Deleted
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January 1970
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Whatson, by Deleted on Oct 13, 2014 23:19:12 GMT 1, Meandering thoughts
Technical prowess whilst for an initial impression is useful and yes whatson can cut a stencil, it's negligible in terms of actually 'loving' a piece
My main issue with whatson and it's not a critique of his personality nor his 'stencil cutting stencils' it's simply his work does not illicit any sort of passion in me.
Having thought about it and having read his words, the work is lacking in meaning, it doesn't need a double meaning or a witty remark but it needs something more than 'I've covered this in tags...'
Without it the long term appeal (to me) diminishes, every piece on my walls I know the thinking behind it or where the artist was in their life or what the piece means to me explicitly. Over time these change but that's the wonder of owning art. Every time I look at whatson's work and then look at a banksy or a Micallef or a etc etc there's just emptiness, and will this go with my sofa
Meandering thoughts
Technical prowess whilst for an initial impression is useful and yes whatson can cut a stencil, it's negligible in terms of actually 'loving' a piece
My main issue with whatson and it's not a critique of his personality nor his 'stencil cutting stencils' it's simply his work does not illicit any sort of passion in me.
Having thought about it and having read his words, the work is lacking in meaning, it doesn't need a double meaning or a witty remark but it needs something more than 'I've covered this in tags...'
Without it the long term appeal (to me) diminishes, every piece on my walls I know the thinking behind it or where the artist was in their life or what the piece means to me explicitly. Over time these change but that's the wonder of owning art. Every time I look at whatson's work and then look at a banksy or a Micallef or a etc etc there's just emptiness, and will this go with my sofa
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Deleted
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January 1970
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Whatson, by Deleted on Oct 13, 2014 23:25:13 GMT 1, Meandering thoughts Technical prowess whilst for an initial impression is useful and yes whatson can cut a stencil, it's negligible in terms of actually 'loving' a piece My main issue with whatson and it's not a critique of his personality nor his 'stencil cutting stencils' it's simply his work does not illicit any sort of passion in me. Having thought about it and having read his words, the work is lacking in meaning, it doesn't need a double meaning or a witty remark but it needs something more than 'I've covered this in tags...' Without it the long term appeal (to me) diminishes, every piece on my walls I know the thinking behind it or where the artist was in their life or what the piece means to me explicitly. Over time these change but that's the wonder of owning art. Every time I look at whatson's work and then look at a banksy or a Micallef or a etc etc there's just emptiness, and will this go with my sofa
Very thoughtful, well written critique. It's much easier to respect an opinion,even if I disagree with it, when there's thought behind it, beyond just calling something shit
Meandering thoughts Technical prowess whilst for an initial impression is useful and yes whatson can cut a stencil, it's negligible in terms of actually 'loving' a piece My main issue with whatson and it's not a critique of his personality nor his 'stencil cutting stencils' it's simply his work does not illicit any sort of passion in me. Having thought about it and having read his words, the work is lacking in meaning, it doesn't need a double meaning or a witty remark but it needs something more than 'I've covered this in tags...' Without it the long term appeal (to me) diminishes, every piece on my walls I know the thinking behind it or where the artist was in their life or what the piece means to me explicitly. Over time these change but that's the wonder of owning art. Every time I look at whatson's work and then look at a banksy or a Micallef or a etc etc there's just emptiness, and will this go with my sofa Very thoughtful, well written critique. It's much easier to respect an opinion,even if I disagree with it, when there's thought behind it, beyond just calling something shit |
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sgolby
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November 2012
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Whatson
Oct 13, 2014 23:46:30 GMT 1
Whatson, by sgolby on Oct 13, 2014 23:46:30 GMT 1, Meandering thoughts Technical prowess whilst for an initial impression is useful and yes whatson can cut a stencil, it's negligible in terms of actually 'loving' a piece My main issue with whatson and it's not a critique of his personality nor his 'stencil cutting stencils' it's simply his work does not illicit any sort of passion in me. Having thought about it and having read his words, the work is lacking in meaning, it doesn't need a double meaning or a witty remark but it needs something more than 'I've covered this in tags...' Without it the long term appeal (to me) diminishes, every piece on my walls I know the thinking behind it or where the artist was in their life or what the piece means to me explicitly. Over time these change but that's the wonder of owning art. Every time I look at whatson's work and then look at a banksy or a Micallef or a etc etc there's just emptiness, and will this go with my sofa
While I agree that for me the tagging is a bit over done at this point. There is something appealing to me about the notion of taking something respectable/enviable such as a ballerina, and tagging her tutu. It is almost like a flicking off the establishment.
