Easily the best part of the VMAs.
Details of tilework, Gurgi Mosque, Tripoli, Libya, ca. 1834
“The Clown”, 1943, Henri Matisse.
#8 Water and Persian Rugs, 2004
A short animated film I made for my final project at the California State Summer School for the Arts (CSSSA).
This is the first finished animated film I have ever made, and we were given 6 days to make it (from concept to finish).
^^^^ watch my film
Occupy Parking Lots (with Persian Rugs), 2012.
Modigliani, nudo seduto (1916)
Composition with Red, Yellow and Blue (1928) by Piet Mondrian (born 7 March 1872; died 1 February, 1944); in the collection of the Wilhelm-Hack-Museum, Ludwigshafen am Rhein, Germany.
'Mondrian did not consider his paintings and their guiding principles merely to be articulations of a personal expression or style. Rather, he saw them as neutral and “objective” and hence as available—indeed, “recommended”—to all practitioners in the visual arts. He was one of the first avant-garde artists to speculate about the obsolescence of easel painting and, in this sense, he adduced a Hegelian linkage between artistic autonomy and the end of art. The casualty within his theory is the value of “personal expression,” one that usually is positively associated with the avant-garde. Although this notion of self-expression may be historically understood as the egalitarian offspring of the older, more elitist, notion of genius, it remains a mandate for the artist to follow his private vision and forge an individual style. For the utopian ambitions of Mondrian, however, this “subjectivity” works against the “objective historical fact” of the discovery and articulation of artistic universals. Personal expression, then, unless at the service of these universals, is viewed as decadent or arbitrary.’
—from Art and Concept: A Philosophical Study, by Lucian Krukowsky (1987)