In his 1962 book “The Theory of the Avant-Garde” Renato Poggioli observed that “Like any artistic tradition, no matter how antitraditional it may be, the avant-garde also has its conventions.” The most conventional of modernist conventions has been the need to shock and offend, doing so, as the lingo has it, by “transgressing boundaries.” But once all the boundaries have been blurred, what’s left?
Since most folks are uncomfortable with explicit sexual conversation in public, obscenity laws limit such public conversation. But when artists create high quality and hence high status art with explicit sexual discussion, people are reluctant to let obscenity laws apply to it.
Cognition researchers should beware assuming that people’s mental faculties have finished maturing when they reach adulthood. So say Laura Germine and colleagues, whose new study shows that face learning ability continues to improve until people reach their early thirties.
Although vocabulary and other forms of acquired knowledge grow throughout the life course, it’s generally accepted that the speed and efficiency of the cognitive faculties peaks in the early twenties before starting a steady decline. This study challenges that assumption.
painting { Diego Velázquez, Las Meninas (Spanish for “The Maids of Honour”), 1656 | Las Meninas has long been recognised as one of the most important paintings in Western art history. Foucault viewed the painting without regard to the subject matter, nor to the artist’s biography, technical ability, sources and influences, social context, or relationship with his patrons. Instead he analyses its conscious artifice, highlighting the complex network of visual relationships between painter, subject-model, and viewer. For Foucault, Las Meninas contains the first signs of a new episteme, or way of thinking, in European art. It represents a mid-point between what he sees as the two “great discontinuities” in art history. | Wikipedia }
It’s hard to imagine some of Vincent van Gogh’s signature works without the vibrant strokes of yellow that brightened the sky in “Starry Night” and drenched his sunflowers in color. But the yellow hues in some of his paintings have mysteriously turned to brown — and now a team of European scientists has figured out why.
Using sophisticated X-ray machines, they discovered the chemical reaction to blame — one never before observed in paint. Ironically, Van Gogh’s decision to use a lighter shade of yellow paint mixed with white is responsible for the unintended darkening, according to a study published online Monday in the journal Analytical Chemistry.
“This is the kind of research that will allow art history to be rewritten,” because the colors we observe today are not necessarily the colors the artist intended, said Francesca Casadio, a cultural heritage scientist at the Art Institute of Chicago who was not involved in the work.
In a number of Van Gogh’s paintings, the yellow has dulled to coffee brown — and in about 10 cases, the discoloration is serious, said Koen Janssens, an analytical chemist at Antwerp University in Belgium who co-wrote the study.
{ Wallace Kirkland/LIFE | Robert Rauschenberg and His Wife Prepare Artwork, Circa 1951. Pete Wentz says: “Here Rauschenberg is at the forefront of what will become live art or street art. It’s interesting that he’s doing it inside, of course.” }
Jeff Koons, the creator of sculptures based on the image of a balloon dog, recently sent a cease-and-desist letter to a company selling bookends that represent a balloon dog and to the manufacturer of said dogs. It is doubtful Koons could win this one in court. We have all watched at a street fair as somebody twists long balloons into dogs or other animals. So what can Koons say is really his? The man has made his reputation as an appropriator—as an artist who borrows images and styles and ideas more or less wholesale from other more or less creative spirits. He himself has been sued for copyright violation four times, which may help to explain his eagerness to establish some legal precedent for appropriation as a form of creation. It is easy to make fun of Koons. But to the collectors, dealers, curators, critics, and historians who have invested time and in many cases considerable sums of money in his work and that of Warhol and other appropriators, the originality of the death of originality cannot be taken lightly. I think there is some concern that the artists will not finally escape what Sir Joshua Reynolds, in speaking about artists’ appropriations from other artists to the students at the Royal Academy in 1774, referred to as “the servility of plagiarism.” (…)
Jeff Koons, when accused of copyright infringement, tends to settle out of court. One has the impression that he prefers writing a check to actually discovering what a judge or a jury might have to say. But in his heart of hearts Koons probably feels that if Poussin became Poussin by stealing from Titian and Raphael, why on earth is he being bothered by questions of copyright and fair use?
Balloon dogs everywhere can breathe a sigh of relief: SF’s Park Life store/gallery announced that artist Jeff Koons has dropped legal action against the sale of its balloon dog-shaped bookends.
In the history of inkblots, the experiment of Hermann Rorschach [1884-1922] is the most famous moment: a controversial attempt to establish a scientific personality assessment based on ten standard Rorschach inkblots. Then comes Andy Warhol, who in the 1980s reconnects inkblots with the art that came before. He did these huge, very sexual, strange, hieratic paintings which he called ‘Rorschach Paintings’ - although they were, in fact, entirely of his own invention. At the opening a journalist asked him what they meant and Warhol - in that amazing, neutral, “I’m a mirror” way of his– said, “Oh, I made a mistake, I got that wrong. I thought the idea was that you make your own inkblots and the psychiatrist interprets them. If I’d known, I’d just have copied the originals!” (…)
there have been inkblot tests around for ages, but in the 19th century they took over from silhouettes as the parlour game, partly due to a German doctor and poet called Justinus Koerner, who was a friend of the German Romantics and was interested in the nascent science of psychology and such things. He’d write endless letters, and he doodled in them, and started playing around with inkblots. He was the one who worked out that you could make inkblots symmetrical by folding them over.
Interview with Curt Cobain, January 27, 1994 issue of Rolling Stone
Along with everything else that went wrong onstage tonight, you left without playing “Smells like Teen Spirit.” Why?
That would have been the icing on the cake. That would have made everything twice as worse. I don’t even remember the guitar solo on “Teen Spirit.” It would take me five minutes to sit in the catering room and learn the solo. (…)
Have you ever been that consumed with distress or pain or rage that you actually wanted to kill yourself?
For five years during the time I had my stomach problem, yeah. I wanted to kill myself every day. I came very close many times. I’m sorry to be so blunt about it. It was to the point where I was on tour, lying on the floor, vomiting air because I couldn’t hold down water. And then I had to play a show in 20 minutes. I would sing and cough up blood. This is no way to live a life. I love to play music, but something was not right. So I decided to medicate myself.
A new paper in Nature Neuroscience by a team of Montreal researchers marks an important step in revealing the precise underpinnings of “the potent pleasurable stimulus” that is music. (…)
Because the scientists were combining methodologies (PET and fMRI) they were able to obtain an impressively precise portrait of music in the brain. The first thing they discovered (using ligand-based PET) is that music triggers the release of dopamine in both the dorsal and ventral striatum. This isn’t particularly surprising: these regions have long been associated with the response to pleasurable stimuli. It doesn’t matter if we’re having sex or snorting cocaine or listening to Kanye: These things fill us with bliss because they tickle these cells. Happiness begins here.
The more interesting finding emerged from a close study of the timing of this response, as the scientists looked to see what was happening in the seconds before the subjects got the chills. I won’t go into the precise neural correlates – let’s just say that you should thank your right NAcc the next time you listen to your favorite song – but want to instead focus on an interesting distinction observed in the experiment.
In essence, the scientists found that our favorite moments in the music were preceeded by a prolonged increase of activity in the caudate. They call this the “anticipatory phase” and argue that the purpose of this activity is to help us predict the arrival of our favorite part.
