I only missed two. And I recognized that damn Rothko.
I think he's a fraud, by the way, but I'm starting to think he's kind of a compelling fraud. If only his paintings weren't THE SIZE OF MY APARTMENT, I could take him more seriously.
Is Rothko a "fraud"? Can there be a "fraud" in art? Deep questions!!!11!1!11!!!!!
I am on summer vacation, so I will indulge in some armchair art-history to definitively answer these questions once and for allModernity is often understood as a time---or a process---of fragmentation: of social forms, of identities, of discourses, etc. As people lost confidence in social forms whose legitimacy derived solely from tradition, they started to look for other ways of fundamentally grounding their lives---they began to search for the foundational principles of all things. This search for foundations demanded a sloughing off of anything that might be considered historically contingent or extraneous, leaving only what is truly "necessary
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There are two ends of an artistic pursuit, though, are there not? There's the intention of the artist, and the reaction of the viewer. Surely it's not just the artist or the museum who authorizes a work as art - neither entity would exist in any meaningful form without an audience
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Of course you're entirely right about the role of the viewer and the utter desolation represented by Good Charlotte. My comment wasn't meant to be much more serious than yours, as I had hoped the string of 1's and !'s would indicate. (!!11!!!1
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For the record, I also got a 92%, and I'm usually one of those damn barbarians insisting, "I could have made that in kindergarten." The fakes were, well, not good.
Also, there is the problem that several of them were very recognizable, at least to me. If you've ever seen a Mondrian, Albers, or Rothko, they're dead giveaways, and the Kandinsky and Klee weren't too hard either.
Comments 14
I think he's a fraud, by the way, but I'm starting to think he's kind of a compelling fraud. If only his paintings weren't THE SIZE OF MY APARTMENT, I could take him more seriously.
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I am on summer vacation, so I will indulge in some armchair art-history to definitively answer these questions once and for allModernity is often understood as a time---or a process---of fragmentation: of social forms, of identities, of discourses, etc. As people lost confidence in social forms whose legitimacy derived solely from tradition, they started to look for other ways of fundamentally grounding their lives---they began to search for the foundational principles of all things. This search for foundations demanded a sloughing off of anything that might be considered historically contingent or extraneous, leaving only what is truly "necessary ( ... )
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