That said, it has been done before and will be done again. I own 2 Whatsons, and am happy I bought them at their respective drops, because they are technically superb. Don't have either hanging, probably because as with you @badrobot they don't make me feel anything. However as a collector I wanted to have one.
S
Meandering thoughts Technical prowess whilst for an initial impression is useful and yes whatson can cut a stencil, it's negligible in terms of actually 'loving' a piece My main issue with whatson and it's not a critique of his personality nor his 'stencil cutting stencils' it's simply his work does not illicit any sort of passion in me. Having thought about it and having read his words, the work is lacking in meaning, it doesn't need a double meaning or a witty remark but it needs something more than 'I've covered this in tags...' Without it the long term appeal (to me) diminishes, every piece on my walls I know the thinking behind it or where the artist was in their life or what the piece means to me explicitly. Over time these change but that's the wonder of owning art. Every time I look at whatson's work and then look at a banksy or a Micallef or a etc etc there's just emptiness, and will this go with my sofa Very Well Articulated sir. While I agree that for me the tagging is a bit over done at this point. There is something appealing to me about the notion of taking something respectable/enviable such as a ballerina, and tagging her tutu. It is almost like a flicking off the establishment. That said, it has been done before and will be done again. I own 2 Whatsons, and am happy I bought them at their respective drops, because they are technically superb. Don't have either hanging, probably because as with you @badrobot they don't make me feel anything. However as a collector I wanted to have one. S |
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iamzero
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Whatson
Oct 13, 2014 23:49:51 GMT 1
via mobile
Whatson, by iamzero on Oct 13, 2014 23:49:51 GMT 1, Knackers. I agree with what Badrobot wrote. I might end it all now.
Knackers. I agree with what Badrobot wrote. I might end it all now.
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sgolby
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Whatson
Oct 13, 2014 23:52:14 GMT 1
Whatson, by sgolby on Oct 13, 2014 23:52:14 GMT 1, Graffiti Prints I like you my man. You have always been a kind fellow and you run a really good business. That said. You should listen to Martin. Defending, or even just commenting in defense of someone you work with is a lose-lose... to people you could possibly sway, you seem disingenuous because of your business interest... To people negative about the artist you make it easier to chime in about it being all about the loot... and to people who like the artist, hearing your defense is pointless as they will likely continue to buy his work...
Not beefing with you my man. As I said I like what you guys do a lot. Just trying to offer up a bit of friendly advice.
S
Graffiti Prints I like you my man. You have always been a kind fellow and you run a really good business. That said. You should listen to Martin. Defending, or even just commenting in defense of someone you work with is a lose-lose... to people you could possibly sway, you seem disingenuous because of your business interest... To people negative about the artist you make it easier to chime in about it being all about the loot... and to people who like the artist, hearing your defense is pointless as they will likely continue to buy his work... Not beefing with you my man. As I said I like what you guys do a lot. Just trying to offer up a bit of friendly advice. S
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trax51
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Whatson
Oct 13, 2014 23:55:07 GMT 1
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jlf
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That is awesome, not felt the love for his last couple of prints, but I like a lot of his older stuff. |
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dazarino
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Whatson
Oct 14, 2014 10:29:06 GMT 1
Whatson, by dazarino on Oct 14, 2014 10:29:06 GMT 1, Ok its up to over £4000 now, what the hell!!!! I think mr whatsons canvas prices might rise a tad now.
Unless its just a huge wind up of course!
Ok its up to over £4000 now, what the hell!!!! I think mr whatsons canvas prices might rise a tad now.
