In the era of the Kardashians, fuller lips, bigger butts, smaller waists and bleached straight hair seem to be the trend. The industry has everything and anything your money can buy to fit your description of beauty. The word has managed to build a multi-billion industry with a particular focus on the beauty that any naked eye can see i.e. Please use the "RESPOND TO ISSUE #2" button on the top right of this page to submit your answers.Beauty! What a misnomer. That’s what we have to decide: do we stick with one idea or view of a work, or do we build mental constructions that may or may not please us and that may or may not be totally to the point, but just as the artist must begin somewhere, so must the viewer. Robert Wilson, in describing how he conceives a project says, he begins with one point (maybe two), makes a mark, and then lets it open him to an ever larger structure with sections that he may fill or leave empty or black out. But then, finding comfort in inadvertently creating something new. It can be like sitting with an extremely laconic person and finding ourselves uncontrollably filling the seeming void with words and thoughts.
One attraction to monochrome, besides what viewers bring to it, is its democracy: it begins in the middle, so to speak, largely without obvious history.
Every atmospheric variant surrounding the image-humidity, fog, sun, shade, glare, breeze, and so on-changes the work itself and so our understanding of it. His canvases are so stunning with shades shifting so subtly that viewers can’t help being drawn in to wonder what they are viewing. More ostensibly uncompromisingly, the late Rudolf de Crignis would paint so many layers to yield what appears to be a solid blue surface (one that he would always refer to as gray as if to declare a kind of non-referential neutrality and a permanent state of irresolution). Yasuda notes how some people may look at his work and say there’s nothing there, but the truth for him is that “what is not there ends up being the subject.” And it changes as you move. He tries to get to the point where there can be no specific associations but where the work may convey instead “feelings, optics, or the way your eye operates in delighting in color.”
Monochromist meaning free#
An abstraction, is taken from something else, he notes, where as a nonobjective work is free of association (which may or may not be the case, but for argument’s sake, it works.). Robert Yasuda, a near monochromist, claims to seek total nonobjectivity-which he distinguishes from abstraction, as he explains in a video made at P.S.1 as was reinstalling a site-specific piece he’d made for a show there 50 years ago. His sculptures, stacked cubes in modulated shades, also give barely a clue to personal associations. In this way Houshiary conveys feeling, mood, and rhythm, which we perceive almost subliminally.īy contrast, much of the impenetrable work of Mexican-born sculptor Bosco Sodi, who is currently the subject of an exhibition at Paul Kasmin gallery, consists of solid enigmatic mounds of textured and intensely colored pigment that could be viewed at most as barren landscapes or deserts, but there are no or clues-just dense substance.
Her works have compulsive underpinnings-almost invisible writing that appears as uniform color and is made up of the words of prayers or songs, for example, written repeatedly in cursive, forming waves of tone and intensity. Iranian artist Shirazeh Houshiary, showing now at Lisson Gallery, offers only ostensibly monochrome renderings.
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