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In Reply to: "This isn't really cubism, Jackson..." posted by rhizomatic on October 15, 2003 at 08:53:39:
--The example that I can think of is when Lee Krasner says something like, "Well, Jackson, this isn't really cubism because you're not breaking down the figure." Huh? I don't know anybody who might say anything that weirdly didactic to another artist.i can think of 1000 way more didactic things one artist can say to another, believe me!
Follow Ups:
Sure. But that line especially has the quality of a CliffNotes summation. I mean, if someone just walked up to you and said, "Dmitry, this painting is good, but clearly it bears no relationship to the work of Gerhard Richter (Germany, born 1932), who has been instrumental in moving German art away from its infatuation with American pop art and towards abstraction." I mean...it just seemed so desperate to have her point out what the work was not, just so's to be able to give people a fortune-cookie sized definition of cubism.See what I mean?
what if i say,"rhizo, you know, georg baselitz's infatuation with soutine is so felt at times that it makes me less interested in baselitz and more interested in soutine."how's that for didactic?
he he
But if you were to say, "Rhizo, you know, the infatuation Georg Baselitz, a primary proponent of German neo-expressionism, feels for Chaim Soutine, an oft-overlooked Lithuanian painter at work during expressionism's original flourishing, makes me more interested in Soutine and less interested in Baselitz," then that would be annoying.
"rhezo, old chum, Soutine is not really Lithuanian per se, I'd say. He grew up in Borovichi[?] near Minsk. But close enough to Lithuania where he spent some time. His friendship with Modigliani and expressionist genius coupled with torment of private life could have made a great biographic film."
Modigliani a very passionate painter...
So it's 'rhezo' now...I fear for the integrity of my moniker in the face of such wanton butchery...So are you just partial to the expressionist end of the spectrum? Where else do your tastes in paintin' lie?
The point, really, is that your example is an instance not so much of an artist being didactic but of the film being didactic and doing so with clumsy, transparent, dramatic exposition to boot. I don't imagine that Pollock needed to be told what cubism was, so clearly at that moment we have a character speaking past his interlocutor to the audience, thus destroying the suspension of disbelief, etc., etc. That's just bad writing.
if we want to be fair, the quote you posted is not complete.here's the complete quote.
-Well, Jackson, this isn't really cubism because you're not breaking down the figure...
-I know that, you crazy bitch!
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