Thanks Steve. My favorite essay on Lasker is from Hans Michael Herzog: "Frozen Spontenaity" (1997 Cantz). Naturally, I don't think it maps my project completely. For example, I think one major difference is after the regard for arrest/release, there is finally more of a personal struggle in my approach, a level of involvement that is sidelined by Lasker's system of preparatory cartoons (stationary store pens and highlighters on index cards, so I've heard) and the guild system support staff who execute the master's commands.
But Lasker's a definite navigational star, that's for sure.
Frozen Spontenaity? That is the Liminal goal isn't it? Hook me up chisashley. I guess that's what I meant by my trying to coin the phrase: macro/MICRO tension/EASE. It is hard to champion a cause in whcih the Truth comes in shades of grey. "Arrest/release"
Dennis, you've hit the proverbial nail that I've been hammering my head against for 13 years. You claim (and I believe that you are right on a certain level) that in your paintings there is "finally more of a personal struggle in my approach, a level of involvement that is sidelined by Lasker's system of preparatory cartoons", which diminishes the value of said cartoons. If you "work" a painting (making mistakes, changes, advances, epiphanys) it does seem to be more personal/immediate then those who "play" in a sketchbook making "cartoons" and then try and make something bigger (value added) from the sketch. Do you want your Frozen Thing to look spontaneous or your Spontaneous Thing to look frozen? I hope to find out soon.
As far as the "guild system support staff who execute the master's commands" goes, they should be outlawed in painting, but are essential for film making.
s.
This one really makes me wonder what your take on Jonathan Lasker's paintings is?
Oh yeah, I also forget to mention that you've got the "macro/MICRO tension/EASE" aesthetic Mastered.
Thanks Steve. My favorite essay on Lasker is from Hans Michael Herzog: "Frozen Spontenaity" (1997 Cantz). Naturally, I don't think it maps my project completely. For example, I think one major difference is after the regard for arrest/release, there is finally more of a personal struggle in my approach, a level of involvement that is sidelined by Lasker's system of preparatory cartoons (stationary store pens and highlighters on index cards, so I've heard) and the guild system support staff who execute the master's commands.
But Lasker's a definite navigational star, that's for sure.
Dennis says, "My favorite essay on Lasker is from Hans Michael Herzog: "Frozen Spontenaity" (1997 Cantz)."
Hey, I was _just_ reading that book yesterday. It is a good essay, and the interview after it is great, too.
Steve, if you don't have access to this book let me know (chrisashley AT yahoo DOT com) and maybe I can "show" it to you.
Frozen Spontenaity? That is the Liminal goal isn't it? Hook me up chisashley. I guess that's what I meant by my trying to coin the phrase: macro/MICRO tension/EASE. It is hard to champion a cause in whcih the Truth comes in shades of grey. "Arrest/release"
Dennis, you've hit the proverbial nail that I've been hammering my head against for 13 years. You claim (and I believe that you are right on a certain level) that in your paintings there is "finally more of a personal struggle in my approach, a level of involvement that is sidelined by Lasker's system of preparatory cartoons", which diminishes the value of said cartoons. If you "work" a painting (making mistakes, changes, advances, epiphanys) it does seem to be more personal/immediate then those who "play" in a sketchbook making "cartoons" and then try and make something bigger (value added) from the sketch. Do you want your Frozen Thing to look spontaneous or your Spontaneous Thing to look frozen? I hope to find out soon.
As far as the "guild system support staff who execute the master's commands" goes, they should be outlawed in painting, but are essential for film making.
s.