This Forum Has Always Been...

[TotallyOz]

Let me remind all that there is a Report this Post at the top of EVERY post. When one feels that a post in inappropriate, hit that button and explain. Easy peasy.

[Suckrates]

23 minutes ago, TotallyOz said:

Let me remind all that there is a Report this Post at the top of EVERY post. When one feels that a post in inappropriate, hit that button and explain. Easy peasy.

 

Forgive me, but I dont think anyone is talking about the Post being inappropriate.   They are speaking of the commentary IN the posts, and the negative nature of some respondents.  

Some members clearly feel "Only positive, agreeable replies need apply".....   

[TotallyOz]

4 minutes ago, Suckrates said:

 

Forgive me, but I dont think anyone is talking about the Post being inappropriate.   They are speaking of the commentary IN the posts, and the negative nature of some respondents.  

Some members clearly feel "Only positive, agreeable replies need apply".....   

Same answer applies. Hit the report button on THAT post and let the mod determine if inappropriate.  For example, your post did not agree with me but it was not inappropriate and thus would stay.

[Suckrates]

39 minutes ago, TotallyOz said:

Same answer applies. Hit the report button on THAT post and let the mod determine if inappropriate.  For example, your post did not agree with me but it was not inappropriate and thus would stay.

 

 

[AdamSmith]

1 hour ago, MsAnn said:

 I Love the avatar...

 

NORMAN ROCKWELL MUSEUM

The essence of tradition is to invite the challenge that redefines it, and after fifty years on the periphery, realism is being reinvigorated by contemporary artists who see it as a way to address the experiences of living in our complex world. In post-World War II America, the primacy of abstract art was clearly acknowledged, and by 1961, when Norman Rockwell painted The Connoisseur―his visual treatise on the subject juxtaposing Jackson Pollock’s nonrepresentational art with his own illusionistic imagery―Abstract Expressionism had been covered in the popular press for nearly fifteen years. By the mid-1950s, abstraction had successfully attracted collectors and critics whose passion for these visceral, less readable artworks was in itself noteworthy.

Rockwell was working at a time when he and other figurative painters like Andrew Wyeth were criticized for their predilection for visual storytelling. In The Connoisseur, Rockwell had cause to defend himself against his detractors and take a good-humored poke at the pieties surrounding abstract painting. In the 1950s, there was heated debate about the relative merits of abstract art, realist art, and illustration art, and Rockwell was frequently caught in the crossfire. Clement Greenberg, one of the most vocal critics of the period and a champion of Pollock and other New York School artists, set the conversation’s terms. He argued for aesthetic complexities and challenges of abstract art while protesting the cheapened kitsch culture that he felt dominated America. In Greenberg’s lexicon, Rockwell’s illustrations were kitsch, popular accessible artworks that appealed to the masses. When such popular forms become the dominant taste, Greenberg argued, the high arts are challenged to flourish and survive―a danger in a society as populist and commercial as the United States.

 

Reference photo by Louie Lamone. Norman Rockwell Museum Collections. ©Norman Rockwell Family Agency. All rights reserved.

Even in the world of illustration, Rockwell represented the tried and true representational approach to picturemaking that dominated most American commercial art from the mid-1930s until the mid-1950s. His influence on the genre was widespread, and those who slavishly followed his surface style were widely published. Hence Rockwell drew respectful fire from young rebels, but his many imitators earned their contempt.

Such arguments set the parameters by which Rockwell and other realists were judged by modernist art critics at the time, and by some art commentators today. The Challenge of Realism will examine the forces that have inspired the resurgence of realist painting in recent years, and the ways in which our contemporary viewpoints have been shaped by post World War II constructs. Is it possible in this age of instant imaging that we remain challenged to view realist painting as serious, meaningful work, or have former lines of distinction been blurred in the face of ever-increasing visual access? In what ways has contemporary realism come of age as a reflection of its time? What is the relationship of contemporary realism to the published art of the mid-twentieth century, and to artistic movements of the past? How are the extremes of technical absorption and narrative context balanced in the creation of resonant realist images today? In the end, it is the voice and vision of the artist, and not the creator’s technical and narrative ability alone, that makes a work of art.

