Correct. WC
--- On Thu, 10/2/08, GEOFF CREALOCK <[EMAIL PROTECTED]> wrote: > From: GEOFF CREALOCK <[EMAIL PROTECTED]> > Subject: RE: Marks on Canvas > To: [email protected] > Date: Thursday, October 2, 2008, 9:05 AM > My interpretation is that Hoffman's comment was a > (horrors) metaphor; that > he was referring to the contemplation which occurs before > paint is ever put > on canvas. The "first four marks" aren't > actually visible but are extremely > important. The act of doing the painting is late in the > process. > Geoff C > > > >From: "Chris Miller" > <[EMAIL PROTECTED]> > >Reply-To: [email protected] > >To: [email protected] > >Subject: Marks on Canvas > >Date: Thu, 2 Oct 2008 13:08:36 GMT > > > >First - I was thinking about the Jackson Pollack movie > -- that showed him > >getting ready for his first big-time show. He rolled a > bolt of canvas out > >onto > >the floor -- painted it -- and then cut it up to make > enough paintings for > >the > >exhibit. So yes -- eventually he was considering the > edges of each painting > >-- > >but only at the end, rather than at the beginning of > the process. > > > >Then -- I was thinking about the watercolour painters > -- who often don't > >paint > >to the edge of their paper -- so the precise edge is > not determined until > >the > >piece is framed - and sometimes it's framed by > someone other than the > >artist. > > > >Finally -- I've seen a lot of paintings that just > seemed to have been > >begun > >somewhere in the middle --with the image of a body, or > head, or flower -- > >and > >then eventually been worked out to the periphera. > > > >I've also cropped a lot of paintings -- not the > actual ones -- but jpg > >images > >of them -- and haven't noticed that the precise > location of the outer edge > >makes all that much difference. > > > >So yes -- I'm doubting whether Hoffman's dictum > is relevant to any kind of > >painting other than his own. > > > >Same thing with his other famous dictum: "The > pictorial life as a > >pictorial > >reality results from the aggregate of two-and > three-dimensional tensions: a > >combination of the effect of simultaneous expansion and > contraction with > >that > >of push and pull." (i.e. -- I would say that the > pictorial reality of > >paintings from other schools results from much more) > > > > *********** > > > > >Miller, you don't know much about painting or > its history. All through > >western art and other art, too, the artist has always > paid attention to the > >composition, and the composition ends at the edges of > the canvas, so those > >edges are crucial. Hofmann was simply reinforcing that > obvious concern. > >Artists who ignored their compositions were either dumb > and happily > >forgotten > >or they were dumb and became stars in the midst of > decandnce. But the > >viewer > >usually knows how the composition functions within the > framing edges of the > >canvas, > >if they know anything at all about looking at paintings > ...and not many do. > > > > > >____________________________________________________________ > >Click to become a designer and quit your boring job. > >http://thirdpartyoffers.netzero.net/TGL2231/fc/Ioyw6ijlSIOWLW66LSuV4bWDP3Upen > >NlPk61ezdLb4rYVbCjs2Q1Wc/
