Estel wrote:Although, when I hear a statement like this
About a someone who paints something like thisKasimir Malevich's art and his Suprematist manifesto are amongst the most vital artistic developments of this century.
To me that's the artistic equivalent of the emperor's new clothes.
I don't have a favorite artist, or even a favorite work. What I really like, however, is to hear an artist explain the concept behind his work. I find that greatly adds to my appreciation of works that I might discount out of hand otherwise.
I'll give you an example:
My first impression would be to say, "This is just a strange looking chair. What's the big deal?"
Well, several years ago I was watching a program on PBS and heard artist David Hockney describe this work. As it turns out it's not just a chair. The work represents the chair from several different angles --as if the artist walked around the chair--moulded into one work. It was really fascinating to hear him describe it. That taught me a valuable lesson, namely, there's often much more to a work than what first meets the eye.
Prior to seeing that program I had some acquaintance with Hockney. I saw the productions he'd created for two operas, Mozart's The Magic Flute and Stravinsky's The Rake's Progress. I purchased a print from the latter at the San Francisco opera shop and had it framed. I've love to share it with you but I could not find an image of it online.
Scene from the Hockney production of "The Magic Flute"