IGNORE THE STUNTS - SEEK OUT THE PAINTERS.

Why have 'artists' managed to achieve fame and fortune by devising stunts whose titles have dual meanings. A cow and calf sliced in half preserved in separate tanks with the title 'Mother and Child Divided.' (Hirst) Forgotten what the shark in the tank was called. Another was Anthony Gormley who commissioned a bronze cast of his own leg and displayed it projecting from the wall of a gallery. It had to be cantileverd using a heavy weight placed on the opposite side of the wall. The latest was Tracey Emin with her 'Death Mask' cast in bronze. All of these were costly constructions and I guess the artists perhaps sent 'plans' to potential buyers to test the market before committing themselves to giving form to their concept. Fortunately it's still possible to get your hands dirty and become a millionaire. I have great respect for David Hockney whose inspiration comes from something he's seen and he's never turned away from new ways like the iPad to make pictures. Another painter I greatly admire is Gillian Ayres now in her eighties and still painting large abstract work. See more via the following link .http://www.christies.com/features/Gillian-Ayres-7247-1.aspx　

I'll ignore the trivial question about who would buy Gillian Ayres large painting s- repeated twice. Except to point out that the international art market is full of millionaires willing to indulge themselves by buying large paintings for their expensive mansions. Gillian Ayres is represented by a leading London Gallery, She has an impressive level of artistic achievement - trained at the Royal College of Art - gained full membership of the Royal Academy and has won an OBE. So I find the comment about her work; 'Good insulation at that size though.' both inappropriate and offensive. Robert thank you for your contribution. I'm pleased you enjoyed Rachael Cooke's article. Realism and Abstraction in modern times have always gone side by side. As Pat rightly points out marketing and publicity generally determine what kind of art grabs attention. That is certainly how it is with what I've called 'THE STUNTS.' For me painting is about 'seeing' and observation. The artist looks and interprets what he sees. I personally have no strong dislike of either realism or abstraction provided the artist gets his hands dirty by painting, printing, or sculpting his own interpretation of what he sees himself. Much of what passes for contemporary avant-garde art is conceptual. The largest intrusive example is "The Angel of the North."- do angels exist or are they an abstract idea. For the proposed 'angel' the 'Artist' sketches an abstract concept - puts his plans to a firm of structural and shipbuilding engineers to work out and cost how it can be made. Somebody comes up with the funds to pay for it. The 'artist' didn't lift a finger to make it. In fairness to Gormley though there are two works of art in Coventry Cathedral that were produced by outsourcing the work to specialist craftsmen. They are Graham Sutherland's altarpiece and John Piper's stained glass window. Both were well-established painters but I know little about Gormley's sculptures except they seem to be made from casts taken from his own body parts. Perhaps he needs a better publicist. 　　

Thank you for your little gem of common sense Lucy. It was refreshing to read it. Robert J. I entirely share your opinion on Sir Anthony Gormley OM's earthly Angel. On my last and only visit to this folly I found the best way of relieving the severe visual shock was to avert my gaze towards the south-west. In that direction there is a soothing and life-enhancing view across the Northern Pennines and the distant Lakeland Fells. Some members might recognise a feint hint of humour in that comment. It has a serious intention nevertheless. I'm beginning to think I live on a different artistic planet. It was my misfortune to start this thread and I don't intend to add further comment to it. I'll leave you to chat amongst yourselves.