Unreal Nature

May 22, 2016

Bringing to Life

Filed under: Uncategorized — unrealnature @ 5:50 am

… “Yeah, that’s something human. Why didn’t I think of that?”

This is from ‘Semina Motuum’ by Heiner Bastian (1991) found in Writings on Cy Twombly edited by Nicola Del Roscio (2002):

… What we see is only an effect which transforms the object into the transitive state of the idea. As paradoxical as this claim may be, this idea of bringing to life, the act of initiation wants to be part of life itself, speaks itself more about life than about all the modes of drawing. In this work as in scarcely any other the perception becomes apparent that tragedy between life and art is a fury on the side of life.

… The ductus is crossed out, it is nothing but “revolt” (it is the graphic stroke of children when they vehemently cross out and cover the alien writing of the factual).

The following is from a conversation among various artists moderated by Kirk Varnedoe in 1994, called ‘Cy Twombly: An Artist’s Artist’ (1994):

[ … ]

Richard Serra: … The thing I that I admire about Twombly, and he said it best himself, and I think I’d better quote it because the quote’s better than anything I could possibly say: “Each line now is the actual experience with its own innate history. It does not illustrate, it is the sensation of its own realization. The imagery is of a private or separate indulgence, rather than of an abstract totality of visual perception.” So what he is telling you is that every line he makes counts. It counts for its own definition as a thing in and of itself; not to build other things.

… I think it is what is good about him, that he can put it in your face in a terrible way and make you love it. He can be very, very ugly and he can be very, very sensuous. I think Twombly has a big range of evocation. I think that is what he does. He doesn’t present an image; he evokes a sensuality.

[ … ]

Julian Schnabel: … I think everybody that paints is trying to paint something that they haven’t seen before, or that is personal to them in some kind of way. I think the biggest problem with most painting is that people paint paintings that are general. I see things in them and I see where everything comes from. But here [in the Twomblys], you can see a certain kind of mark making, and you just sort of recognize that, “Yeah, that’s something human. Why didn’t I think of that?” It is very hard to find that in any [other] painting that you look at.

My most recent previous post from this book is here.




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