Sep 25, 2014

Gropius Thingperson on Why Your House Is Ugly and You Should Buy More Abstract Art

The following is taken from Gropius Thingperson’s monograph, The Stillness Between Seconds: From Bacon to Bacon.

“When Torquemada invented the CIA in the late Middle Ages, nobody could have imagined the prominent role this organization came to play in the twentieth century as a patron of the arts.


“Unlauded, perhaps, but no less relevant to the rise of eminent figures such as Jackson Pollock or Poppy Breckenridge (not to be confused with the psychiatric nurse of the same name), the CIA, more than the SPCA or the NAACP or the NEA, found itself, during the Cold War, invested in the role of tastemaker. (…)

“So freedom of speech (…) and its consequences (…) ultimately lead to a perception of the canvas that deals away with narrative space altogether in favor of (…) a reinvention, a post-Foucaultian reconfiguration of the blank rectangle as privileged (…) receptacle for the artist’s non-verbal (…) deconstructivism in the purest, most Todorovian sense. (…)

“With that in mind, let us proceed with a first look at the objects of our analysis.

Greg Gong, Untitled

“The interplay of tones disguises a subtle assault on commonly-accepted semiotic strategies, defying notions of perception as the starting point for the construction of meaning. In other words, it is as though you had to dress in bloody shark skins to go grocery shopping, and everyone around you just assumed that you were, as a consequence, this unrepentant carnivorous capitalist.

Yoshitaka Iwamoto, Untitled (Quiet Current)

“A fierce deconstruction of societal loci that we ignore at our peril. It examines the downplayed role of vacancy in communicative strategies, which Roman Jakobson was terrified of, to the point that he came up with a function of language simply to dispel that vacancy. By deploying color in a methodical fashion, filling in the blanks with a kind of regimented indiscipline, the artist comments on the ridiculousness of precision in an age where machines can make exact copies of themselves — and therefore builds a meticulous apologia of the human-as-anti-machine by aping the precision of machines while mocking it at the same time.

Kerri Blackman, It's Just the Black Road

“Originally intended as commentary on the Irish Potato Famine, this powerful piece embodies every post-modern longing for the reconstruction of etiological integrity. In everyday parlance, we deplore the transformation of the media landscape into a moral kaleidoscope where every choice is equivalent, except for the ones that do not present themselves. As a meditation on censorship, Blackman’s bold if rudimentary exertions pollute the canvas with the afterbirth of a thousand attempts to silence divergent opinion, which produces the ironic effect (we speak of DeManian irony, obviously) of a turning-against-self, an inversion of the Dasein, something which, paradoxically, the systemic monolith does not desire either, for it does away with the illusion of self that sustains it and pervades every interstice of our consensus reinforcement mechanisms.”


1. I (John Magnet Bell, not Gropius) wrote all my "analysis" completely blind. I hadn't decided which paintings to use in this blog post.
2. Neither of the Poppy Breckenridges is a real person, that I know of.
3. I'm not attempting to parody anybody in particular.
4. The 3 paintings are drawn from my growing Pinterest board of abstract art.

No comments:

Post a Comment