05w21:3 The Artistic Stereotype

by timothy. 0 Comments

Good Reads Mailing List | 2005 week 21 number 3 (the artistic stereotype)


Face to face with Freud | John Cornwell
“In the early days of his success half a century ago, Lucian Freud was a charismatic playboy, a lady-killer with an Alvis. He mixed as easily with Soho lowlife as with Mayfair toffs. Frail now, stick-thin, stooped, his face bloodless, his nose like a hawk’s bill, I see him shuffling up Holland Park Avenue to Lidgate, the bespoke butchers, to buy steaks for the whippet; woodcock, quail and snipe for his human sitters. In crumpled chinos and laceless trainers, a thin grey scarf around his collarless neck, there’s more than a hint of old Steptoe. Yet with an income estimated in 2003 as £12m a year, he is twice as rich as Robbie Williams, they say, and despite the geriatric grunginess, he can still mesmerise women old enough to be his granddaughters. At 79 he was dating a 27-year-old called Emily Bearn. His latest self-portrait (on show at the National Portrait Gallery) reveals a naked young woman, identified as one Alexandra Williams-Wynn, the 32-year-old daughter of a Welsh landowner and baronet. Her ankles are wrapped around his right leg; her left hand wanders, it seems, towards his fly; or is it his pocket?”Note: a very good read which nonetheless indulges in the stereotype of artist as womanising bad-boy

The Canadian Art Foundation’s Symposium | Timothy Comeau
“On Saturday afternoon, a panel discussion was held around the question of ‘imaging the artist’, consisting of Myfanwy MacLeod (an artist from Vancouver), Mark Kingwell (the U of T prof), Michael Blackwood (the filmmaker), and Vera Frenkel (an artist from Toronto), moderated by Richard Rhodes, editor of Canadian Art magazine. It was an attempt to look at how artists tend to be represented in the media. Richard Rhodes introduced the topic with a little essay in which he described watching Lust for Life as a 14 year old one evening in Winnipeg during a snowstorm, and the images of the movie stars and the south of France during that winter night made an impression furthered by subsequently seeing a depiction of Michelangelo by Charlton Heston as an heroic worker in The Agony and the Ecstasy. Rhodes admitted these impressions of artists as glorious and heroic influenced and confused him for years and I think it’s fair to say that we’ve all gone through that. Sarah Milroy, in her pre-review of the film series in last Friday’s Globe and Mail, stated that she has never been flung on a filthy studio mattress and been ravaged by any of the artists she’s interviewed, and yet, year after year, artist’s biopics are made which depict them in this way. But to be fair, the biopics are made on artists who did behave that way.”

Modern, Postmodern, Altermodern? | Nicolas Bourriaud
Note: not really a goodread, at least not yet, but here FYI, for he brings up the idea of creolization which I write about in the symposium review; this is an abstract to a paper he will be delivering in Australia this July

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emailed by Timothy on Wednesday 25 May 2005 @ 1:44 PM

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