talking about art is very tricky business if we were to rewind a couple
business if we were to rewind a couple
business if we were to rewind a couple of centuries ago this talk would have
of centuries ago this talk would have
of centuries ago this talk would have been I’ll be at very boring much simpler
been I’ll be at very boring much simpler
been I’ll be at very boring much simpler to do I could have just plainly said in
to do I could have just plainly said in
to do I could have just plainly said in black and white that pointed to someone
black and white that pointed to someone
black and white that pointed to someone specifically and said that this artist
specifically and said that this artist
specifically and said that this artist is the best out there this artist
is the best out there this artist
is the best out there this artist creates the best masterpieces however
creates the best masterpieces however
creates the best masterpieces however since the dawn of one art the
since the dawn of one art the
since the dawn of one art the conversation around art and artists has
conversation around art and artists has
conversation around art and artists has become very gray before the 1800s every
become very gray before the 1800s every
become very gray before the 1800s every too much work this way that an artist
too much work this way that an artist
too much work this way that an artist was approached by a commissioner and
was approached by a commissioner and
was approached by a commissioner and they were commissioned or paid to paint
they were commissioned or paid to paint
they were commissioned or paid to paint a painting that was usually a portrait
a painting that was usually a portrait
a painting that was usually a portrait of themselves and because of this art in
of themselves and because of this art in
of themselves and because of this art in the 1800’s was or before the 1800 was
the 1800’s was or before the 1800 was
the 1800’s was or before the 1800 was quite dull very boring primarily for the
quite dull very boring primarily for the
quite dull very boring primarily for the rich and very inaccessible but since the
rich and very inaccessible but since the
rich and very inaccessible but since the dawn of one art artists began
dawn of one art artists began
dawn of one art artists began experimenting with more abstract forms
experimenting with more abstract forms
experimenting with more abstract forms they started to use things like
they started to use things like
they started to use things like composition style form color to depict
composition style form color to depict
composition style form color to depict things that were much more subjective
things that were much more subjective
things that were much more subjective like moods and emotions this is a very
like moods and emotions this is a very
like moods and emotions this is a very familiar painting it’s called The Scream
familiar painting it’s called The Scream
familiar painting it’s called The Scream by Edward monk and it was painted in
by Edward monk and it was painted in
by Edward monk and it was painted in 1983 now of this painting monk says the
1983 now of this painting monk says the
1983 now of this painting monk says the following he says I was walking along a
following he says I was walking along a
following he says I was walking along a road one evening on one side lay the
road one evening on one side lay the
road one evening on one side lay the city and below me was the Ford the Sun
city and below me was the Ford the Sun
city and below me was the Ford the Sun went down the clouds were stained red as
went down the clouds were stained red as
went down the clouds were stained red as if with blood I felt as though the whole
if with blood I felt as though the whole
if with blood I felt as though the whole of nature was screaming it seemed as
of nature was screaming it seemed as
of nature was screaming it seemed as though I could hear a scream I painted
though I could hear a scream I painted
though I could hear a scream I painted that picture painting the clouds like
that picture painting the clouds like
that picture painting the clouds like real blood and the colour screamed so
real blood and the colour screamed so
real blood and the colour screamed so what does he do here he says I felt as
what does he do here he says I felt as
what does he do here he says I felt as though the whole of nature was screaming
though the whole of nature was screaming
though the whole of nature was screaming so how does he do that how does he take
so how does he do that how does he take
so how does he do that how does he take a feeling or an emotion something which
a feeling or an emotion something which
a feeling or an emotion something which is extremely which is intangible and
is extremely which is intangible and
is extremely which is intangible and chance like that he basically took the
chance like that he basically took the
chance like that he basically took the image of the Ford etc took reality
image of the Ford etc took reality
image of the Ford etc took reality altered it into some
altered it into some
altered it into some thing which is slightly more abstract
thing which is slightly more abstract
thing which is slightly more abstract but which monk felt better depict at
but which monk felt better depict at
but which monk felt better depict at that moment in time now as the years