The Challenge of Realism will explore these significant questions through the juxtaposition of contemporary realist painting and the popular imagery of the mid twentieth century. Original artworks and commentary by Mark Tansey (b. 1949), whose large scale monochromatic allegories reference the art of photography, a pivotal technology in the reproduction and dissemination of popular images; John Currin (b. 1962), who has referenced the art of Norman Rockwell, and whose provocative figural paintings reflect upon domestic and social themes that were prevalent, though differently portrayed, in the mid-twentieth century; Vincent Desiderio (b. 1955), whose dark intellectual melodramas re-imagine scenes of crime and adventure from pulp fiction; Lucien Freud (1922-2011), the painter of deeply psychological works that examine the relationship of artist and model; and Jamie Wyeth (b. 1946), son of noted painter Andrew Wyeth and grandson of illustrator N.C. Wyeth, whose images convey stories real and imagined, among other artists, will be featured in the exhibition and its accompanying catalogue.

https://www.nrm.org/2012/09/rockwell-and-realism-in-an-abstract-world/

[AdamSmith]

32 minutes ago, AdamSmith said:

 

NORMAN ROCKWELL MUSEUM

The essence of tradition is to invite the challenge that redefines it, and after fifty years on the periphery, realism is being reinvigorated by contemporary artists who see it as a way to address the experiences of living in our complex world. In post-World War II America, the primacy of abstract art was clearly acknowledged, and by 1961, when Norman Rockwell painted The Connoisseur―his visual treatise on the subject juxtaposing Jackson Pollock’s nonrepresentational art with his own illusionistic imagery―Abstract Expressionism had been covered in the popular press for nearly fifteen years. By the mid-1950s, abstraction had successfully attracted collectors and critics whose passion for these visceral, less readable artworks was in itself noteworthy.

Rockwell was working at a time when he and other figurative painters like Andrew Wyeth were criticized for their predilection for visual storytelling. In The Connoisseur, Rockwell had cause to defend himself against his detractors and take a good-humored poke at the pieties surrounding abstract painting. In the 1950s, there was heated debate about the relative merits of abstract art, realist art, and illustration art, and Rockwell was frequently caught in the crossfire. Clement Greenberg, one of the most vocal critics of the period and a champion of Pollock and other New York School artists, set the conversation’s terms. He argued for aesthetic complexities and challenges of abstract art while protesting the cheapened kitsch culture that he felt dominated America. In Greenberg’s lexicon, Rockwell’s illustrations were kitsch, popular accessible artworks that appealed to the masses. When such popular forms become the dominant taste, Greenberg argued, the high arts are challenged to flourish and survive―a danger in a society as populist and commercial as the United States.

 

Reference photo by Louie Lamone. Norman Rockwell Museum Collections. ©Norman Rockwell Family Agency. All rights reserved.

Even in the world of illustration, Rockwell represented the tried and true representational approach to picturemaking that dominated most American commercial art from the mid-1930s until the mid-1950s. His influence on the genre was widespread, and those who slavishly followed his surface style were widely published. Hence Rockwell drew respectful fire from young rebels, but his many imitators earned their contempt.

Such arguments set the parameters by which Rockwell and other realists were judged by modernist art critics at the time, and by some art commentators today. The Challenge of Realism will examine the forces that have inspired the resurgence of realist painting in recent years, and the ways in which our contemporary viewpoints have been shaped by post World War II constructs. Is it possible in this age of instant imaging that we remain challenged to view realist painting as serious, meaningful work, or have former lines of distinction been blurred in the face of ever-increasing visual access? In what ways has contemporary realism come of age as a reflection of its time? What is the relationship of contemporary realism to the published art of the mid-twentieth century, and to artistic movements of the past? How are the extremes of technical absorption and narrative context balanced in the creation of resonant realist images today? In the end, it is the voice and vision of the artist, and not the creator’s technical and narrative ability alone, that makes a work of art.

The Challenge of Realism will explore these significant questions through the juxtaposition of contemporary realist painting and the popular imagery of the mid twentieth century. Original artworks and commentary by Mark Tansey (b. 1949), whose large scale monochromatic allegories reference the art of photography, a pivotal technology in the reproduction and dissemination of popular images; John Currin (b. 1962), who has referenced the art of Norman Rockwell, and whose provocative figural paintings reflect upon domestic and social themes that were prevalent, though differently portrayed, in the mid-twentieth century; Vincent Desiderio (b. 1955), whose dark intellectual melodramas re-imagine scenes of crime and adventure from pulp fiction; Lucien Freud (1922-2011), the painter of deeply psychological works that examine the relationship of artist and model; and Jamie Wyeth (b. 1946), son of noted painter Andrew Wyeth and grandson of illustrator N.C. Wyeth, whose images convey stories real and imagined, among other artists, will be featured in the exhibition and its accompanying catalogue.

https://www.nrm.org/2012/09/rockwell-and-realism-in-an-abstract-world/

Rockwell did say in the late 1950s (quoting from memory), "Obviously if I had come along later, in their generation, I would be doing exactly what the Abstract Expressionists are doing today."