Unless its just a huge wind up of course!
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londonfx
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Whatson
Oct 14, 2014 10:30:54 GMT 1
Whatson, by londonfx on Oct 14, 2014 10:30:54 GMT 1, That is awesome, not felt the love for his last couple of prints, but I like a lot of his older stuff.
That is awesome, not felt the love for his last couple of prints, but I like a lot of his older stuff. Wow that's huge! Nice I heart Banksy print in the corner as well. Who is it by? |
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thomasmer
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July 2014
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Whatson
Oct 14, 2014 10:33:25 GMT 1
Whatson, by thomasmer on Oct 14, 2014 10:33:25 GMT 1, That angel looks like it came from the section where the Gnomes once sat.
He's not an artist that can get away with something being a bit half arsed, if he's going to tag everything (and the tags aren't proper ) then it better be really good quality.
That angel looks like it came from the section where the Gnomes once sat.
He's not an artist that can get away with something being a bit half arsed, if he's going to tag everything (and the tags aren't proper ) then it better be really good quality.
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thomasmer
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Whatson
Oct 14, 2014 10:34:11 GMT 1
Whatson, by thomasmer on Oct 14, 2014 10:34:11 GMT 1, Ok its up to over £4000 now, what the hell!!!! I think mr whatsons canvas prices might rise a tad now. Unless its just a huge wind up of course!
Ok its up to over £4000 now, what the hell!!!! I think mr whatsons canvas prices might rise a tad now. Unless its just a huge wind up of course! Very interested to see if the payment goes through. |
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Deleted
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January 1970
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Whatson
Oct 14, 2014 10:48:43 GMT 1
Whatson, by Deleted on Oct 14, 2014 10:48:43 GMT 1, It's the same two bidders who have been battling it out since it went over the £1000.00 mark....I'm not convinced it's legit. I like most of Martin's work and this one is ok but not £4k ok!
It's the same two bidders who have been battling it out since it went over the £1000.00 mark....I'm not convinced it's legit. I like most of Martin's work and this one is ok but not £4k ok!
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daveart
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Whatson
Oct 14, 2014 18:49:10 GMT 1
Whatson, by daveart on Oct 14, 2014 18:49:10 GMT 1, i really have to wonder how legit this is .. or just strangely uninformed buyers. i put out a request for whatson work a few weeks back and was slammed with offers .. including opportunities on a number of canvass deals ranging from 2k-4K USD .. sadly i was considerig all options and didnt move fast enough and this crazy listing got going and everyone is 'reconsidering' whether they should sell. fair enough... but i wonder if this is legit to begin with.
i really have to wonder how legit this is .. or just strangely uninformed buyers. i put out a request for whatson work a few weeks back and was slammed with offers .. including opportunities on a number of canvass deals ranging from 2k-4K USD .. sadly i was considerig all options and didnt move fast enough and this crazy listing got going and everyone is 'reconsidering' whether they should sell. fair enough... but i wonder if this is legit to begin with.
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Deleted
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January 1970
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Whatson
Oct 14, 2014 21:00:25 GMT 1
Whatson, by Deleted on Oct 14, 2014 21:00:25 GMT 1, The critique only works if your idea of Nuart's intentions are correct. In this case, Rj is answering his own question, so in a sense he's right, even though he's completely wrong, which in a way means you are too. Weird hey.
I quite liked Martin's contribution this year, a collaboration with Thai writers Alex Face and Mue Bon from the Souled Out crew.