that moment in time now as the years
that moment in time now as the years progressed artist felt less and less
progressed artist felt less and less
progressed artist felt less and less obligated to depict things as they
obligated to depict things as they
obligated to depict things as they appear and eventually we arrived at
appear and eventually we arrived at
appear and eventually we arrived at fully abstracted forms ones which do not
fully abstracted forms ones which do not
fully abstracted forms ones which do not even make the slightest of references to
even make the slightest of references to
even make the slightest of references to the real word around us artists stopped
the real word around us artists stopped
the real word around us artists stopped painting with the rise in their hands
painting with the rise in their hands
painting with the rise in their hands but with their souls and thus we arrive
but with their souls and thus we arrive
but with their souls and thus we arrive at forms like this this is a painting by
at forms like this this is a painting by
at forms like this this is a painting by Mark Rothko and for a lot of people it
Mark Rothko and for a lot of people it
Mark Rothko and for a lot of people it will fall under the category of well I
will fall under the category of well I
will fall under the category of well I could probably paint that and in fact in
could probably paint that and in fact in
could probably paint that and in fact in attempting to understand Rothko and his
attempting to understand Rothko and his
attempting to understand Rothko and his work I even tried this is me in the
work I even tried this is me in the
work I even tried this is me in the process
process
process but yeah so Mark Rothko belonged to a
but yeah so Mark Rothko belonged to a
but yeah so Mark Rothko belonged to a generation of artists who were called
generation of artists who were called
generation of artists who were called the Abstract Expressionists and although
the Abstract Expressionists and although
the Abstract Expressionists and although the movement was short-lived while it
the movement was short-lived while it
the movement was short-lived while it lasted it was groundbreaking tumultuous
lasted it was groundbreaking tumultuous
lasted it was groundbreaking tumultuous passionate romantic powerful here’s some
passionate romantic powerful here’s some
passionate romantic powerful here’s some of their other work you have Jackson
of their other work you have Jackson
of their other work you have Jackson Pollock you have out of gold liebe you
Pollock you have out of gold liebe you
Pollock you have out of gold liebe you have Barnett Newman Clifford still
have Barnett Newman Clifford still
have Barnett Newman Clifford still Robert Motherwell and Willem de Kooning
Robert Motherwell and Willem de Kooning
Robert Motherwell and Willem de Kooning and what’s special about these paintings
and what’s special about these paintings
and what’s special about these paintings is they’re not about the image that’s
is they’re not about the image that’s
is they’re not about the image that’s depicted there are a lot more about the
depicted there are a lot more about the
depicted there are a lot more about the experience of viewing a painting so what
experience of viewing a painting so what
experience of viewing a painting so what do I mean so for example for some
do I mean so for example for some
do I mean so for example for some paintings there’s this kinetic
paintings there’s this kinetic
paintings there’s this kinetic experience when you can actually feel
experience when you can actually feel
experience when you can actually feel the charged motion of the artists as
the charged motion of the artists as
the charged motion of the artists as they created a masterpiece they would
they created a masterpiece they would
they created a masterpiece they would intentionally reveal things such as
intentionally reveal things such as
intentionally reveal things such as brush strokes or the methods or the
brush strokes or the methods or the
brush strokes or the methods or the methods used in their creation so that
methods used in their creation so that
methods used in their creation so that you can feel that kinetic experience
you can feel that kinetic experience
you can feel that kinetic experience again back to Paulette for example you
again back to Paulette for example you
again back to Paulette for example you could actually see the way in which the
could actually see the way in which the
could actually see the way in which the drips would have followed the movement
drips would have followed the movement
drips would have followed the movement of his arms you can kind of imagine the
of his arms you can kind of imagine the
of his arms you can kind of imagine the way in which he danced around the canvas
way in which he danced around the canvas
way in which he danced around the canvas to create his piece whilst in others
to create his piece whilst in others
to create his piece whilst in others it’s more of a sensory experience back
it’s more of a sensory experience back
it’s more of a sensory experience back to Mark Rothko and his glowing squares
to Mark Rothko and his glowing squares
to Mark Rothko and his glowing squares the viewer is able to immerse themselves
the viewer is able to immerse themselves