What a (generous!) genius.

 

[Badboy81]

15 hours ago, Suckrates said:

 And honey, I never Fake anything.   You obviously dont know me ?     As for insults, you are the one here throwing the word asshole around when you dont agree with someone, so hold that mirror up to yourself and see the problem.    Maybe you can get away with that bullshit over at Daddy's, but it dont work with me.   And comparing me to Trump in any way, shape or form is really a stretch,  even for you.  But like him,  if you say things enough, maybe you will get some people to believe it. ?

Well said....You have honed your skills extremely well....

When someone reads you you feel the sting immediately.  It should leave you gasping because of the audacity of the person to say some foul shit to you and to your face like that.

When someone throws shade at you it should take you aback but only several minutes, hours or days later. Shade is underhand. You aren’t supposed to pick up on it right away.

[AdamSmith]

P.S. When de Kooning first saw this, he could not resist exclaiming: "Square inch by square inch, it's better than Jackson himself!"

[Gotti]

Pollock.

[Badboy81]

I felt like I was reading instead of watching the CLASSIC....Legendary READ....Let us never forget....Laugh, Live, Love....It's never that serious....

[Tomcal]

my comment would be to move this to some other section, like the “sandbox”! there is nothing in this discussion that has anything to do with “south of the Border”!  which makes it misleading but would be appropriate in a different section of the board, IMHO

 

[Suckrates]

6 hours ago, Badboy81 said:

Well said....You have honed your skills extremely well....

When someone reads you you feel the sting immediately.  It should leave you gasping because of the audacity of the person to say some foul shit to you and to your face like that.

When someone throws shade at you it should take you aback but only several minutes, hours or days later. Shade is underhand. You aren’t supposed to pick up on it right away.

 

[mvan1]

12 hours ago, Tomcal said:

my comment would be to move this to some other section, like the “sandbox”! there is nothing in this discussion that has anything to do with “south of the Border”!  which makes it misleading but would be appropriate in a different section of the board, IMHO

 

Great observation by tomcal.  Good idea to move this thread - it has nothing to do with south of the border!

[Lucky]

i AGREE! Sandbox this thread!

[Suckrates]

25 minutes ago, Lucky said:

i AGREE! Sandbox this thread!

 

[AdamSmith]

8 hours ago, mvan1 said:

 south of the border!

Your use of that phrase has triggered me.

[Guest Larstrup]

Oh my stars!  You don’t get further south than the sandbox. Unless, of course, you’re in Mississippi.   

[MsAnn]

14 hours ago, Larstrup said:

 You don’t get further south than the sandbox. Unless, of course, you’re in Mississippi.   

                    Mississippi?  "Excuse me"

[Guest Larstrup]

49 minutes ago, MsAnn said:

                    Mississippi?  "Excuse me"

Sorry, I meant North Carolina.

[Suckrates]

 

Fuck the Sandbox !    Grandma wants to get down and dirty in the MUD 

[AdamSmith]

On 5/22/2018 at 8:14 PM, AdamSmith said:

 

P.P.S. I have had occasion in life, many more times than once, to enact that very scenario:

'We'll just see about this, now!'

[AdamSmith]

2 hours ago, Suckrates said:

 

Fuck the Sandbox !    Grandma wants to get down and dirty in the MUD 

 

[Guest Larstrup]

20 hours ago, AdamSmith said:

P.P.S. I have had occasion in life, many more times than once, to enact that very scenario:

'We'll just see about this, now!'

Good Lord, any man of that certain age who can still semi-squat with a pipe in his mouth while holding a coffee mug unassisted should be heralded to the highest! 

[MsAnn]

29 minutes ago, Larstrup said:

Good Lord, any man of that certain age who can still semi-squat with a pipe in his mouth while holding a coffee mug unassisted should be heralded to the highest! 

LOL...I can't even semi-squat on the throne. It's more like a controlled fall.

[Guest Larstrup]

23 minutes ago, MsAnn said:

LOL...I can't even semi-squat on the throne. It's more like a controlled fall.

I believe that after reviewing the FOIA records of 911 calls in Fort Lauderdale - to and from your residence you’re holding something back from us  here,  Henny.