This isn't painted on a hotel as stated in the article, but a business center. The concept that this wild anarchic creativity lay under the drab 9 to 5 concrete mirrored the "Beneath the Pavement, The Beach" concept. A simple idea well done.
whatson by Nuart Festival
The critique only works if your idea of Nuart's intentions are correct. In this case, Rj is answering his own question, so in a sense he's right, even though he's completely wrong, which in a way means you are too. Weird hey. I quite liked Martin's contribution this year, a collaboration with Thai writers Alex Face and Mue Bon from the Souled Out crew. This isn't painted on a hotel as stated in the article, but a business center. The concept that this wild anarchic creativity lay under the drab 9 to 5 concrete mirrored the "Beneath the Pavement, The Beach" concept. A simple idea well done. whatson by Nuart Festival |
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Whatson
Oct 14, 2014 21:39:08 GMT 1
Whatson, by graffuturism on Oct 14, 2014 21:39:08 GMT 1, The critique only works if your idea of Nuart's intentions are correct. In this case, Rj is answering his own question, so in a sense he's right, even though he's completely wrong, which in a way means you are too. Weird hey. I quite liked Martin's contribution this year, a collaboration with Thai writers Alex Face and Mue Bon from the Souled Out crew. This isn't painted on a hotel as stated in the article, but a business center. The concept that this wild anarchic creativity lay under the drab 9 to 5 concrete mirrored the "Beneath the Pavement, The Beach" concept. A simple idea well done. whatson by Nuart Festival
The critique only works if your idea of Nuart's intentions are correct. In this case, Rj is answering his own question, so in a sense he's right, even though he's completely wrong, which in a way means you are too. Weird hey. I quite liked Martin's contribution this year, a collaboration with Thai writers Alex Face and Mue Bon from the Souled Out crew. This isn't painted on a hotel as stated in the article, but a business center. The concept that this wild anarchic creativity lay under the drab 9 to 5 concrete mirrored the "Beneath the Pavement, The Beach" concept. A simple idea well done. whatson by Nuart FestivalI dont think the reason I agreed with RJ on this article had anything to do with your intention or Nuarts intention, I think as a curator you are the only one that can really know your intention. Even the artists are left to interpret maybe some of your intention. I think what I found to be accurate was Vandalog opinion that these artists when contrasted against the other artists in the festival fell short in many ways. I dont need to bash anyone I think RJ stated some valid reasons some most I agree with, that doesn't mean I am correct or RJ is incorrect it just means we have our own opinion. And I don't think that opinion has anything to do with your intention as a curator of the festival, maybe more so for the whole article can be debated on being a correct interpretation of the festival. Yet as for the artist mentioned I don't think that had to do with anything Nuart did or didn't do as a curator. Sometimes the artists just need to be accountable for their work whether your intent was misinterpreted doesn't shelter the critique of the artist and his work, or his career of work that existed before this festival. |
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Deleted
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January 1970
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Whatson
Oct 14, 2014 22:50:35 GMT 1
Whatson, by Deleted on Oct 14, 2014 22:50:35 GMT 1, The critique only works if your idea of Nuart's intentions are correct. In this case, Rj is answering his own question, so in a sense he's right, even though he's completely wrong, which in a way means you are too. Weird hey. I quite liked Martin's contribution this year, a collaboration with Thai writers Alex Face and Mue Bon from the Souled Out crew. This isn't painted on a hotel as stated in the article, but a business center. The concept that this wild anarchic creativity lay under the drab 9 to 5 concrete mirrored the "Beneath the Pavement, The Beach" concept. A simple idea well done. whatson by Nuart FestivalI dont think the reason I agreed with RJ on this article had anything to do with your intention or Nuarts intention, I think as a curator you are the only one that can really know your intention. Even the artists are left to interpret maybe some of your intention. I think what I found to be accurate was Vandalog opinion that these artists when contrasted against the other artists in the festival fell short in many ways. I dont need to bash anyone I think RJ stated some valid reasons some most I agree with, that doesn't mean I am correct or RJ is incorrect it just means we have our own opinion. And I don't think that opinion has anything to do with your intention as a curator of the festival, maybe more so for the whole article can be debated on being a correct interpretation of the festival. Yet as for the artist mentioned I don't think that had to do with anything Nuart did or didn't do as a curator. Sometimes the artists just need to be accountable for their work whether your intent was misinterpreted doesn't shelter the critique of the artist and his work, or his career of work that existed before this festival.
Nonsense of course, but possibly a better worldview than "he doesn't belong.. he's not good enough... in such esteemed company..etc etc " , which is a job for art institutions, not something for a street art event to aspire to. We're back to that David Foster Wallace " This is Water " moment.
