Richard Serra

"The torqued ellipses, spirals, spheres and toruses exist in the polarity between the downward force of gravity, their weightlessness and their upward rise in elevation which attempts to attain a condition of weightlessness. 
The sculptures are not objects separated in space but on the contrary they engender the spatial continuum of their environment. They impart from to the entire space, they shape the space through axes trajectories and passages between their solids and voids. 


I titled this installation the matter of time because it is based on the idea of multiple or layered temporalities. As one experiences each work in the context of the entirety of the installation one will become aware of the obvious diversity of durations of time.
The meaning of the installation will be activated and animated by the rhythm of the viewer's movement. Meaning occurs only through sontinuous movement, through anticitation, observation and recollection.

However, there is no prescribed view, no preferred sequence, no preferred succession of views. Each person will map the space differently. There is an unlimited range of individual experiences, but they all take place over time.
When I talk about time, i do not mean 'real' time, clock time. The perceptual or aesthetic, emotional or psychological time of the sculptural experience is quite different from 'real' time.
It is non-narrative, discontinuous, fragmented, de-centred, disorienting. "

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Richard%20Serra&page=2&f=People&cr=12

ben lewis

Why is so much contemporary art awful? We’re living through the death throes of the modernist project—and this isn’t the first time that greatness has collapsed into decadence

http://artblahblah.com/wp-content/uploads/2009/05/ben-lewis.jpg
Over the last decade, not only conceptualism—perhaps the dominant movement of the past three decades—but the entire modernist project has been going through a similar process. Of course, some important and inspired artists have made important and inspired work in recent years—from famous photographers like Andreas Gursky and painters like Luc Tuymans to lesser-known video artists like Lindsay Seers and Anri Sala. But there is something more fundamentally wrong with much of this century’s famous art than its absurd market value.
I believe that this decline shares four aesthetic and ideological characteristics with the end-phases of previous grand styles: formulae for the creation of art; a narcissistic, self-reinforcing cult that elevates art and the artist over actual subjects and ideas; the return of sentiment; and the alibi of cynicism.
read more at:
http://www.prospectmagazine.co.uk/2010/05/the-dustbin-of-art-history/


http://benlewis.tv/

I BLAME DUCHAMP / Edmund Capon

making marks: the fine art of drawing

it has been said that one of the three basic instincts of the human animal (food and sex being the fundamental) is that of making marks…drawings are modest and intimate by nature.
drawings are arguably the most revealing, spontaneous and truthful rendering of the human imagination. it is the echoes of personality and speculation, of the marks of the individual, and of the perambulatory and the incisive thoughts of the individual.
Drawings also have another special characteristic: the subtle expression of an intangible but persistent morality.
drawings are seldom made in pursuit of an ideal, or of sheer beauty, but they do convey, in their immediacy and intimacy, a persuasive sense of truth.
the process of trial, speculation, experiment and detail is a raw one, not deterred, concealed or veiled by decorative artifice or emotive texture. the rewards of beauty are an incidental product of that pursuit of truth, and to be really experienced, a work of art needs to be felt rather than intellectually understood. the art of drawing is, i believe, the most direct sensory experience in the visual arts. furthermore, i do not believe that drawing will ever go away, for two reasons: that fundamental human instinct to `make marks`; and because drawing is the means by which the visual artist reason and speculates. i would like to add, perhaps optimistically, a third reason, which is that drawings have a subtle and infallible appeal to our human sensibilities.



http://www.electricshadowsbookshop.com.au/summer2009/images/9781920989620.jpg

Author: Edmund Capon

'My musings on art could be described as a benign diatribe; one inspired by a genuine if watchful passion.'
In this sweeping collection of essays, Edmund Capon describes his lifelong fascination with art and the artists who, over centuries, have enlightened us and challenged the way we see the world.

He shares his passion for topics as diverse as the art of China and the Renaissance Old Masters, talks of personal encounters with artists such as Henry Moore and Sidney Nolan, and tells the stories behind some of his controversial acquisitions as the long-time director of the Art Gallery of New South Wales, including Cy Twombly's Three Studies from the Temeraire.

Driven by curiosity and his love of the unorthodox, Capon applies the same level of passion to his discussion of football as to the ideas of Confucius. He sharpens his wit on the contemporary art world, where conceptual art – much of it devoid of beauty (and sometimes a concept) – reigns supreme. For this, says Capon, Duchamp, and his infamous Fountain, are at least partly to blame.
Featuring more than fifty beautiful reproductions of paintings and drawings from collections around the world, this collection is a fascinating insight into the mind of the liveliest and most generous thinkers of our generation.


penguin:

http://www.penguin.com.au/products/9781920989620/i-blame-duchamp
podcast:
http://mpegmedia.abc.net.au/rn/podcast/2009/10/aks_20091025_1005.mp3
Search Amazon.com for Edmund Capon

artpress

"A veritable seismograph of sensations, drawing is the art par excellence of closeness and nuance, an art of listening and fragility, as if the most important thing were to remain in a state of awareness of people and things, rather then to draw the definitive picture of the world and the artist role in this world.
As if it wasn't a matter of searching by scanning the horizon for the definitive nature of drawing but, on the contrary,of tracking it's vanishing points and multiple perspectives"

Charles-Arthur Boyer / Artpress