Exchanges with a friend - my reply:
I definitely did not compare all of my work , as I
work on many different 'painterly problems' , - with the Japanese, but only a
very small section -
where I just placed a tiny bit of color, form
right on the edge.
I found it interesting that someone else also have
a bare space with just a minute form on the edge.
I can't find examples of that, a mark on the
edge now as I have thousands of images.
But found a few other examples.
--
Most artists work only one one or a few problems -
like Twombly, Still, etc.
A handful of us , like Klee and Richter, work on a
certain problem, dissolve it, then move to another problem, etc
etc.
We never have only one style - or solution to one
problem, for as soon as we have solved a certain problem (our what is know as a
'style') - we reject it , go into some sort of chaos, identify another problem
in that,
and solve that again (thus many
styles).
--
I found it interesting that someone else produced
work that had only a few small, minute forms right on the edge of the support -
as I've never seen that with anyone else.
--
Anyway here are a few images that are minimalist. I
can't quickly find ones where the image lies on the edge.
j
--------------------------------
When I wrote 'solving problems', I did not mean in a rational manner, but pre-conceptual or sub-consciously, the domain of the so-called 'creativity'.. We must use concepts to think and talk ABOUT that, but then we are immediately entangled in words and more words and the need to construct arguments, so as to be able to express oneself and communicate in a dialogue or having a discourse. I once said to someone who lectures and writes on these things: what he does might be necessary to obtain a degree in theory of art, but it is irrelevant to the practice of painting and other art forms (his theorizing about culture,arts etc) . And, I doubt that van Gogh or Michelangelo had a copy of his ideas in their left hand while working, using it as some kind of rule book or canon of how to paint.
my email to a fried:
writes:
not a rational problem solving - not as simple as
that -
it is pre-conceptual, subconscious - prior to
thinking - where so-called creativity lies or begins -
I just label it problem solving when I reflect and
talk ABOUT it in rational discourse -
this is a very different activity from the the acts
of painting itself,
but the best we have available to think and talk
about art.
But of course this is really totally irrelevant to
the painting process -
as I always tell someone know who lectures and
writes books on these things. I tell him: no painter first read his books and
lectures before they paint and van Gogh and Michelangelo did not have those
items in their left hands as a rule book when they paint -
why I object to art critics and reviewers. There
activities are irrelevant to the painting process
best not to talk about such things, I have found
-
one only gets all tangled up in words and the
process of thinking and constructing arguments
j
His response:
Totally agree with everything you've written
thus far. I must enter the cloud of unknowing and give myself entirely to that
and simply reach for what's not there yet. My attempts to even manifest it are
already deeply flawed. Anyone else observations weaken the moment even more.
That's why theology holds little merit for me any longer.
If I look at the great masters, I see something
of their entering into unknowing/ignorance as the emerge with some attempt to
express what has touched them.
my reply:
my reply:
"If I look at the great
masters, I see something of their entering into unknowing/ignorance as the
emerge with some attempt to express what has touched them."
Thanks for your time
-
that's what I found - one
must work on the techniques, basics etc -
but then it all goes beyond
all human notions of beauty. evoking emotions etc -
what one does one just does -
no choice in the matter =-
almost as if something
different, deeper is revealing itself (like in sciences, musical composition
etc0 -
one does it almost without
thinking
j/u
j/u
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