Monthly Archives: February 2017

after the revolution

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[ Kuzma Petrov-Vodkin, Fantasy, 1925, State Russian Museum, St. Petersburg]

Looking forward to seeing this show at the Royal Academy tomorrow. I’ve been to the great Russian art museums many times and am familiar with much of this work so it will be like seeing old friends, without the vodka. I’m a particular fan of the symbolist painter Kuzma Petrov-Vodkin.

I had a friend in St Petersburg who used to have to paint Lenins for a living, back in the Soviet Union. He had to do it, he got a salary from the government to paint Lenin all day. Every building in the land had to have at least one Lenin pinitng. Obviously he gave that up after the end of the cold war, when nobody wanted Lenins anymore. Later his work was quite a bit more like Petrov-Vodkin’s, highly symbolic.

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ABSTRACTION

Robert Linsley, “Turning Away”

“Art exists entirely within the social realm, since even to see an object as art requires some social training, namely an understanding and acceptance of conventions, and abstraction has made this fact more evident by separating art from many of its social roles. But the entirely interior space of art has a hole that lets in the air—sometimes the cold wind—of the world outside.”

 

http://tripleampersand.org/turning-away/

A fascinating article about abstraction in the present; I am fascinated by the possibilities for abstraction in cinema (not ‘abstract cinema’ but the way abstraction can be used IN narrative film an a sensorial element)… Bernard Rose’s Boxing Day is a good one, also the abstraction created by bokeh in Locke, and the opening of Enter the Void … but it’s little used because I think film makers don’t understand it well enough. I wrote about abstraction in Art History for Filmmakers  but should probably develop it a bit more.

Unfortunately I was led to this superb article  by a FB post about Robert Linsley’s death. Although I never met him, I feel the loss, after reading this eloquent and thoughtful essay.

night-palette

[Night Palette – photograph ©2016 Gillian Mciver]

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