"Men do not know why they award fame to one work of art rather than
another." --Thomas Mann
Thomas Mann is correct. Largely because an aesthetic absolute, against which
works of art may be evaluated and placed in a heirarchy of value, does not
exist. Therefore art criticism can be nothing more than expressions of
personal preference. To which ALL--however brilliant or stupid--are
entitled.
Related to this is that virtually any work of art (or proposition, for that
matter) can be successfully defended or attacked, provided one has a
sufficient grasp of rhetoric. Smoke & mirrors, in other words.
So now on to an expression of MY personal preferences!
* * *
Peeter Vissak, Allegory. This is a powerful tactile image that leaps out
with its cold "steel-ness." But I don't quite get the allegory. Perhaps
the weak will always be overcome by the strong? Some nuts are too small to
crack?
Fletcher Jerigan. Interesting abstraction that evokes thoughts of the flag
of Japan, distant war planes in the sky, Pearl Harbor, etc. If it were
mine, I'd nudge up the brightness and contrast a bit, taking care not to
lose the texture of the boards.
D. L. Shipman. Fabulous portrait that transcends its subject. This isn't
just about primates, it's about life and relationships. Beautiful, sensuous
color. Great job.
Christiane Roh, Lausanne, Palais Rummine, October 2002. Fascinating
interplay between the girl at the table and the antelope. I'd be tempted to
clone out the figure in the upper left because it's ever so slightly
distracting. But then it's consistent with the "busyness" of the other café
patrons. Another intriguing delight from Christiane.
Karen Habbestad, pressure. The bulkiness and mass of the trees make the
overall image static. Details of the ice-covered branches are obscured by
darkness. Late afternoon winter gloom all around.
Morley Roberts, Haunted? The three strong vertical elements break this
image up into seemingly unrelated sections, creating more confusion than
interest. Cropping off the left section immediately makes the scene more
coherent.
Emily L. Ferguson, Massasoit chief. Interesting cast of light on the
sculpture. The trees in the background don't seem to contribute much to the
idea of the Native American memorial.
Dan Mitchell, Owl. Odd looking bird, isn't he?
jIMMY Harris, Hickory Nut Tree. The sense of landscape seems contradicted
by the purple abstraction.
Steven Ross, Kessock Bridge. If the bridge is the intended subject, the
rocks overwhelm it and make it entirely subordinate. This is more about
rocks than about bridge.
John Palcewski
Isola d' Ischia, Italia
Vittoria's Island, an imagenovel:
www.palcewski.com/VI
Photographically illustrated fiction:
www.palcewski.com/stories
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