BALSE NEWSLETTER 023

 
 



Two weeks, at Balse.

precious, is time to yourself

if you can be true to yourself

that is

we all know this

so the question becomes

how

how do you

how can I

be

true to myself

and what is true?

this work

of art

that is

to think freely

think deeply

to study vastly.

enough.

The fashionable kind Kali Uchis - ¿Cómo Así?

More coucou - COUCOU CHLOE - POKERFACE

more snow strippers - SNOW STRIPPERS - UNDER YOUR SPELL #SURFGANG

NNHMN - Hungrige Liebe

researching - REI KAWAKUBO - COMME des GARCONS

The Intersection Of Fashion And Performance Art.

what is conceptual art, on bbc? - WHOS AFRAID OF CONCEPTUAL ART | BBC DOCUMENTARY | 2016 HD

the proper, KOMPAKT - Heiko Voss - Talking Man (Ada Mix) - Kompakt

the very proper - COMPUTER DATA-healing

magic man - NNHMN

the lovely- Isaac Delusion — Let her go ft. LUCASV

is it to live gut feeling?

in a way?

sound, a fascinating thing

place, to place day to day,

change, in the same old way

spend time, some life, tries to catch the shade….

recording memories,

till next time.

Charles A. Balse

 
 

Words of Wisdom

  • History of Modern Art, seventh edition, H.H. Arnason Elizabeth C. Mansfield, Chapter 1, page 4

    The emphasis on emulation as opposed to novelty begun to lose ground toward the end of the eighteenth century when a new weight was given to artistic invention. Increasingly, invention was linked with imagination, that is to say, with the artist’s unique vision, a vision unconstrained by academic practice and freed from the pictorial conventions that had been obeyed since the Renaissance. This new attitude underlies the aesthetic interests of Romanticism. Arising in the last years of the eighteenth century and exerting its influence well into the nineteenth, Romanticism exalted humanity's capacity for emotion. In music, literature, and the visual arts, Romanticism is typified by an insistence on subjectivity and novelty. Today, few would argue that art is the simply the consequence of creative genius. Romantic artists and theorists, however, understood art to be the expression of and individual’s will to create rather than a product of particular cultural as well as personal values. Genius, for the Romantics, was something possessed innately by the artist: It could not be learned or acquired. To express genius, then, the Romantic artist had to resist academic emulation and instead turn inward, toward making pure imagination visible. The British painter and printmaker William Blake (1757-1827) typifies this approach to creativity.

  • AKADEMIE X LESSONS IN ART + LIFE

    LESSON 18

    TUTOR: Chris Kraus

    Page 170

    Whereas modernism believed that the artist’s life held all the magic keys to reading works of art, neo-conceptualism has cooled this off and corporatized it. The artist’s own biography doesn’t matter much at all. What life? The blanker the better. The life experience of the artist, if channeled into the artwork, can only impede art’s neo-corporate, neo-Conceptual purpose. It is the biography of the institution that we want to read. 


    Reviewing dOCUMENTA (13) in New York Magazine, Jerry Saltz coins the term ‘Post Art’ to describe work that ‘doesn’t even see art as separate from living…things that aren’t artworks so much as they are about the drive to make things that, like ar, embed imagination in material and grasp that creativity is a cosmic force…A chemist or a general may be making Post Art every day at the office.”

 
 

Main Studies

 
 
 

APPENDIX:

 


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