Will be back January.
By the way, would you call this “Classicalception”?
A trilogy of songs (Opening, Autumn, Closing) composed by Jim Aitchison and dedicated to Mark Rothko. The songs have an Avant Garde edge and felt very unsettling to me. Both harsh and triumphant, the sustained notes made by the string section would have worked well in a thriller/horror film. Of the three, I consider Opening the best. However, as I listened to the three songs on the website, I noticed that Closing sounded the same as Opening. If the Tate website made a mistake and uploaded one song in two different links, or the composer intended this to happen, I don’t know. Despite the confusion, I loved Opening’s horn, for its comforting sound contrasted well against the string section’s harsh harmonies. I could imagine it as Aitchison’s interpretation of a sun’s rays gliding over a cityscape.
While I found the compositions interesting, I did have one complaint. I did not care much for the singer and the people who whispered (I think that’s what I heard) over the music. I found them superfluous and did not work well with the instrumental section.
In The Guardian, Jonathan Jones analyzed the Seagram series’ dark nature.
I am curious about the deliberate spotlighting of one of Gustave’s nude women.
Went to Old Salem and enjoyed the preserved and restored antebellum architecture.
Seriously, check out of the designs.
Inside one of the buildings, they had some Moravian pottery that, save for some simple design and a ware designed to resemble a squirrel, went light on elaborate decoration.
Courtesy of the Tate
To J.M.W. Turner
I’m amused that she uses Spanish influenced music to a British painter
To Peter Doig
Probably my favorite of the two. I love the Bluesy inflection she uses in her playing.
When I went back on Tumblr, I followed a blog that displayed Ed Ruscha’s collection. It no longer exists. However, going through the archives during its time on the social media site, I grew to like his work. I loved how he depicted space with his wonderful clean and neat execution. Furthermore, I find his use of bright color schemes fascinating. At no point did the colors feel garish. At the same time, he shapes words with a near endless litany of sizes and fonts that I know he had to decide whether that style could fit with the word he chose. He uses a variety of words from the innocuous such as “lawns” to the whimsical such as “oof”.
In his art, Ruscha tamed pop culture and kitsch.
“A radio art series for the Tate” made by Sarah Washington in 2008. Listening to these choppy conversations, I could imagine these aural collages coming from a malfunctioning recording device used by a robot (or alien) observing humanity.
From Exit Through the Gift Shop.
A rather uplifting to the point of cheesy song about street art, yes?