Peace
The critique only works if your idea of Nuart's intentions are correct. In this case, Rj is answering his own question, so in a sense he's right, even though he's completely wrong, which in a way means you are too. Weird hey. I quite liked Martin's contribution this year, a collaboration with Thai writers Alex Face and Mue Bon from the Souled Out crew. This isn't painted on a hotel as stated in the article, but a business center. The concept that this wild anarchic creativity lay under the drab 9 to 5 concrete mirrored the "Beneath the Pavement, The Beach" concept. A simple idea well done. whatson by Nuart FestivalI dont think the reason I agreed with RJ on this article had anything to do with your intention or Nuarts intention, I think as a curator you are the only one that can really know your intention. Even the artists are left to interpret maybe some of your intention. I think what I found to be accurate was Vandalog opinion that these artists when contrasted against the other artists in the festival fell short in many ways. I dont need to bash anyone I think RJ stated some valid reasons some most I agree with, that doesn't mean I am correct or RJ is incorrect it just means we have our own opinion. And I don't think that opinion has anything to do with your intention as a curator of the festival, maybe more so for the whole article can be debated on being a correct interpretation of the festival. Yet as for the artist mentioned I don't think that had to do with anything Nuart did or didn't do as a curator. Sometimes the artists just need to be accountable for their work whether your intent was misinterpreted doesn't shelter the critique of the artist and his work, or his career of work that existed before this festival. I'm curious, what don't you like about the piece, a stencil artist collaborating with two Asian writers in a significant way is an interesting event no ? That behind the walls, under the concrete, within the material already lays the form of tagging and graffiti. It's an interesting topic right ? Like marble already containing the form of the sculpture to be revealed by the artisan. This would seem to propose that particularly dull buildings and cities already contain the seeds of their own evolution/destruction ?. Like grey pupae into colourful butterflies. They just have to be pollinated by tags. A philosophy that if embraced would logically lead to the end of the buff as we'd be curious to see our walls evolve :-). Nonsense of course, but possibly a better worldview than "he doesn't belong.. he's not good enough... in such esteemed company..etc etc " , which is a job for art institutions, not something for a street art event to aspire to. We're back to that David Foster Wallace " This is Water " moment. Peace |
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.dappy
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Whatson
Oct 14, 2014 22:54:11 GMT 1
Whatson, by .dappy on Oct 14, 2014 22:54:11 GMT 1,
... does all artwork on the streets or anywhere else need to be deep and meaningful ... I don't think so ... and neither do a lot of people ... sometimes art is there to be enjoyed because you like it ...
There was a Thread a while ago that was 'just because' ... it was people showing a piece of art and saying they liked it ' just because' ... people then discussed what the 'just because' was ... it brought out some new art and artists (at least to me) and some 'old friends' ... that is what art is about ...
... to also agree with BDR and one or two others - to have art up on your walls you need to appreciate it and for it to make you smile or just feel good every time you walk by, or look at it in your chair with a nice warm glass of brandy in your hand 
... that is not to say that your taste may not change over time and you take old stuff down and put new stuff up ... favourite jumpers come and go, even after many years 
On another note: mr graff - you do write long pieces and it would greatly help of you could use a paragraph or two now and again! esp being a journalist/writer. It would make it easier to read on a mobile and other devices. You last sentence is just rubbish btw ... imo
... does all artwork on the streets or anywhere else need to be deep and meaningful ... I don't think so ... and neither do a lot of people ... sometimes art is there to be enjoyed because you like it ... There was a Thread a while ago that was 'just because' ... it was people showing a piece of art and saying they liked it ' just because' ... people then discussed what the 'just because' was ... it brought out some new art and artists (at least to me) and some 'old friends' ... that is what art is about ... ... to also agree with BDR and one or two others - to have art up on your walls you need to appreciate it and for it to make you smile or just feel good every time you walk by, or look at it in your chair with a nice warm glass of brandy in your hand ... that is not to say that your taste may not change over time and you take old stuff down and put new stuff up ... favourite jumpers come and go, even after many years On another note: mr graff - you do write long pieces and it would greatly help of you could use a paragraph or two now and again! esp being a journalist/writer. It would make it easier to read on a mobile and other devices. You last sentence is just rubbish btw ... imo |
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disdig1
New Member
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October 2011
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Whatson
Oct 14, 2014 23:09:53 GMT 1
Whatson, by disdig1 on Oct 14, 2014 23:09:53 GMT 1, On another note: mr graff - you do write long pieces and it would greatly help of you could use a paragraph or two now and again! esp being a journalist/writer. It would make it easier to read on a mobile and other devices.
