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blog of 301 art class

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Mürüvvet Türkyılmaz & Selim Birsel Doxa Konusmal

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Surname-i Humayun

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post by Selim Birsel

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Sergi Açılış Haberi

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Vermeer ve Spinoza

Vermeer ve Spinoza Pontus Hulten

Sanat, felsefe Çeviri: İnci Uysal Sunuş: Sarkis Redaksiyon: Ece Erbay Kasım 2012 ISBN 978 975 8686-69-8 76 sayfa, 13,5 x 19,5 cm Freelife 215 gr, Enzo krem lüks 70 gr 13 TL

“Bu metin Pontus Hulten’in yapmak istediği tezinin özüdür. Tezini yapamadı zira müze direktörlüğü zamanının tümünü aldı. Ancak bu metnin etkisi yetmişlerin sonu seksenlerin başında Pompidou Müzesi’nde direktörlük yaptığı yıllarda ‘Sanat Alanları’nı genişleten ‘Paris-Moskova’, ‘Paris-Berlin’… sergilerinin özünde hissedilir: Sanatı sınırlardan kurtarmak, sanatı bilim, ilim, politika… alanlarıyla zenginleştirmek.

1990’ların ortalarında gerçekleştirmek istediği bir sergi vardı: ‘Vermeer Spinoza’ sergisi. Dünyamızdan ayrılmadan önce gerçekleştiremediği tek sergi bu oldu: Spinoza’nın mercekleri Vermeer’in ışıkla yıkanmış yapıtları, Spinoza’nın yere göğe bağlı seslenişi ve Vermeer’in bu sesi duymuş olması.

Pontus’un bu metni bir mercek gibidir zaten, Spinoza’nın Vermeer’le birleştiği ışıklı bir oda müziğidir.”

Sarkis, Nisan 2012

Post by Selim Birsel

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Henri Matisse

Interieur aux Aubergines 1911

Musée de Grenoble

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Morandi

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http://www.ignant.de/2013/09/30/emptied-gestures/ For other images of artist's work.

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For possible projects of the class in the future. "Emptied Gestures is an experiment in kinetic drawing. In this series I am exploring ways to download my movement directly onto paper, emptying gestures from one form to another." heatherhansen.net

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“De Chirico is often said to have used Renaissance space in his pictures, but as Rubin points out, this is a myth. De Chirican perspective was not meant to set the viewer in a secure, measurable space. It was a means of distorting the view and disquieting the eye. Instead of one vanishing point in his architectonic masterpiece, The Melancholy of Departure, 1914 there are six, none “correct.” This cloning of viewpoints acts in a way analogous to Cubism. It jams the sense of illusionary depth and delivers the surface to the rule of the flat shape, which was the quintessential modernist strategy. In color, in tonal structure and in its contradictory lighting, Rubin argues, de Chirico’s style up to 1918 “was as alien to its supposed classical, fifteenth-century models as it was dependent on the Parisian painting of its own moment.” http://www.artchive.com/artchive/D/de_chiricobio.html

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“Term applied to the work of Giorgio De Chirico and Carlo Carrà before and during World War I and thereafter to the works produced by the Italian artists who grouped around them. Pittura Metafisica was characterized by a recognizable iconography: a fictive space was created in the painting, modelled on illusionistic one-point perspective but deliberately subverted. In de Chirico’s paintings this established disturbingly deep city squares, bordered by receding arcades and distant brick walls; or claustrophobic interiors, with steeply rising floors. Within these spaces classical statues and, most typically, metaphysical mannequins (derived from tailors’ dummies) provided a featureless and expressionless, surrogate human presence. Balls, coloured toys and unidentifiable solids, plaster moulds, geometrical instruments, military regalia and small realistic paintings were juxtaposed on exterior platforms or in crowded interiors and, particularly in Carrà’s work, included alongside the mannequins. In the best paintings these elements were combined to give a disconcerting image of reality and to capture the disquieting nature of the everyday.”

http://www.moma.org/collection/theme.php?theme_id=10883

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"In Bacon’s paintings, there is no space in which the body can be framed or embedded according to the conceptual categories of the interior and the exterior." http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=236

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"Space does not exist, it has to be created... Every sculpture made on the assumption that space exists is wrong, there is only the illusion of space." Alberto Giacometti: The Origin of Space: Retrospective of the Mature Work https://www.goodreads.com/book/show/10214268-alberto-giacometti

"Looking at a two dimensional picture of the figure, we could see it fitting into an irregular diamond shape, as lines would intersect at the top of the head, at the end of each hand and at the feet. However, in  the actual sculpture, the movements of the arms make us feel and see a palpable voluminous sphere of space and air around it. It’s not that the statue stands like inside a huge transparent bubble. Rather, it actually opens a great amount of space that seems to belong to the figure itself." http://www.mariejobinet.com/18/man-pointing-a-sculpture-by-alberto-giacometti/

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Swiss artist Alberto Giacometti painting a portrait.

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There are no lines in nature, only areas of colour, one against another.

Edouard Manet