Jack Whitten, Beloved Painter of Abstract Cosmologies, Dies at 78 -ARTnews
“Ethereal and oftentimes mystical, Whitten’s paintings came out of inquiries into philosophical, scientific, and mathematical concepts. The chipped-paint technique in the “E Stamps” works, for example, often makes his work shine, and it sprang from reading up on the physical properties of light. “We know now that light occurs in extremely small particles,” he once told ARTnews. “That’s what allows us to see—those little fucking photons bouncing around your retina, and blam-o, I can see!””
Vito Acconci, as one might expect, did not rely on any such traditional system for organizing his library. He instead arranged his books based on an idiosyncratic, all-encompassing classification system very much of his own devising. Acconci’s system begins with general ontological categories – such as ‘Time’, ‘Space’, ‘Matter’, ‘Body’, ‘Life,’ ‘Mind’ and ‘Signs’ (there are 12 such categories in all) – which then proceed to sub-divide into more particular divisions and sections. By giving primacy to the ontological over the bibliographic, Acconci’s system does away with many library classification conventions. For instance, fiction and poetry are not treated as related genres of writing and thus placed within range of each other. Instead, novels are placed in a subset of ‘Time’ (‘fiction is about turning pages, it’s about time,’ according to Acconci) while poetry is classified as a subset of ‘Body,’ along with books on dance, music and clothing – perhaps reflecting Acconci’s own early evolution from poet to performance artist. Art and architecture books are also not assumed to share a common heritage and therefore assigned proximate shelf space. Instead, architecture books belong to a subset of ‘Space,’ while art books are classified as a subset of ‘Matter.’
Source: Vito Acconci’s Library
“The progression of a painter’s work, as it travels in time from point to point, will be toward clarity: toward the elimination of all obstacles the painter and the idea, and between the idea and the observer.”
The recipe of a work of art – its ingredients – how to make it -the formula.
- There must be a clear preoccupation with death – intimations of mortality…Tragic art, romantic art, etc., deals with the knowledge of death.
- Sensuality. Our basis of being concrete about the world. it is a lustful relationship to things that exist.
- Tension. Either conflict or curbed desire.
- Irony. This is a modern ingredient – the self-effacement and examination by which a man for instant can go on to something else.
- Wit and play…for the human element.
- The ephemeral and chance…for the human element.
- Hope.10% to make the tragic concept more endurable. I measure these ingredients very carefully when I paint a picture. It is always the form that follows these elements and the picture results from the proportions of these elements.”
Mark Rothko Art Center https://www.rothkocenter.com/en/about-rothko/statement-about-art
“Jonathan McCabe is a generative artist living in Canberra, Australia. He is particularly interested in theories of natural pattern formation and their application to computer art and design.
His main site on the internet is Flickr where he uploads the results of his experiments in computer art.”
Amazing use of Turing’s reaction-diffusion equations.