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Re: [BKARTS] Book Art Criticism



After all, is it not the wealth of information, that are seen in these
recent discussions, the content that fill our books?!

On 1/22/06, Richard Minsky <minsky@xxxxxxxxxx> wrote:
>
> I agree with Paul B that the relationship of an artist's work to
> politics, war, and religion is appropriate to this list. And with
> Paul W's observation that NY style discussion is not for all.
>
> Book_Arts-L is not all about how to make an N-guard binding or what
> adhesive to use on Mylar. These technical details are important to
> share, but the great thing about this list is that we do discuss the
> philosophical foundations of what we do. And criticism is SO lacking
> in this field that I am thrilled to see people like Sally Jackson,
> Cari Ferraro, Lavinia Adler, James Tapley and Paul T Werner voice
> their opinions.
>
> When things get out of hand our leader does pull the plug on
> offenders. The current discussion is not yet over the top in
> offensiveness, though it clearly has evoked the passion of several
> contributors. Some people think Pepper's work is lacking in skill and
> discipline, others see it as refreshingly spontaneous. It certainly
> has spawned discussion of  some broader underlying issues.
>
> I love a good rant, and am prone to them. Albert M. Fine, the grand
> master of rant and First Majority Cosmic Elder Consciousness, was the
> artist in residence at the Center for Book Arts for two years. Walter
> Hamady and Henry Morris gave back-to-back rants at a CBA conference.
> Henry's "Song of Solomonitis" rant was a classic.
>
> Hiding your opinion or trying to make everything nice for everyone
> all the time does not advance the culture.
>
> We're talking about art and artists here, not children. If someone
> presents themselves in public as an artist, they should be treated as
> an adult. If you want to be kind to an artist whose work sucks, let
> them know. And  be specific about what the problem is. If their skin
> is so thin that they have a nervous breakdown about it maybe they
> shouldn't be showing it in public. The artist can decide whether the
> criticism has merit.  And through the criticism we learn more about
> the critic, and about ourselves.
>
> To discuss the relationships of an artist's work to religion,
> philosophy, or craft discipline certainly are reasonable areas of
> discussion here, and perhaps the word should be ESSENTIAL areas of
> discussion.
>
> Let's remember that James Pepper brought up the issue of the
> relationship of his work to the tradition of religious iconography,
> and the work IS a religious text. To leave religion out of the
> discussion would be absurd.  And contributors delved further into
> this-- the craft and art traditions of religious calligraphy, the
> economics of scribedom,  the relationships between religion, art, and
> politics. Aesthetics and ethics are closely interwoven.
>
> I was brought up with the dictum that one doesn't discuss politics or
> religion at the dinner table. Perhaps those who have sensitive
> stomachs should not read this list at meal times.
>
> --
> Richard
> http://minsky.com
>
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> Now Online - The Bonefolder, Vol. 2, No. 1 at <
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>             For all your subscription questions, go to the
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>
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>



--
Paul Bettinson
Postboks 4703 Sofienberg
0506 Oslo
Norway
Tel: 0047 99534993
http://ncfab.org
---

             ***********************************************
Now Online - The Bonefolder, Vol. 2, No. 1 at <http://www.philobiblon.com/bonefolder>
                                    
             For all your subscription questions, go to the
                      Book_Arts-L FAQ and Archive.
                                    
          See <http://www.philobiblon.com> for full information
             ***********************************************


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