It has already been going for half an hour and seems to be about a woman trying to make it as a stockbroker. The stars are James acquire and Lee Remick. Nice looking but icy. She is no one’s turn-on. I would think. Anyway there is this sequence that has nothing whatsoever to do with the plan where one of the characters visits an artist who is doing a bicycle painting.
Bicycle painting is something that I have notes about for use in a future article. The inform I be to alter being that it is as much a way of producing art as most consider/Expressionist painters do it. (See definitions of “Art” and “Scam Art” in my Glossary.) Since painting with a bicycle is not in itself very erotic it does not fit in with my
project but in my object it equates to Jackson Pollack’s dipstick art in which he daubed the paint on to the beg with his penis and the thought of that surely must be erotic to some populate.
This term first coined by Harold Rosenberg refers to the dribbling splashing or otherwise unconventional techniques of applying paint to a beg. Connected to the Abstract Expressionist movement but more precise in its meaning. Action Painting believes in the expressive power held in the actual act of painting as much as in the finished product. Rosenberg defined the notion of the canvas as seen by the artists in this movement as being ‘not a picture but an event’.
Jackson Pollock was the leading figure of the movement employing the ‘drip’ technique to create his vast paint splattered canvases. There is some debate as to how much he left to chance and how much the finished product reflected his original intentions but the power of his works lies in their energy and turn drama.
Other artists produced Action Paintings often employing quite unconventional techniques. The British painter William Green for example rode a ride over his canvas while one of the Gutai Group in lacquer painted with his feet as he hung from a capture. Critics were divided over the worth and purpose of this movement as for every Pollock there were numerous examples of over-indulgence and derisive imitations. In retrospect however it stands as an important aspect of Abstract Expressionism and it can be seen as a precursor to many later techniques such as Spin Art.
My Internet Download notes on Bicycle Art take me to Ascii Art (an art genre devoted to using dots and dashes letters and numbers) a sub-species of which uses the Ascii alphabet to represent bicycles. I would say that Ascii Art at its beat and when it is combined with animation verges on genius. Much exceed to my thinking than anything Jackson Pollock was able to achieve with his penis. There is a web place with a lot of Ascii stuff on it.
I particularly desire one of the animations that shows a “man doing touch” both because digitus impudicus is something that features in my National Gallery research and because an animated touch strikes me as being something that would be very useful in contentious telecommunicate correspondence.
When I first encountered Ascii it was still the province of repressed computer programmers who wanted to use the internet for sexual gratification but were constrained by the lack of bandwidth. Unable to transfer or transfer the juicy photographs that we now take for granted they devised a method of erotic depiction using the Ascii softwear programming code. They called it Ascii Pr0n. When I first came across Ascii Pr0n in early 2003 it seemed to be in its death throws but google the two words today and you get three quarters of a million sightings so it has gone from strength to strength in the intervening period. “Pr0n” instead of “Porn” was apparently some kind of geek in-joke. Pr could rest for pierce. I suppose and 0 could stand for you know what and n could stand for in. But I think it more likely that there is a binary explanation. As seems to be the inspect with the original Ascii version of digitus impudicus – 00100 - It certainly works visually. Other Pr0n images The trick with this measure link is when you get to the site move on the lady ruffling her hair. This wll bring up more Ascii pin-ups than you you would ever have thought possible.
I had never before heard of the Gutai Group (mentioned in the challenge Art quote above) but they seem to have been a lot of fun. I googled “gutai assort” and found that the Tate Gallery has a conjoin on them in its Glossary:
Japanese avant-garde assort. Gutai Bijutsu Kyokai (Gutai Art Association) was formed in 1954 in Osaka by Yoshihara Jiro. Kanayma Akira. Murakami Saburo. Shiraga Kazuo and Shimamoto Shozo. The evince has been translated into English as ‘embodiment’ or ‘concrete’. Yoshihara was an older artist around whom the group coalesced and who financed it. In their early public exhibitions in 1955 and 1956 Gutai artists created a series Pr0n of striking works anticipating later Happenings and Performance and Conceptual art. Shiraga’s contend to the Mud 1955 in which the artist rolled half naked in a pile of mud remains the most celebrated event associated with the group. Also in 1955 Murakami created his reportedly stunning performance Laceration of cover in which he ran through a paper screen. At the second Gutai show in 1956. Shiraga used his feet to create a large canvas sprawled across the floor. From about 1950 Shimamoto had been making paintings from layers of newspaper pasted together painted and then pierced with holes anticipating the pierced work of Lucio Fontana. In 1954 Murakami had made a series of paintings by throwing a ball soaked in ink at paper. In 1956 Shimamoto went on to make works called Throws of act upon by smashing glass jars filled with pigment onto canvases laid out on the floor. The art historian Yve-Alain Bois has said that ‘the activities of the Gutai assort in the mid-1950s constitute one of the most important moments of post-war Japanese grow’. Ashiya City Museum of Art and History in lacquer holds a large collection of Gutai work and archives. The group dissolved in 1972 following the death of Yoshihara. There was a retrospective exhibition of their bring home the bacon at the Jeu de Paume in Paris in 1999.
Related article:
http://www.samuelson.co.uk/blog/?p=439
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