Generative art is best appreciated through Simon Reilly’s Still Life, and the disturbingly beautiful Mind’s Eye videos. Played through between 6 to 10 minutes, these images are slowly replayed in compression modes or stretched to fill a certain space within one’s minds. Gordon’s work is not dissimilar, and decides to show a western played over a period of over 5 years, this can seen at the Telenor Centre, Oslo.
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simon reilly
Published February 24, 2007 art , artists , compressions , generative art , simon reilly Leave a Commentdouglas gordon
Published February 22, 2007 art , artists , douglas gordon , generative art 1 CommentI first experienced Douglas Gordon’s work at the Telenor Centre, Norway many years ago, it was a take on Simon Reilly’s Still Life, a six-minute video installation. Gordon’s generative art is not unlike Brian Eno’s 77millionpaintings, an installation that defies prediction or expectation, yet the chaos and chance element of it is structured and organised. Pollock’s work can be compared in the methodology of this art, although with video the work is more extensible and runs into infinity, sometimes disturbing, as with Pollock’s drip paintings or Reilly’s Mind’s Eye.
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brian eno
Published February 21, 2007 art , artists , brian eno , generative art , graphics 1 CommentBrian Eno work comes close to being a modern day Pollock drip painting, a branch of automatism. He is British, and perhaps better known as an ambient music pioneer and as a founding member of Roxy Music from many years ago. Eno has pursued several artistic ventures parallel to his music career, including visual art installations, the most recent one being the 77 million paintings project, a virtually impermanent work that presents itself over a period of time, to be experienced upon chance viewing of the the random projections emanating from a computer, programmed to compose the work.
Christo’s and Jeanne-Claude’s wrapped constructions and installations brought about public awareness requiring the cooperation of authorities and various agencies, but this made it incredibly challenging as a form of public art. The proceeds from sales of Christo’s illustrations and designs prepared for the work itself made it possible for the two artists to finance their projects. My very first encounter of Christo’s work was the exhibition in London’s wonderful Annely Juda Gallery, of the Surrounded Islands work in Biscayne Bay, Florida and then the Running Fence, amongst others. The making of the Running Fence film was also shown at the AA, by our then Studio master Andrew Minchin.
Christo’s and Jeanne-Claude’s work is regularly exhibited and supported at Annely-Juda Gallery in London.
I first saw Damien’s work in North London, and it was pure shock. The formaldehyde sculptures at the time seemed totally unthinkable, and style of working with dead fish and other animals were not fasionable either.
“…I think a desire to be famous and a desire to make art both boil down to a desire to live forever, which is what art is all about anyway. We’re taught it from a very early age, and it’s very hard to escape it. But there are a lot of miserable famous people around – so it’s nothing in and of itself. No matter how big your yacht is, someone is going to park next to you with a one-inch bigger one, and you’re going to be miserable if that’s all you’re going for. The hardest thing is knowing what you want…”, Damien Hirst.
excerpt from eyestorm interview.
Steve has been a sort of friend for 20 years, and I have lost his contact but found him recently through this galerie bernard jordan.
Steve had an amazing piece in aluminium which he showed me in his studio out in the countryside of South of France, and his work has since inspired me to associate art to many other forms of expression. The aluminium was weighted, and it made a sound upon tapping it, akin to a cry from bird species unique to the Camargue, near Nimes where I met Steve and our mutual friend Lise Bousquet.
“Walking [also] enabled me to extend the boundaries of sculpture, which now had the potental to be de-constructed in the space and time of walking long distances. Sculpture could now be about place as well as material and form.” Richard Long, Bristol 2002.
Excerpt and image courtesy of www.richardlong.org
Andre’s work is both minimal as well as abstract, the best pieces I have seen was at the Musee de Beaux Arts in Nimes, some 20 years ago. An English sculptor friend Steven Maas, introduced Andre’s work to me at the time of my stay and ever since I have found Andre’s work [and Steve's] to be as powerful as Judd, and in many ways they have architectural twist to them.
image: courtesy of galerie tschudi and artnet.com
My first impression of Jean’s work was at the Pompidou Paris back in the early nineties, just after he died. The mobiles in the water features of the forecourt together with his major exhibition at the time, featured light play on his incredible creations, with dancing shadows and a curiously clever drawing machine. No amount of writing about his work does justice to his art. Alexander Calder would have been very impressed with the way in which Tinguely has taken mobiles to the next level. A study of Jean’s work is also a study about the wonderful collaboration between the Jekyll and Hyde of the modern art world, with his lifetime partner, Niki who was a constant inspiration for his art.
Image: courtesy Vera Mertz-Mercer
Probably the most important artist of the abstract movement, Jackson Pollock invented or popularised the drip painting style, an inimitable art form unique to himself, copied and emulated by so many artists of his time till today, but never quite like it. Absolutely beautiful and abstract at the same time, enjoyable at many different scales. To get a taste of his art, try this link: pollock
image: courtesy amazon.com
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