From an incredible exhibition at Carriageworks: Song Dong - Waste Not.
When I can think of an eloquent way to describe how I feel about this show I will update here with a little essay/review.
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From an incredible exhibition at Carriageworks: Song Dong - Waste Not.
When I can think of an eloquent way to describe how I feel about this show I will update here with a little essay/review.
I discovered the work of Kevin Van Aelst while procrastinating one day at my old job. I can’t quite remember how I stumbled upon his online gallery, but I was glad I did that day. I remember my co-worker and I then spent the rest of the day viewing his entire online portfolio, pulling each other over every now and then to say things like “oh look at this one!” or “hehe isn’t this one clever!”
There is something irresistible about Van Aelst’s art. I think it is its lack of pretention, and its simplicity. I like artists that use simple visuals and forms to convey powerful messages. In his case, there is also a playful quality, and an enchantment with the ordinary and everyday. I suppose what that means is that his art is both accessible and also fun. It makes us look at the familiar in new ways. Using the most unexpected and often banal materials, Van Aelst is able to bring to life the moon, the ocean, the pulse of a human heart. Isn’t there something wonderful about that?
Come and enjoy his gallery here.
Lindy Lee
Tracey Emin is good.
“Damn!” Said Monet, or Something Like It: Then He Drove His Fist Through a “Genuine Claude Monet” Which He Had Painted Before He Learned How
Printed in ARTnews magazine on October 15, 1921
PARIS - The great impressionist patriarch, Claude Monet, has just been giving artists and speculators a lesson.
A short time back a dealer visited the master at his country home with a picture under his arm painted by Monet in the far-off days when he was under the influence of Courbet. he wanted M. Monet’s own identification of the work. The latter examined it carefully and then, with an oath, drove his fists through it.
“It is by me, all right,” he said, “but I did it at a time when I knew nothing.”
The dealer, disturbed, cried: “I paid a lot of money for it - at least for the signature.”
“Perhaps you would be very good as to exchange it for another? The venerable man pointed to his walls. “Choose,” said he, indifferently, and so the dealer did.
When he had left with his prize under his arm a friend, who had attended the interview, said to Claude Monet: “But that is what the man was after all the time. Why did you pay into his hand?”
To which Monet retorted: “I quite saw that. But the chief thing is to keep the pictures which are not worthy of me out of the market, I should like to be wealthy enough to buy all my inferior work and to destroy it afterwards.”
Of such stuff are made the true artists.
Lucian Freud, 2005, photograph by David Dawson
Lucian Freud, Girl with a Kitten, 1947
The Met
