Dangerous Situations In The Odyssey

Tuesday, November 2, 2021 11:24:10 AM

Dangerous Situations In The Odyssey



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Elite Dangerous: Odyssey (PC) - Review In 3 Minutes

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I've been kind of doing it myself with my partner, Leon Golub, for many, many years, but now [it] is suddenly at odds and alienated in a sense from the Minimalist structure that has been so prevalent— dying now, really— in New York City. And I want to talk, too, about my position as a woman artist in what I think is essentially a really male kind of [art]. And the society is really ready to accept or even embrace, in certain instances—you know, like [Egon] Schiele—even nastiness, even maybe some of this punk art, which is very lively, aggressive, and titillating, let's say, to people who haven't been thinking in this mode.

But I think that it is in the male, the classic male, mode you see, and that the female voice has hardly been allowed to emerge from all this, except maybe in the traditional way. You know, in the more quiet ways, a woman sitting in the corner knitting or, you know, making pretty pictures and designs. And that's great, but a woman really can't participate to the full extent.

You know, I think it's related, too, in a way, to a very macho, punk, New Wave attitude. As for myself, my work has always been very aggressive, and since , when I suddenly became aggressive, combining politics, realizing that the Vietnam War was entering my consciousness, that I was tired of painting the way I had been painting. And I fused sexual imagery with the symbols of power, with the symbol of the bomb and the helicopter in Vietnam, to produce kind of an agonizing, very, very angry attack on power with these and the symbols of war. I can't tell you how much trouble I've had with this work. I have never shown it as a whole. I have barely shown it at all. It came at the time of minimalism, which is in total contradiction to what I have been doing.

So I speak as a woman, as a woman artist, and as a loner, in conjunction, of course, with Golub—but we have been doing this stuff for I won't tell you how many years. Natalie Edgar : My career started in abstract expressionism—I studied with Ad Reinhardt and Rothko, who are often said to be part of the abstract expressionist group. And then, later on, I went to Columbia, and I studied with Meyer Schapiro, and I heard about another kind of expressionism—the Munch-type, German expressionism. So it became apparent to me that there were two kinds of expressionism, one was more circumscribed within the personality, and the other one was more involved, as you've pointed out, with the world.

And in it, a quote came up in which [an artist] said that he could tell if you were an expressionist by the way you painted a telephone wire. But if you're an expressionist, you have to think about all the things that go on in the wire—you think about the pain and the emergency situations, the conniving, all these terrible things that go on on the telephone, the anguish, the arguing, the love story—all this goes on a telephone wire. He does not paint it as a straight thin line. He paints it thick and thin; he paints it with a lot of color, with a lot of weight. He is showing his reaction to an object in the world, and in some way, he communicates his personal reaction to you. The telephone wire, I think, is an interesting metaphor.

By the way, to me, Van Gogh is the father of it all. I mean, if I said, who's the expressionist , I would go back to Van Gogh. I think today there's a new element of expressionism. But I could go on to that later on—I'd like to talk about what I think are some modern currents of expressionism next time around. Ana Mendieta : I would like to say first my position of why I'm on this panel, because I feel that my work embodies a lot of expressionistic tendencies, in that it's very emotional, which is something I think Nancy sort of touched on. But I like to connect the word expressionism to emotionalism as well. I also feel that the reason that I'm an artist is because I really have had no choice.

Earlier in my life, I decided that I would be either a criminal or an artist, because making art for me personally is an anti-social activity. I was very angry to be in this culture, to be put into this culture—American culture. And I needed to express this anger, which has taken on other qualities along the way. But I think that in terms of what is happening within the art world today—I mean, in terms of what is around, the galas and things—I think that women's art that has included autobiographical material is not necessarily expressionistic at all.

I tend to see that as narcissist[ic] more than expressionistic, because it's really not a reaction to , but it's sort of more looking at the self. It's not really humanistic in the way that I think expressionism is in general—dealing with humanity at large. I think it's work that is very dangerous for a lot of people to deal with because they cannot deal with these emotional aspects of the work. Joseph S. Lewis III : I've been trying to deal with the idea of content , context , and a variable I'll call action in my work. One of the reasons why I'm in the art field [is] to remain sweet. Going through a very rigorous academic tradition and being involved with academic or commercia-type artists [in] about really started to turn my stomach.

I was doing some, you know, very nice landscapes and pretty straightforward stuff, but what happened was that instead of trying to make some kind of statement with my work, to make a particular point, I found myself veering out into these real eclectic esoterica. And I had fun doing it, but what happened to me was that I became very bitter [about] being lumped into a non-existing group of artists, i. I found myself being, like, almost dejected in myself because of that, so I started trying to do these things—indirect associative social commentary.

And Shangri-La was really a breakaway piece for me. A very dangerous piece to do as well. And I found myself thriving on that fringe point of being, when your life is actually involved with your work to the point where you can be seriously reprimanded for doing what you're doing. You know what I'm saying. I mean, just putting the paint on the wall. And this other, like, academic and self-serving type situation, really bothers me. So that's why I feel that I'm an expressionist, although I'm not sure exactly what the hell I'm doing. Murry : Masami, I wanted to ask you in response to his comments on performance art, how you, as a performance artist, see expressionism, if at all?

Masami Masud a: I really don't know why I'm here to talk about expressionism, but I can, we can, talk about art. Masuda : I don't like to talk art scene, art history. Or, people who like art, in a gallery. You see? Just me. So, that's how I feel about it. Peter Passuntino : Like Masami, I'm not quite sure why I'm here either, because I have mixed feelings about expressionism. My feeling about expressionism is that it's, it's something that weaves in and out of an artist's entire career.

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