New Art Website Open

Auguries

I have now published my professional art portfolio website. It is created with the single intention of showing my art in as simple and as formal a context as possible. My business card will point to this new website as will I when seeking the elusive showing opportunity. I welcome your visit and comments.

This is the link to my new art portfolio website: http://www.johnclinockart.com

Art Rat Cafe will, of course, continue. It will often echo the content of my new portfolio Gallery but, as always, elaborated with Gothic hanky-panky, poetry swelling like thunder cloud, beatific blues, food for thought and a roll in the hay.

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MASHUP – Eno and Schwitters @the VAG

Part 2: Brian Eno covers Kurt Schwitters.

Brian_Eno_2008

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MASHUP – Schwitters and Eno @the VAG

Part 1…Kurt Schwitters photo schwittersDSC00224above: VAG write-up on Schwitters’ Ursonate below: a performance of Ursonate.

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above: Example of the VAG’s exhibited reproductions of the score of Ursonate. The light, however, was too low for a clear photograph so I have taken a short extract of the score from the web, below:

Fümms bö wö tää zää Uu,
                                         pögiff, 
                                                     kwii Ee.
  1
Oooooooooooooooooooooooo, 6
dll rrrrr beeeee bö
dll rrrrr beeeee bö fümms bö,                                      (A)
     rrrrr beeeee bö fümms bö wö,
             beeeee bö fümms bö wö tää,
                        bö fümms bö wö tää zää,
                             fümms bö wö tää zää Uu:
5
   
primera parte:  
tema 1:
Fümms bö wö tää zää Uu, 
                                        pögiff,
                                                 Kwii Ee.
1
tema 2:
Dedesnn nn rrrrr,
                           Ii Ee, 
                                     mpiff tillff too,
                                                              tillll, 
                                                                      Jüü Kaa?
2
tema 3:
Rinnzekete bee bee nnz krr müü? 
                                                    ziiuu ennze, ziiuu rinnzkrrmüü,
3
          rakete bee bee,  3a
tema 4
Rrummpff tillff toooo?
4
   
exposición:  
Ziiuu ennze ziiuu nnzkrrmüü, 
Ziiuu ennze ziiuu rinnzkrrmüü
ü3
    rakete bee bee? rakete bee zee. ü3a
   
desarrollo:  
Fümms bö wö tää zää Uu,
Uu zee tee wee bee fümms.
ü1
rakete rinnzekete
rakete rinnzekete                                                               (B)
rakete rinnzekete
rakete rinnzekete
rakete rinnzekete
rakete rinnzekete
Beeeee
ü3+
3a

         böwö
fümmsbö
         böwörö
fümmsböwö
         böwörötää
fümmsböwötää
          böwörötääzää
fümmsböwötääzää
          böwörötääzääUu
fümmsböwötääzääUu
           böwörötääzääUu pö
fümmsböwötääzääUu pö
           böwörötääzääUu pögö
fümmsböwötääzääUu pögö
           böwörötääzääUu pögiff
fümmsböwötääzääUu pögiff
           kwiiEe.
1
rakete rinnzekete
rakete rinnzekete                                         (C)
rakete rinnzekete
rakete rinnzekete
rakete rinnzekete
rakete rinnzekete
Beeeee
ü3+
3a

         böwö
fümmsbö
         böwörö
fümmsböwö
         böwörötää
fümmsböwötää
         böwörötääzää
fümmsböwötääzää
         böwörötääzääUu
fümmsböwötääzääUu
         böwörötääzääUu pö
fümmsböwötääzääUu pö
         böwörötääzääUu pögö
fümmsböwötääzääUu pögö
         böwörötääzääUu pögiff
fümmsböwötääzääUu pögiff
         kwiiEe.
1

NEXT – Brian Eno covers Kurt Schwitters.

 

 

MASHUP – Jacques Villegle @the VAG

portrait-villegle

Extract from VAG’s write up on Jacques Villegle:

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“The idea was really to take what was out there in the street and basically just select a section of it and frame it. All the work was really done by someone else, time passing, or the weather.”

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“In the 1930s, the poster was called the “journal (newspaper) of the street,” something that really reflected society. And what I think I realized at the time was that the posters, as an art form, were always going to evolve and so there would always be something new to explore. In the 1950s for example, photography was not used in posters, it was still drawings.”

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A keen observer of urban art and society, each of his works bears the name of the street where the poster was collected. For Villeglé the posters are as much witnesses as they are actors in their environment, and while he makes the choice of framing the final image, he is completely absent from the actual execution of the works, which have been created by an anonymous collective, which is why he describes his ripped posters as “lacères anonymes.”

Rues Saint Georges Saint Lazare

Credits: All images, except the first and last, and all descriptors were photographed at the Vancouver Art Gallery (VAG) by clinock. Thanks to the VAG.

The first and last images thanks to Google Images.

