Sobre El Autor
Obras de Michael G. Dyer
Etiquetado
Conocimiento común
- Género
- male
Miembros
Reseñas
Image vs Artifact in Contemporary Art por Michael Dyer
Esta reseña ha sido escrita para Sorteo de miembros LibraryThing.
For me, this was a very unconventional book about contemporary art. However, that is not to say that it was a bad book. Not at all, in fact. There were a lots of facts and figures thrown at the reader, but that is merely the author proving his point. It was very interesting to read why some pieces of art are able to fetch a much higher price tag than other similar counterparts. The author explains precisely why in a way that thoroughly breaks it down.
Esta reseña ha sido escrita para Sorteo de miembros LibraryThing.
Received this very insightful book about Contemporary Art just as the Holidays was just beginning. So it took me awhile to finish reading it. Once I had time to sit down and read this book I was very impressed with his writings. I also never understood why something that looked like a 5 year old had painted would sale for so much money. What an eye opener I had once it was explained to me. I now have respect for these artist and take time to enjoy them when I happen to see them in homes.
Esta reseña ha sido escrita para Sorteo de miembros LibraryThing.
I thought to read this book first, as I received two around the same time, and this was shorter. Mistake on my part. Lots of information here, mostly in the author's point of view.
I do think it would be a great book for someone studying or majoring in Art.
I was a bit much for me.
I do think it would be a great book for someone studying or majoring in Art.
I was a bit much for me.
Image Vs Artifact aims to separate the artistic value from the product value. This is an age-old argument of taste and skill vs fame and scarcity. With puzzling modern art selling for millions, Dyer seeks to delineate and separate them once and for all, so we are no longer fooled. He tears down op art, pop art and installations, basically classifying them as money making scams (without actually saying that. He is far more polite than I) of little or no artistic value.
Dyer has discovered that the image in a painting is last and least among the factors for success. That we live in an age of recognition and celebrity, where anything produced by a Kardashian or by Andy Warhol’s factory is valuable, regardless of its quality. That worthy pieces go unrecognized, while worthless pieces get auctioned for millions.
He spends a great deal of space comparing art to music. He thinks music is much cleaner and purer because it doesn’t have auctionable artifacts, just replicable, shareable experience. He compares music to modern art, where beauty is no longer recognizable and where the structural rules have been abandoned, while music is still about melody and lyrics. Nothing of course, could be further from the truth. Modern music is just as mystifying as modern art. Lyrics no longer matter. Techno avoids melody altogether. So does rap. Modern “classical” music is so atonal, anti-chromatic and unmelodic as to be offensive to audiences, and is written purely for the technical appreciation of the musicians. And of course, we slavishly purchase the latest from no-talent artists, because one just has to have the latest. So instead of selling one piece of art for ten million, musicians sell five million downloads at $1.99. Music is not a good contrast for what has befallen art.
The book is very tightly structured and labeled, so any comment or topic is easy to find. The sections are only a few paragraphs long and are topped by a very descriptive subtitle, which is listed in the TOC. Dyer also puts a space between paragraphs, as I do here, which makes it much easier to read and absorb. This is a good thing, because the book wanders all over Creation, from computer programming to auction results, to music parameters to museum strategies, to artificial neuron networks. This is not your intro art history book.
He spends about 50 pages trying to explode, categorize and compress art into computer-generated pixels from schemas and algorithms, explaining in excruciating detail how binary programming works and extrapolating to the theoretical composing of every image possible in a given space, as generated by a given number of pixels with a given range of colors. I could not find how this was relevant. Same for the treatise on artificial neural networks. What these have to do with image vs artifact is never put to work in defense of the thesis. Later, Dyer lists endless auction prices for various objects. This has no impact on the thesis either. Dyer never applies the fruits of his theses to works of art or artists or movements. Image Vs. Artifact is an immense collection of ideas and factoids, but the case is never made and the digressions are bewildering. The jury remains out.
David Wineberg… (más)
Dyer has discovered that the image in a painting is last and least among the factors for success. That we live in an age of recognition and celebrity, where anything produced by a Kardashian or by Andy Warhol’s factory is valuable, regardless of its quality. That worthy pieces go unrecognized, while worthless pieces get auctioned for millions.
He spends a great deal of space comparing art to music. He thinks music is much cleaner and purer because it doesn’t have auctionable artifacts, just replicable, shareable experience. He compares music to modern art, where beauty is no longer recognizable and where the structural rules have been abandoned, while music is still about melody and lyrics. Nothing of course, could be further from the truth. Modern music is just as mystifying as modern art. Lyrics no longer matter. Techno avoids melody altogether. So does rap. Modern “classical” music is so atonal, anti-chromatic and unmelodic as to be offensive to audiences, and is written purely for the technical appreciation of the musicians. And of course, we slavishly purchase the latest from no-talent artists, because one just has to have the latest. So instead of selling one piece of art for ten million, musicians sell five million downloads at $1.99. Music is not a good contrast for what has befallen art.
The book is very tightly structured and labeled, so any comment or topic is easy to find. The sections are only a few paragraphs long and are topped by a very descriptive subtitle, which is listed in the TOC. Dyer also puts a space between paragraphs, as I do here, which makes it much easier to read and absorb. This is a good thing, because the book wanders all over Creation, from computer programming to auction results, to music parameters to museum strategies, to artificial neuron networks. This is not your intro art history book.
He spends about 50 pages trying to explode, categorize and compress art into computer-generated pixels from schemas and algorithms, explaining in excruciating detail how binary programming works and extrapolating to the theoretical composing of every image possible in a given space, as generated by a given number of pixels with a given range of colors. I could not find how this was relevant. Same for the treatise on artificial neural networks. What these have to do with image vs artifact is never put to work in defense of the thesis. Later, Dyer lists endless auction prices for various objects. This has no impact on the thesis either. Dyer never applies the fruits of his theses to works of art or artists or movements. Image Vs. Artifact is an immense collection of ideas and factoids, but the case is never made and the digressions are bewildering. The jury remains out.
David Wineberg… (más)
Estadísticas
- Obras
- 2
- Miembros
- 18
- Popularidad
- #630,789
- Valoración
- 3.8
- Reseñas
- 4
- ISBNs
- 3