Sunday, October 21, 2012

Hard Rain's gonna fall (50th post)

To celebrate the 50th post, a new 5 and 2.

5 Photos, and two sketches of my dad.

Till nextime!

Taken on the beach, August 2011

Amir Lev clouds

Whiter shade of pale

Natural surroundings August 2010

Rain, damnit!


Saturday, October 20, 2012

One Liners

My beloved drawing mentor suggested an exercise:
- Try a complete drawing without lifting the pen(cil)

Here are some results,

N-Joy and Till nextime.

A garden corner

Strange shop, with lotsa this-and-thats in boxes

Same shop, other thisNthats in the window

Parisian street

Wood logs begging to be drawn

Bike taking the train home.

Tuesday, October 9, 2012

Art&$: Minority report

Had no time to publish in a while, but sometimes news are too breathtaking to let them pass you by.
Just read a piece of news that made my heart skip a beat:

- A controversy in the art world!
- Someone 'Ruined'\ Improved an original Rothko
- Criminal is quoted as saying "I added value to it".
(You can read the news in English, Hebrew of French right here: English Hebrew French)

I remember how mesmerised I was once in Buffalo-N.Y staring at a huge Rothko and being grateful that art exists, and I am equally grateful for these 'vandals'.

Look (or listen) - Art's function is to wake you up from the constant daily sleep, from the brain's routine, and transfer you to reality, be it even for a moment, but what happens when art becomes the routine?

What happens when people see a Rothko, Matisse, Monet, and that's exactly what they see?
Not the clash of colors and shapes, not the struggle form with the eye, but the name of the artist and the price tag.

I am moved to tears by art, but paying 86.9 Million for a "Rothko" is not art appreciation, it is speculation,
And shit happens.
And if you buy art 'cause it moves you, be ready to get moved when it is destroyed.

As for me, you'll find me at the museum, appreciating both the Mona-Lisa (well... mainly the line of tourists in front of it) and Duchamp's Mona-lisa with a mustach.
(BTW - if someone would put a false signature on Duchamp's rendition, will he be a criminal? an artist? both? neither?)

And one more thing - in the video of the Rothko you can see a small bit of the restoration process, which made me imagine the difference between the brush-strokes he made, the "Criminal's" brushstrokes, and the restorator's brushstrokes.

Now, all three remain forever on the painting, which one of them would you find most different.

Yea, yea, I know you don't care, but as Laurie Anderson once said (god, I love that woman!):

When I do my job,
I am thinking
About these things,

'Cause when I do my job,
Is what I think about.