So I suppose all artists should have Miller in their studios to tell them what's important and what's not. In Courbet's great allegorical painting of his studio he shows a small boy watching him paint. Courbet never explained this painting but scholars have assumed the artist meant the boy to represent the innocent-eyed future that would appreciate his paintings. Maybe we should paint Miller's profile at the edges of our paintings.
WC --- On Wed, 10/8/08, Chris Miller <[EMAIL PROTECTED]> wrote: > From: Chris Miller <[EMAIL PROTECTED]> > Subject: Re: Perceptual Cropping was Marks on Canvas > To: [email protected] > Date: Wednesday, October 8, 2008, 10:35 AM > Just in visiting William's own gallery, we can find > several examples of > non-representational painting where the precise location of > the edges is not > as important as it is in the works of Hofmann or Conger: > > > http://www.royboydgallery.com/Gonzalez/Gonzalez.htm > http://www.royboydgallery.com/Lackey/Lackey.htm > http://www.royboydgallery.com/Riesebrodt/Riesebrodt.htm > http://www.royboydgallery.com/VanWieren/VanWieren.htm > > > Sometimes edges are very important -- sometimes they're > not. > > Same thing with chapter divisions in a book. Sometimes > they each frame a > specific episode of a story -- and sometimes they just seem > to be whatever the > writer could complete in one sitting, so they seem to begin > and end in > midstream. > > > > And here's a contemporary Chinese painting (Liu > Xiaodong) that has 24 edges - > 4 for each panel, plus 4 more for the entire piece: > > > http://2.bp.blogspot.com/_u_KW4nuKg9k/SOf5t3rVy6I/AAAAAAAAGE4/xbjESBgxWJo/s16 > 00-h/paintingfull.jpg > > (I really liked it - but I don't think the precise > locations of the edges were > that important to him either) > > > > > ____________________________________________________________ > Cheap Diet Help Tips. Click here. > http://thirdpartyoffers.netzero.net/TGL2231/fc/Ioyw6ijnC3ox1MzhLST4PCUrotR6v3 > KCxWN67cGEhJ0YAT2FZJbNmk/