this times 1000. i enjoy what you have to say graffiturism but use paragraphs!!!
On another note: mr graff - you do write long pieces and it would greatly help of you could use a paragraph or two now and again! esp being a journalist/writer. It would make it easier to read on a mobile and other devices. this times 1000. i enjoy what you have to say graffiturism but use paragraphs!!! |
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Deleted
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January 1970
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Whatson, by Deleted on Oct 14, 2014 23:17:14 GMT 1, 'Just because I like it' equates to 'I'm not willing to think'
'Just because I like it' equates to 'I'm not willing to think'
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Deleted
🗨️ 0
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January 1970
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Whatson
Oct 14, 2014 23:19:33 GMT 1
Whatson, by Deleted on Oct 14, 2014 23:19:33 GMT 1, 'Just because I like it' equates to 'I'm not willing to think'
'Just because I like it' equates to 'I'm not willing to think' You gotta just feel it sometimes Robot. Like dancing to techno on E. You gotta get up if you wanna get down ;-) |
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Whatson
Oct 14, 2014 23:25:12 GMT 1
Whatson, by graffuturism on Oct 14, 2014 23:25:12 GMT 1, I dont think the reason I agreed with RJ on this article had anything to do with your intention or Nuarts intention, I think as a curator you are the only one that can really know your intention. Even the artists are left to interpret maybe some of your intention. I think what I found to be accurate was Vandalog opinion that these artists when contrasted against the other artists in the festival fell short in many ways. I dont need to bash anyone I think RJ stated some valid reasons some most I agree with, that doesn't mean I am correct or RJ is incorrect it just means we have our own opinion. And I don't think that opinion has anything to do with your intention as a curator of the festival, maybe more so for the whole article can be debated on being a correct interpretation of the festival. Yet as for the artist mentioned I don't think that had to do with anything Nuart did or didn't do as a curator. Sometimes the artists just need to be accountable for their work whether your intent was misinterpreted doesn't shelter the critique of the artist and his work, or his career of work that existed before this festival. I'm curious, what don't you like about the piece, a stencil artist collaborating with two Asian writers in a significant way is an interesting event no ? That behind the walls, under the concrete, within the material lays the form or tagging and graffiti. It's an interesting topic no ? not whether the artist is deserving of being at a particular festival or not.
Contrast this from Tilts installation where you have real graffiti being contrasted against the white of the bathroom. This aesthetic version of graffiti in the piece you mention comes no way near the real authenticity of Tilts. Then you are left with the actual stencil work of the mural which represents more of a mimicry of a photograph which I guess is ok if their is some conceptual allusion to the use of photography in urban art, yet I don't think that was what the artist was going for.
I think again compare this stencil to Icy and Sot's installation and you are left with the feeling that it is just not adequate in being even in the same conversation. The feel, the authenticity in the hand of the artists is prevalent in the work of Icy and Sot, you can appreciate the work and feel the work through their technique. Also add that they went a step beyond just a stencil and are progressively pushing not only the image but also the architecture of the wall by expanding its borders.
Personally I would rather see artists take these opportunities at festivals to create progressive and relevant work not just further their comfort zone and the status quo. Also the topic isnt really what is that interesting, its how the artist is able to take a basic topic and really further the conversation instead of just illustrating it. I am not really a street art critic, but this is what I see personally from my own view as an artist.
