You say you’re Japanese, and you want to be an artist? Well then, I predict there are bright colours and bountiful circles in your future. It’s probably not relevant, but still, I’ve noticed lately that Japanese art, regardless of art movement, direction or starting point, embraces saturated, primary colours that are spun in geometric forms…. (read more)
Eberhard Havekost; every heard of him? Me neither. Knowing who he is, at this point, is unimportant as he’s unlikely to be remembered by anyone in say 10-20 years. But Eberhard Havekost deserves a look, if only to be example-boy for What’s Wrong With Contemporary Art. Let’s get the process out of the way first…. (read more)
I have a new art theory: the big difference between 19th century art and that of the 20th century are the parties. It’s a tale of two Tates, in this instance, and ultimately it serves only to fortify the boundaries between centuries. We’re just better at entertaining ourselves today than we were in Victorian times…. (read more)
Are the colours of modern society, un-natural? The argument made thoughout a recent exhibition at Tate Liverpool is that off-the-shelf colour (their term: ready-made colour) can’t be found in nature. Surely man invented the hyper-active, vibrant colours of such stuff as cars, signs and iPods. Wouldn’t their alien surface properties have to be natural because,… (read more)