Does any body else wants to step into the ring?
Speak up, shut up! or you will be "clonked."
I,m going to lay low,unless I get kicked off.
AM
On Apr 6, 2009, at 4:17 PM, William Conger wrote:
Miller is trying to annoy me to the point where I put down my beer
and punch him out through the computer. KAZOOM POW SPLAT!
He's well over his head on this Titian topic and on anything having
to do with serious art historical study. He actually believes his
gut instincts have authority. If that were the case why isn't he
broadly published and why isn't he recognized as a sort of new
Vasari whenever he goes to a museum? Why hasn't he been elevated to
some learned society or at least sought out by young artists and
art scholars?
Yes, there is a difference between blustery private opinion and
informed art historical commentary. I guess he's trying to
intimidate my artistic intelligence as if knowledge and ability is
a detriment and because I'm not an ignorant, unread, non-seeing
dummy and that's what he fears and needs to abuse. Stupidity is
not a virtue in my world and speaking from the heart is not
lessened by knowledge and acuity. Incidentally, quite a few
artists are like me, educated and alert to art history, artist's
works both then and now, and they too can read and write as well as
paint and draw, etc. Miller shouldn't try to take me on with art
history or art in culture or impugn my studio practice from an anti-
intellectual shadow.
The turn here to anti-intellectualism is vulgar to me. Do we
encourage it?
wc
________________________________
From: Chris Miller <[email protected]>
To: [email protected]
Sent: Monday, April 6, 2009 11:21:53 AM
Subject: Re: Judging the late Titian
Explicit argument should never convince anyone (especially those
who are
serious) concerning the success or failure of a composition.
And no value, positive or negative, can accompany the recognition
of a
"well-recognized Albertian and Leonardesque triangular figural
composition and
Raphaelite "dynamic linear composition" and other tropes of
Renaissance art."
I find Mando's verbal response interesting, not because I agree
with it, but
because it's an honest expression of how he feels and we know the
kind of
work he does and how he talks about art and aesthetics.
While I find William's verbal response problematic because he is so
enmeshed
in academic authority, he's wary of contradicting it.
Indeed, I wonder whether he even allows himself to feel the work of
iconic
masters without looking over his shoulder at what the respected
authorities
have written.
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