 
I dont think the reason I agreed with RJ on this article had anything to do with your intention or Nuarts intention, I think as a curator you are the only one that can really know your intention. Even the artists are left to interpret maybe some of your intention. I think what I found to be accurate was Vandalog opinion that these artists when contrasted against the other artists in the festival fell short in many ways. I dont need to bash anyone I think RJ stated some valid reasons some most I agree with, that doesn't mean I am correct or RJ is incorrect it just means we have our own opinion. And I don't think that opinion has anything to do with your intention as a curator of the festival, maybe more so for the whole article can be debated on being a correct interpretation of the festival. Yet as for the artist mentioned I don't think that had to do with anything Nuart did or didn't do as a curator. Sometimes the artists just need to be accountable for their work whether your intent was misinterpreted doesn't shelter the critique of the artist and his work, or his career of work that existed before this festival. I'm curious, what don't you like about the piece, a stencil artist collaborating with two Asian writers in a significant way is an interesting event no ? That behind the walls, under the concrete, within the material lays the form or tagging and graffiti. It's an interesting topic no ? not whether the artist is deserving of being at a particular festival or not. I wasnt really commenting on any one particular piece but since you asked, I dont feel that this particular piece says anything to me at all other than a basic gesture about pulling back something behind the concrete. The collaboration is just decorative in nature, there is no back and forth that I personally appreciate when artists collaborate. This collaboration feels like the artists used the color and other artists as more of a prop then an actual conversation aesthetically or conceptually. The gesture of pulling the facade as it can be said and revealing some unauthentic version of graffiti seems pedestrian to me. Contrast this from Tilts installation where you have real graffiti being contrasted against the white of the bathroom. This aesthetic version of graffiti in the piece you mention comes no way near the real authenticity of Tilts. Then you are left with the actual stencil work of the mural which represents more of a mimicry of a photograph which I guess is ok if their is some conceptual allusion to the use of photography in urban art, yet I don't think that was what the artist was going for. I think again compare this stencil to Icy and Sot's installation and you are left with the feeling that it is just not adequate in being even in the same conversation. The feel, the authenticity in the hand of the artists is prevalent in the work of Icy and Sot, you can appreciate the work and feel the work through their technique. Also add that they went a step beyond just a stencil and are progressively pushing not only the image but also the architecture of the wall by expanding its borders. Personally I would rather see artists take these opportunities at festivals to create progressive and relevant work not just further their comfort zone and the status quo. Also the topic isnt really what is that interesting, its how the artist is able to take a basic topic and really further the conversation instead of just illustrating it. I am not really a street art critic, but this is what I see personally from my own view as an artist. |
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Whatson
Oct 14, 2014 23:25:57 GMT 1
Whatson, by gatecrasher on Oct 14, 2014 23:25:57 GMT 1, Sometimes the artists just need to be accountable for their work whether your intent was misinterpreted doesn't shelter the critique of the artist and his work, or his career of work that existed before this festival.
I'd expect the man that fixes my boiler to be accountable for his work, but to think that an artist "needs to be accountable" is getting a little over anxious.
It's a getting a little too velour jacket and canapes for my liking.
Sometimes the artists just need to be accountable for their work whether your intent was misinterpreted doesn't shelter the critique of the artist and his work, or his career of work that existed before this festival. I'd expect the man that fixes my boiler to be accountable for his work, but to think that an artist "needs to be accountable" is getting a little over anxious. It's a getting a little too velour jacket and canapes for my liking. |
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Whatson
Oct 14, 2014 23:26:36 GMT 1
Whatson, by graffuturism on Oct 14, 2014 23:26:36 GMT 1, On another note: mr graff - you do write long pieces and it would greatly help of you could use a paragraph or two now and again! esp being a journalist/writer. It would make it easier to read on a mobile and other devices. this times 1000. i enjoy what you have to say graffiturism but use paragraphs!!!