Villegle quotes in italics and final write-up on the artist thanks to http://www.blouinartinfo.com

MASHUP – Qiu Zhijie @the VAG

Tattoo

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The Chinese character overlaying the figure is BU, meaning NO.

MASHUP – Picasso/Braque @ the VAG

pablo-picasso_1773978bgeorges-braque

 

 

 

 

 

 

Once upon a time, in 2011, my greenhorn days on WP, I wrote a post asking, definitively, who was the first 20th century artist to use text in their painting and which painting was it?

I rarely ask such detailed and mundane questions anymore but five years ago I was much closer to my academic past and my art historian’s hair splitting curiosity. Now, the only questions I ask are related to the quality of tequila, missing socks, mermaids and mortality.

I was reminded of the mentioned 2011 post as I stood in front of Picasso’s Still Life with Bottle and Glass at the Vancouver Art Gallery’s spring exhibition MASHUP. I was also entranced as I always am when I manage to place myself before the work of a master.

Although photos were allowed the light was so weak around Picasso and Braque that I have replaced my dark photos with quality images of the same works, from Google Images. Seems like cheating somehow, to use images not my own, and you miss the mood and the gorgeous ancient frame around the Picasso, but you will need to imagine.

This is the VAG write-up for the Picasso piece:

Still life 1913

 

figaro picasso

In my 2011 post I settled on Still Life with Chair Caning, a Picasso painting from 1912 as the first painting with text. I understand now that Braque was probably the first of the two to use text, but more in the medium of printing.

 

fox

Braque

Art dealer and print enthusiast Daniel-Henry Kahnweiler commissioned Georges Braque to execute the large intaglio print Fox in 1911, at the same time that he asked Pablo Picasso to make a print using the same size plate. Cubism was a radical new style being created by these two artists as a collaborative effort, and this style is evident in Fox, a café still life in which Braque used the drypoint technique to fragment the forms by means of short, spontaneous, staccato lines and cross-hatchings. Textual components such as the word “FOX” make reference to an English-style bar frequented by the Cubist poets and painters, while “Old Tom Gin” refers to the central motif of the still life, a bottle of gin. (moma.com)

To stay in context I continue to choose Still Life with Chair Caning, but this time because it is entirely a true 1912 MASHUP!

chair caning

MASHUP – Barbara Kruger @ the VAG

kruger

MASHUP, the spring exhibition at the Vancouver Art Gallery (VAG) is a challenging, exciting and massive exploration into, well, mashup, in all of its costumes.

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This is an extract from the VAG website for this show:

From the moment that Pablo Picasso and Georges Braque undertook the revolutionary gesture of adding a rectangle of floral wallpaper, a newspaper headline or a scrap of sheet music to their compositions, they initiated an immediate and fundamental shift in European art.
The resulting explosion of mashup strategies employed across media and movements offers the clearest evidence of the relevance of this process to the growth of visual culture during the 20th century. From Marcel Duchamp to Jean-Luc Godard, Liz Magor to Isa Genzken, artists of diverse disciplines have adopted and reworked this creative strategy.

www.vanartgallery.bc.ca/the_exhibitions/exhibit_mashup.html

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This whole show is ambitious and it works, despite its size, complexity and scope. If you are within an attainable bubble of time and space, don’t miss it. If you aren’t check out the VAG website, given above. However, take note, this is a viewing experience that calls for more than a single visit if you want more from art than a passing graze.

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This and my next few posts will be connected to Mashup but focused on works in the show, like Barbara Kruger, that incorporate or talk about text… are text based, because that is the central nervous system and passion of this blog.

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The faux ‘classical’ VAG foyer containing the site specific Barbara Kruger installation stopped me in my tracks and is a brilliant example of mashup itself, overlaying pastiche with pastiche. Kruger’s towering text and billboard size emoji fill the architectural space in perfectly congruous incongruity. The artist may have shed her use of images but she has not lost her searing ability to critique society and open our eyes and minds.

This is a photo of and the VAG write-up for Barbara Kruger: (click to enlarge)

bio_kruger_barbara

DSC00167I have posted about Barbara Kruger in the past if you are interested in seeing some of her earlier work.

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The first photograph in this post is from the VAG’s website, (thank you VAG). The photo of Ms. Kruger is from Google Images.  The remainder above and below are by me.

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In case you are unable to make out the context from the photos they are as follows:

The Floor:

AND ABOVE ALL…BEWARE OF ASSUMING THE STERILE ATTITUDE OF A SPECTATOR. FOR LIFE IS NOT A SPECTACLE.

FOR A SEA OF MISERIES IS NOT A PROSCENIUM.

A MAN SCREAMING IS NOT A DANCING BEAR.

The Lower Wall:

PERFECT ORDER IS THE FORERUNNER OF PERFECT HORROR.

Above Stairs:

THE GLOBE SHRINKS FOR THOSE THAT OWN IT

and above that:

NAME  GAME CLAIM  MAIM  BLAME  SHAME  TAME