T. J. Clark – the metabunker https://metabunker.dk by matthias wivel & friends Mon, 11 Jan 2016 20:55:56 +0000 en-US hourly 1 https://wordpress.org/?v=7.0.4 The Week https://metabunker.dk/2014/04/13/the-week-38/ Sun, 13 Apr 2014 21:54:51 +0000 http://metabunker.dk/?p=6229

The week in review

OK, I’ll try again. As should be evident, I’m not finding much time to blog these days, but I refuse to let go entirely, and who knows if times might not turn more propitious, Bunker-wise in the not-too-far future? Also, the National Gallery internet presence, which I’ve previously hinted at, is still in the works. So, not much to say right now, but I have some links to share!

  • In-depth interview with Jean-Luc Martinez, the recently appointed director of the Louvre. Excellent, critical interview in which the director at Tribune de l’art takes his time to answer Didier Rykner’s not always easy questions. In three parts: one, two, three.
  • Pharoahe Monche interviewed. Another in-depth interview, this one with one of the greatest rap lyricists. Candid and insightful.
  • T.J. Clark on Veronese’s Allegories of Love at the National Galleries. Clark takes a close look at four wonderful pictures that just happen to be on display in one of the great exhibitions of the decade right where I work. Clark does tend to go on a little long, but it is still highly worthwhile to follow his eye.
  • How Not to Make a Graphic Novel. Fine piece by Sean Michael Robinson on the creative process as it pertains to long-form comics.
  • Raphael’s Influence on Titian 1508-1520. Kiril PenuÅ¡liski examines the evidence and adds a few good observations. Now, somebody should examine more closely Titian’s influence on Raphael…
    • ]]>         The Week https://metabunker.dk/2011/11/14/the-week-5/ Mon, 14 Nov 2011 00:55:19 +0000 http://metabunker.dk/?p=3710

    The week in review.

    Another fine week. Spent a few days in London for work and had the chance to see a number of the exhibitions on display there. I will return to the landmark Leonardo show at the National Gallery presently and hopefully also to the eye-opening Degas show at the Royal Academy, and perhaps even the enjoyable John Martin retrospective at the Tate. Here, however, I just wanted to attach a few words to the Gerhard Richter retrospective at the Modern.

    Extremely well-received critically as well as commercially, Richter is no doubt one of the heavy hitters of contemporary painting. It is easy to see why. Clearly an intelligent artist, he speaks directly to central aspects of postmodern discourse, engaging in his work trauma (the Holocaust) and ideological violence (Rote Armee Fraktion), art history (from Titian to Mondrian), as well — and most essentially — his own medium. His art, which merges the techniques of photography and painting in innovative ways and alternately emphasizes and suppresses the author’s hand simply screams META!

    Essentially, however, he is a purveyor of kitsch. Yes, he can emulate strikingly the look of a photograph, but beyond the theoretical reception his subversion of mechanical reproduction enables, these pictures are self-importantm, dim reiterations of his paragons, from Friedrich, Redon and Hammershøi to Duchamp and De Kooning. Gimmicky but decorative — hi-fi bank art, fit for the transnational corporate penthouse. Where he really shows his hand, however, is in his abstract art, particularly his squeegee paintings. Loud and garish, they lack any real sense of color or expressive touch. The work of an intellectual, not a painter.

    The week’s links:

  • Not really a recommendation, but the distinguished T. J. Clark provides a lengthy counterargument to my little rant above in this panegyric to Ricther.
  • R. Fiore on Will Eisner’s instructional comics for PS Magazine. The Comics Journal‘s venerable critic is in fine form here in this essay on one of the puzzles of Eisner’s career.
  • The legendary hip hop producer marks the sad passing this week of golden age great Heavy D with a great mix of testimonials (and often rare) gems from the Hevster’s career.

    • Above: Gerhard Richter, Cage 4 (2006).

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