Claudio's Thesis - QUICKNOTES: Difference between revisions
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[[File:Screenshot 2023-11-23 at 10.18.43.png|frameless|823x823px]] | |||
(an LCD screen filmed very very close) | |||
[[File:Screenshot 2023-11-23 at 10.19.04.png|frameless|821x821px]] | |||
(De Rotterdam's façade filmed form the Erasmus bridge) | |||
sketch 1 https://youtu.be/ac1rEIsvwpA | |||
sketch 2 https://youtu.be/IVagyN1DFVs | |||
[[File:2919 Web1.jpg|frameless|670x670px]] | |||
(Agnes Martin, ''Wood I'', 1963 Watercolor and graphite on paper, 15 x 15 1/2 inches (38.1 x 39.4 cm)) | |||
[[File:1806 Web1.jpg|frameless|826x826px]] | |||
(Agnes Martin, ''Aspiration'', 1960 Ink on paper, 11 3/4 x 9 3/8 inches (29.8 x 23.8 cm) ) | |||
a refusal to make a fetish of the final “work” - to operate almost exclusively on the level of the sketch. - what is the value of this stance as an artist? | a refusal to make a fetish of the final “work” - to operate almost exclusively on the level of the sketch. - what is the value of this stance as an artist? | ||
Revision as of 10:34, 23 November 2023
(an LCD screen filmed very very close)
(De Rotterdam's façade filmed form the Erasmus bridge)
sketch 1 https://youtu.be/ac1rEIsvwpA
sketch 2 https://youtu.be/IVagyN1DFVs
(Agnes Martin, Wood I, 1963 Watercolor and graphite on paper, 15 x 15 1/2 inches (38.1 x 39.4 cm))
(Agnes Martin, Aspiration, 1960 Ink on paper, 11 3/4 x 9 3/8 inches (29.8 x 23.8 cm) )
a refusal to make a fetish of the final “work” - to operate almost exclusively on the level of the sketch. - what is the value of this stance as an artist?