On another note: mr graff - you do write long pieces and it would greatly help of you could use a paragraph or two now and again! esp being a journalist/writer. It would make it easier to read on a mobile and other devices. this times 1000. i enjoy what you have to say graffiturism but use paragraphs!!! Haha, I apologize but I am no writer/journalist I just make typos on a Blog. But I will attempt to try to use proper spacing. |
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Whatson
Oct 14, 2014 23:29:13 GMT 1
Whatson, by graffuturism on Oct 14, 2014 23:29:13 GMT 1, I'd expect the man that fixes my boiler to be accountable for his work, but to think that an artist "needs to be accountable" is getting a little over anxious. It's a getting a little too velour jacket and canapes for my liking.
I'd expect the man that fixes my boiler to be accountable for his work, but to think that an artist "needs to be accountable" is getting a little over anxious. It's a getting a little too velour jacket and canapes for my liking. accountable maybe is just another word for owning the work and accepting the criticism. Whatson hasnt entered the conversation at all and I am sure he owns the work and accepts the critic, my point was RJ can critique the artist based on the artist not the curators intent. |
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.dappy
Full Member
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Whatson
Oct 14, 2014 23:38:45 GMT 1
via mobile
Whatson, by .dappy on Oct 14, 2014 23:38:45 GMT 1, 'Just because I like it' equates to 'I'm not willing to think'
... read the next sentence when I wrote about the Thread ...
... does life always have to have meaning all of the time?
(that's quite like a BDR saying!)
'Just because I like it' equates to 'I'm not willing to think' ... read the next sentence when I wrote about the Thread ... ... does life always have to have meaning all of the time? (that's quite like a BDR saying!) |
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Deleted
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January 1970
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Whatson, by Deleted on Oct 14, 2014 23:40:28 GMT 1, 'Just because I like it' equates to 'I'm not willing to think'
You're joking right? A lot of art produced isn't meant to be anything more than aesthetically pleasing
'Just because I like it' equates to 'I'm not willing to think' You're joking right? A lot of art produced isn't meant to be anything more than aesthetically pleasing |
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thomasmer
Junior Member
🗨️ 1,107
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July 2014
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Whatson
Oct 14, 2014 23:46:05 GMT 1
Whatson, by thomasmer on Oct 14, 2014 23:46:05 GMT 1, I did Like that colaboration between Bon and Dot Dot Dot though.
I did Like that colaboration between Bon and Dot Dot Dot though.
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Deleted
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January 1970
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Whatson, by Deleted on Oct 14, 2014 23:47:14 GMT 1, 'Just because I like it' equates to 'I'm not willing to think' You're joking right? A lot of art produced isn't meant to be anything more than aesthetically pleasing
You're joking right? The actual process of explaining the aesthetically pleasing description should take thought right? And anyway I dare you to think about and then explain 'why' it's pleasing.... Because I guarantee there's more to it.
Don't fear your thoughts they're actually useful in life!
'Just because I like it' equates to 'I'm not willing to think' You're joking right? A lot of art produced isn't meant to be anything more than aesthetically pleasing You're joking right? The actual process of explaining the aesthetically pleasing description should take thought right? And anyway I dare you to think about and then explain 'why' it's pleasing.... Because I guarantee there's more to it. Don't fear your thoughts they're actually useful in life! |
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Whatson
Oct 14, 2014 23:47:44 GMT 1
Whatson, by graffuturism on Oct 14, 2014 23:47:44 GMT 1, Nonsense of course, but possibly a better worldview than "he doesn't belong.. he's not good enough... in such esteemed company..etc etc " , which is a job for art institutions, not something for a street art event to aspire to. We're back to that David Foster Wallace " This is Water " moment. Peace
Nonsense of course, but possibly a better worldview than "he doesn't belong.. he's not good enough... in such esteemed company..etc etc " , which is a job for art institutions, not something for a street art event to aspire to. We're back to that David Foster Wallace " This is Water " moment. Peace I guess that is up for debate, but I would much rather have curators like yourself and critics like RJ having more of say than Art institutions who have no clue yet about what it is we are doing. And you may not want to have a role in the overall aspect of the artform but you do when you curate an event as big as Nuart. Then again if you dont care then that is ok as well, I guess? But for some reason I dont think that is the case. |
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