the viewer is able to immerse themselves into the canvas these paintings were
into the canvas these paintings were
into the canvas these paintings were quite large this one is around three by
quite large this one is around three by
quite large this one is around three by two and a half meters and because of
two and a half meters and because of
two and a half meters and because of this the viewer can litter
this the viewer can litter
this the viewer can litter step into the painting they can feel as
step into the painting they can feel as
step into the painting they can feel as though they are in a space and they
though they are in a space and they
though they are in a space and they become sensitive to nothing other than
become sensitive to nothing other than
become sensitive to nothing other than color now that’s what it basically comes
color now that’s what it basically comes
color now that’s what it basically comes down to the experience of viewing a
down to the experience of viewing a
down to the experience of viewing a painting and there’s a lot that
painting and there’s a lot that
painting and there’s a lot that constitutes an overall experience but
constitutes an overall experience but
constitutes an overall experience but one thing that I do want to talk about
one thing that I do want to talk about
one thing that I do want to talk about is the environment in which you view a
is the environment in which you view a
is the environment in which you view a painting and two examples that will help
painting and two examples that will help
painting and two examples that will help me explain this is the Mona Lisa and the
me explain this is the Mona Lisa and the
me explain this is the Mona Lisa and the Royal Academy two personal experiences
Royal Academy two personal experiences
Royal Academy two personal experiences so for the first one the Mona Lisa it’s
so for the first one the Mona Lisa it’s
so for the first one the Mona Lisa it’s placed in the Louvre in Paris at the end
placed in the Louvre in Paris at the end
placed in the Louvre in Paris at the end of a massive room on a wall all by
of a massive room on a wall all by
of a massive room on a wall all by herself
herself
herself protected by bulletproof glass and a
protected by bulletproof glass and a
protected by bulletproof glass and a semi-circle rail that’s around five
semi-circle rail that’s around five
semi-circle rail that’s around five meters in radius the painting itself is
meters in radius the painting itself is
meters in radius the painting itself is quite small especially compared to the
quite small especially compared to the
quite small especially compared to the Abstract Expressionists and if you’re
Abstract Expressionists and if you’re
Abstract Expressionists and if you’re tough enough to push yourself past the
tough enough to push yourself past the
tough enough to push yourself past the crowds he’s likely only last a minute or
crowds he’s likely only last a minute or
crowds he’s likely only last a minute or so and because of the circumstances I’m
so and because of the circumstances I’m
so and because of the circumstances I’m describing I wasn’t really able to
describing I wasn’t really able to
describing I wasn’t really able to connect with the painting they say that
connect with the painting they say that
connect with the painting they say that once you go to see the Mona Lisa for the
once you go to see the Mona Lisa for the
once you go to see the Mona Lisa for the first time you are immediately struck by
first time you are immediately struck by
first time you are immediately struck by her beauty but in reality I wasn’t
her beauty but in reality I wasn’t
her beauty but in reality I wasn’t struck by anything other than maybe a
struck by anything other than maybe a
struck by anything other than maybe a few elbows to the ribs yeah so despite
few elbows to the ribs yeah so despite
few elbows to the ribs yeah so despite da Vinci’s masterfulness
da Vinci’s masterfulness
da Vinci’s masterfulness I couldn’t connect compare that with the
I couldn’t connect compare that with the
I couldn’t connect compare that with the Royal Academy which was a lot more calm
Royal Academy which was a lot more calm
Royal Academy which was a lot more calm and controlled they were having an
and controlled they were having an
and controlled they were having an exhibition of the Abstract
exhibition of the Abstract
exhibition of the Abstract Expressionists actually it ended quite
Expressionists actually it ended quite
Expressionists actually it ended quite recently in January of this year and my
recently in January of this year and my
recently in January of this year and my favorite in that exhibition was this
favorite in that exhibition was this
favorite in that exhibition was this piece right here this is called blue
piece right here this is called blue
piece right here this is called blue poles by Mark Rothko and for me this
poles by Mark Rothko and for me this
poles by Mark Rothko and for me this painting is about the rhythm there’s
painting is about the rhythm there’s
painting is about the rhythm there’s this sort of mayhem in the drips in the
this sort of mayhem in the drips in the
this sort of mayhem in the drips in the background a little bit like a layered
background a little bit like a layered
background a little bit like a layered piece of music very chaotic and then
