According to a recent article at eyestorm, in May, 2004, Picasso’s 1904 oil painting, Garçon à la pipe (Boy with a pipe), sold at Sotheby’s in New York for $104m (£58m), becoming the most expensive painting ever sold at auction. This is why art has become a bit of a commercial realm and perhaps, as investors will tell you, good art makes money.
This site is about art not for its commercial potential but rather why art and architecture are inseparable, and that through the work of many artists and designers alike these two forms have come to be very close to each other, and the boundaries have been utterly blurred. Whether or not a trained eye is required to appreciate a work of art is debatable, we think not. It is pure emotion and it doesn’t matter if it can be explained, but art is utterly subjective. Architecture is the same but it requires a different form of experience that makes it more an objective than art ever needs to be.
I will always be intrigued and fascinated to find the inspiration from unpredictable work, to this I add the drip paintings of Pollock, the generative art of Brian Eno, Douglas Gordon and Simon Reilly. Douglas Gordon’s work as well as Jenny Holzer’s can be seen at the avant-garde facility at Norway’s Telenor Building in Oslo.
As with Jenny Holzer’s ever-changing electronic text marching brightly across the helm of the facade of Telenor centre, and Gordon’s slowly emerging imagery of an old western played in a video and the Marathon Dancers, we find generative art simply refreshing.
If photography could be considered a work of art as it traded the same way as art, then one has to give Ansel Adams the credit, for his contribution in the field of artistic composition and printing using the Zone System, which requires some degree of artistic manipulation of the final image, and a pre-determined composition of the work prior to taking the shot, as if one already had the image conceived in the mind’s eye.