space as halved, triparted, quartered, quinquesectioned, etc., as one.
16. Verticality and horizontality, rectilinearity, parallelism, stasis.
17. Outlines, monotones, blankness, quiescence, premeditation.
18. Brushwork that brushes out brushwork.
19. Matter only to the mind.
20. The strictest formula for the freest artistic freedom.
21. The easiest routine to the difficulty.
22. The most common mean to the most uncommon end.
23. The extremely impersonal way for the truly personal.
24. The completest control for the purest spontaneity.
25. The most universal path to the most unique, and vice-versa.
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Reinhardt made such a fierce point of showing where he thought art could go wrong, become soft, betray its essence. He was a fine aphoristic preacher, irresistibly quotable, and a deadly parodist. He listed the technical skills of the
modern American artist as "brushworking, panhandling, backscratching, palette-knifing, waxing, buncombing, texturing, wheedling, tooling, sponging . . .
subliming, shpritzing, soft-soaping . . ."
So he embarked upon the all-black paintings of his final period, paintings that he once jokingly described as "the last painting which anyone can make." It looked as if he had finally achieved his ideal by having, in his words, "got rid of all that other stuff."
We know that Reinhardt removed as much of the oil from his paint as was possible while still having it bind the pigment. The result was a powdery-looking surface that absorbed light. Slight intended variations in the amount of medium
rendered differing degrees of matte. Reinhardt didn't varnish these surfaces as that would have effectively pulled a curtain over the subtleties he worked so hard to achieve.
Reinhardt went to great lengths to separate the oil out of his paints leaving them underbound and rich with pigment. He spread this customized paint onto the canvases with brushes so as to eliminate all record of their making. The black paintings in particular have even, uninflected surfaces; they were never varnished. The matte effect that Reinhardt labored to achieve is extremely fragile, betraying every fingerprint, minor scratch and other contact and the
conservator's usual methods of dealing with such damage is precluded by Reinhardt's technique.
Ad Reinhardt : definition of Ad Reinhardt in the Free Online Imageless Icon !
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( Performing your original search,
she has a hot ass duchamp )
"Like the smile of the Cheshire Cat, Duchamp's graffiti additions to the Mona Lisa now hover in space" (d'Harnoncourt & McShine, p. 304). "The stencil was originally made for the addition of those details to the reproduction of
L.H.O.O.Q. in The Box in a Valise" (Bonk, p. 241).
1 2 3 4 5 Small Things about L.H.O.O.Q.
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itersextual.
art will eat itself
Deconstructing Roy Lichtenstein
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