piece of music very chaotic and then
piece of music very chaotic and then it’s interrupted by a steady beating
it’s interrupted by a steady beating
it’s interrupted by a steady beating drum from the blue vertical lines if we
drum from the blue vertical lines if we
drum from the blue vertical lines if we are to compare these two paintings if we
are to compare these two paintings if we
are to compare these two paintings if we are to compare the Mona Lisa and blue
are to compare the Mona Lisa and blue
are to compare the Mona Lisa and blue poles one is a portrait of a woman that
poles one is a portrait of a woman that
poles one is a portrait of a woman that depict depicted quite realistically and
depict depicted quite realistically and
depict depicted quite realistically and the other is fully abstracted what cinge
the other is fully abstracted what cinge
the other is fully abstracted what cinge is that I end up preferring the latter I
is that I end up preferring the latter I
is that I end up preferring the latter I end up referring this one loopholes and
end up referring this one loopholes and
end up referring this one loopholes and part of the reason not wholly is because
part of the reason not wholly is because
part of the reason not wholly is because of the environment in which I viewed
of the environment in which I viewed
of the environment in which I viewed this painting there could be a lot of
this painting there could be a lot of
this painting there could be a lot of other reasons but the environment was a
other reasons but the environment was a
other reasons but the environment was a big factor now I won’t lie despite
big factor now I won’t lie despite
big factor now I won’t lie despite falling in love with this piece
falling in love with this piece
falling in love with this piece the hrothgar’s that I saw that day
the hrothgar’s that I saw that day
the hrothgar’s that I saw that day despite reading so much about them
despite reading so much about them
despite reading so much about them despite hearing about people actually
despite hearing about people actually
despite hearing about people actually breaking down and crying in front of his
breaking down and crying in front of his
breaking down and crying in front of his work whilst I could appreciate them I
work whilst I could appreciate them I
work whilst I could appreciate them I just didn’t like them and the point in
just didn’t like them and the point in
just didn’t like them and the point in saying this is that to get the message
saying this is that to get the message
saying this is that to get the message across that it’s completely okay for you
across that it’s completely okay for you
across that it’s completely okay for you to dislike or it for you to not
to dislike or it for you to not
to dislike or it for you to not understand it for you to not get it but
understand it for you to not get it but
understand it for you to not get it but keep this in mind Clement Greenberg who
keep this in mind Clement Greenberg who
keep this in mind Clement Greenberg who was a very famous architect he was very
was a very famous architect he was very
was a very famous architect he was very important to the Abstract Expressionists
important to the Abstract Expressionists
important to the Abstract Expressionists at the time he said that all profound
at the time he said that all profound
at the time he said that all profound art is ugly at first and in fact I was
art is ugly at first and in fact I was
art is ugly at first and in fact I was one of those people who would mock
one of those people who would mock
one of those people who would mock abstract art especially because of how
abstract art especially because of how
abstract art especially because of how well it does in the art market I could
well it does in the art market I could
well it does in the art market I could not understand the concept of something
not understand the concept of something
not understand the concept of something that seems so easily reproducible how
that seems so easily reproducible how
that seems so easily reproducible how that could have such a high monetary
that could have such a high monetary
that could have such a high monetary value that’s kind of how I stumbled upon
value that’s kind of how I stumbled upon
value that’s kind of how I stumbled upon Mark Rothko actually I was looking for
Mark Rothko actually I was looking for
Mark Rothko actually I was looking for something to make fun of but along the
something to make fun of but along the
something to make fun of but along the way I learned to change my perspective I
way I learned to change my perspective I
way I learned to change my perspective I learned to look at art in a different
learned to look at art in a different
learned to look at art in a different way and that’s my message to you is to
way and that’s my message to you is to
way and that’s my message to you is to be open-minded especially to the art
be open-minded especially to the art
be open-minded especially to the art that you don’t understand and who knows
that you don’t understand and who knows
that you don’t understand and who knows what you might find along the way thank
what you might find along the way thank
what you might find along the way thank you very much
you very much
you very much [Applause]
[Applause]
[Applause] [Music]
”
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