Mr. Bush has not painted the people closest to him, who were instrumental in bringing him to power and shaping his presidency, namely Karl Rove, Dick Cheney, Condoleezza Rice and Donald Rumsfeld. Instead, he has painted a world of smiles and friendship that can rarely be taken as the whole story. The show reflects an attempt both to burnish the Bush presidency and distract us from its failures, as his brother Jeb, a former governor of Florida, may be readying his own campaign for the presidency. - Roberta Smith 4/7/14
…the portrait is cut off right above the buttocks, which emphasizes this recurring theme of the desire to expose but under a certain amount of control.
While not the most technically proficient portraits, they seem to truly convey a man who yearns for peace and tranquility but is unable to achieve those feelings, even in such simple and tranquil of settings.
It’s interesting to think, if they are earlier works, how he gained the confidence from these portraits to turn the canvas on himself. Did he start with the animals and still-lifes to keep from judgment from a thinking subject? Did he go on to do the self-portraits because no one could be harder on him than himself?
“If Mr. Bush’s portrait of Mr. Putin were an anonymous find in a thrift shop, most of us would happily snap it up. That these works are by Mr. Bush makes them more complicated, and useful as another lens with which to examine the personality and legacy of a man who may remain the greatest known unknown of his own presidency.”—
As an art n00b (but one who's interested in learning more/getting exposed to more artists) & tech fan, I'm spectacularly disappointed by Artsy. I thought it was going to be a great way to learn about new artists. Instead I get emails about new that are on sale from artists I've already listed that I'm a fan of. Blegh. -- Honestly right now my favorite site to learn about new artwork (or get reminded of old favs) is Cave to Canvas. THANKS TUMBLR.
I have noticed the same thing. There doesn’t seem to be an algorithm throwing new or interesting artists at me, it’s the same as what I initially said I was interested in or someone equally famous. No real discovery happening at all.
Artsy puts high-quality images and information about art online, and connects galleries with would-be buyers.
I can’t with this. I just can’t. A .net just raised $18.5 m more. Granted it’s a lot of the same investors, Larry, Dasha, et al. and a couple mil to them isn’t that big of a deal. I also understand that they put their money on this horse early on and they want this to be the one that wins in the long run. The Pandora of art. This isn’t it. This is the wrong horse. Put this horse out to pasture. Take it to a nice farm upstate and only talk about the good times, not the 3 years it was suffering because it was hobbling on 4 broken legs. I could keep going with this horrible farm/horse analogy but I’ll stop.
Why does this bother me so much?
I haven’t read one thing out of artsy where I was thought, yep, I agree with that decision. Everything I have read has created a VIOLENT negative reaction. Like, to the point where I’m glad I’m not the type of person who throws things.
I know there is a GIANT crevasse between art and tech that some people are trying so hard (and some are achieving!) to bridge, but I want to go on the record that artsy.net (.NET!?!?!) is not that bridge. I can’t tell you how much willpower it is taking to keep me from going on a 3 paragraph “this bridge will collapse” rant.
He urges us to look at both costs and benefits. Take Pieter Bruegel the Elder’s “The Wedding Dance,” which could be worth $200 million by itself. At a 6 percent interest rate (after rates “return to normal levels”), “the foregone interest on that amount would be approximately $12 million a year.” If the museum is open 2,000 hours a year, “the costs of keeping the painting on display would be more than $6,000 an hour.” If five people view it per hour, that’s $1,200 an hour per visitor. He guesses that “most taxpayers [would] think the same money could deliver much greater value if spent in other ways.”
"For a few hours after you came out, you really did become more energy conscious, not just that leaves move, but that everything has a kind of aura, that nothing is wholly static, that color itself emanates a kind of energy. You noted each individual leaf, each individual tree…I think what happens is that in our ordinary lives we move through the world with a strong expectation-fit ratio which we use as much to block out information as to gather it in—and for good reason, most of the teim; we block out information which is not critical to our activity. Otherwise we might well become immobilized."-Robert Irwin on the benefits of the Perceptual cell when him, Turrell, and Dr. Ed Wortz were working on it in 1968-70.
“…it was time for younger — or maybe older — artists to serve. This is like marking a new era for MOCA, a brighter new future. We have such momentum.”—Ed Ruscha on why he didn’t join the MOCA Artist board again.