Hi! I am a super fan of Richard Serra! I watched your video and interpretation of Serra's work! I liked it! I would like to use your video and post it to my website and flicker page. My name is Xavier Fumat, I was Serra's print maker and project collaborator at Gemini GEL for 25 years. Would like to talk with you and discuss thoughts about RS! Please, reply! X
it’s because the channel was hidden for a bit, lost all the subs but I am still hoping they magically come back. youtube is mysterious. thanks for watching :)
Very interesting video, keep up the great series on color. However, I think it would have been fair and interesting to talk about the social and anthropological construction of the color white. In contemporary art, there's also a deeply political treatment of this color - white whiteness in opposition to black and its role in contemporary issues of racism and colonialism. It's not a taboo subject, but you've chosen to ignore it. Thank you !
@@Evaaugustine97 Hi Eva, thank you for watching and for your thoughts. I did think about this and you are right, I chose not to include it because I personally did not think it was something I should brush over within a video that is meant to be mostly on the visual sensation of white, in other words, it felt worse to mention it without really addressing it than to not mention it at all, however I do understand that it was a fine line/could go either way. Anyway thanks so much for being here and I will consider this feedback for future episodes should I do more :)
First of your work that I have watched - thankyou. I am trying to characterise why I responded to it so easily, naturally, strongly. Perhaps that so much of what you communicate is how and why things make you feel in contrast to what and why they make you think. There is sense of the magical, an invitation to notice and marvel at The Mystery that arrests us in every encounter with Art. A sense of stepping through the archway that opens after engaging at length with the gift of an artist. Loved it. Ah - of course! - the video is art. Thankyou - 🙏🏻🌼🙏🏻
I watched a few of those interviews with Charlie Rose. When The Charlie Rose show was one of the few places you could see contemporary art interviews. The other being Sunday Morning on CBS. Before RU-vid.
This video is a fresh of breath air, seems a lot of video essays end up becoming this Wikipedia skimming fact bubbles that don't really say anything, i like how passionate you are about the topic and how you add an anecdotal layer that helps really explore a different perspective to cy twombly's art. The whole video is also laid back and chill, and I like the under editing, it just feels like the perfect kind of video for these times where everyone is trying to out best everyone else in the attention market.
Very interesting. Your talk reminds me of a play by Yasmina Reza titled Art. One of the characters buys a completely white painting. The play is about how the painting affects the relationship between the characters. It's a brilliant play.
Hey You! Thankyou for some clearly dilligent and rewarding research. Go girl. Been listening to a few of your documents whilst painting. I assume thats allowed. Just subscribed. Stay strong 🎉
My favorite shade of blue is Yves Klein blue and I'm so happy to discover this video because I learned a lot about how blue is used over time and history. Thank you 💙
Thank you. I would like to add a few more observations. White surfaces appear to increase light reflectivity. In the absence of colour, we tend to look harder for nuances of mark and surface. This seems to invite meditative or contemplative states when looking at the work. Also, as in the case of Robert Ryman, if white has been pre- determined for a series of works, then the artist can switch focus to the other aspects of making outside of colour.
Thank you so much for this insightful reply! And yes, the last sentence is on the head, and actually exactly what Ryman says in this Art21 episode I mentioned
In Cleo from 5 to 7 the two hours refer to the period between work and home - in France traditionally the period of time a man would visit his mistress before returning to the family. That netherworld between public and private defined in Cleo by her waiting on her diagnosis, her relationship with boyfriend, her view of her career and finally her conversation with the soldier. That in betweenness plays out through the body of her work often literally like in La Pointe Courte, La Bonheur, One Sings, Kung Fu. Even in more personal films The Black Panthers, Demy and JR she herself is the one in between the worlds of public and private. I love your content, research and insights (modalities is four star!) but … I’d love to see you delve deeper into the major themes/throughlines of the bodies of work you are looking at.
I worked as gallery walker for several months at the Noguchi in LIC, it was a privilege to experience his work over a length of time. Noguchi steps beyond his mentor Brancusi in putting aside style, prefigure post-modernism, but a Noguchi is always recognizable as a Noguchi. There is always a spirit or sensibility that is unmistakable. He really takes Brancusi’s ground breaking concern for presentation (one of the first modern examples if installing art) and began asking questions about human interaction with the work - the Graham theater sets, flat pack sculptures, playground and public squares, commercial industrial design and then the museum
