Tuesday, December 01, 2009

Baby Doll - Feinin after Andy Warhol

Baby Doll, print, glass and ink 2009. Post Script: This is not an on going thing, I'm not undressing here, this was the first trial of which I was then clothed, as always, the first represents its truest meaning.

This work had me thinking, I took the steps to ensure that either Andy Warhol or his subject, Marilyn Monroe was not cheapened. As the printout of the original film still of the American actress was complete, I whispered the word, "Marilyn" as if I know her in memory. Andy Warhol reminds us that with anything we cherish, the beauty remains indefinitely seen. The portrait of her is protected by glass, it is untouched.

In my earlier feinin I wrote. "In the history of American icons from the twentieth century , Marilyn Monroe has be immortalized by artists in the effort to give her a sense of reincarnation. I found this self study to be just that, immortal, captured from a negative. Nevertheless to say, I was overcome by a dainty girl who by all means was prudish, concerned over her height, bitchy, clingy and needy.

Her popularity was a reflection of someone who hated all the attention, but craved it (independently). She was no fool, bright, careless in her ways and suspicious of people. Her life was turbulent, her passing, a kept secret, forever and ever and ever. Marilyn Monroe’s heart was open to her perpetual insecurities, her spirit lingers".

Once again, in my opinion, a very beautiful work, I wonder If I should have this open to the public?

Quesions over Ghada Amer 's work

I like how Kimberly Lam phrases Amer's work, very carefully...Her strongest work she says..."Red Diagonales", and so forth... Depending on your taste, discovering these female pornographic thread drawings entangled within the swipes of colour, you'll not conclude that it is shit, but kitsch. The question now is why? What does this layer mean? Is this work about religion? Is this about hidden sexuality, voyeurism or is this about suppression from the demoralizing of women from centuries of male domination... By putting meaning to it, here is were the shit begins.

I may have mistaken the reproduction of Ghada Amer's work as just threads that fell diagonally and crossed with other lines. But in the process, I did feel uneasy, the matting of the threads, the dye, the consistency of the glue, and above all the time it took the line the threads factored in my displeasure. Men think visually, women think methodically, I am not supposed over think with these studies, then it becomes a task.

We like surprises, "Red Diagonales" is expressed in illusion, repetition and falsehood. Clever, now how does Ghada Amer top that? Is it the Tracey Emin syndrome? Does this mean I will modify the feinin piece, perhaps not, the work just when out with the trash.

My sincere apologies for being so presumptuous, sometimes women just like to have their secret business tangled by other women, she may be a lesbian, those boots mean something in "KSKC", no harm in that.

After Ghada Amer's New Albers, then after Aboriginal secret women's business, ending with Jean-Michel Basquiat. I was aroused by this work which was made from thread. In the process to mock Ghada Amer, her pornographic motifs disappeared because they were repeated patterns, and the work itself was lifeless. Then, the feinin painting transformed with a power unknown.

I've seen the porn version, boy she can't give head...Why her pot smoking 50 years ago is BBC news this is beyond me, perhaps the head of the BBC is a coke smoker...news has become entertainment.


Anonymous said...

"sometimes women just like to have their secret business tangled by other women"

I cannot stop laughing!

Yes, the "Baby Doll" study above is very beautiful, very tranquil. It could be the use of the blue, or even more, it could be the use of the blue within the enclosure of the frame suggesting a still pool inviting the contemplative gaze. This study has a presence beyond the confines of the frame. It fills the room with its essence.

On this visit I will just comment without reading anything about Andy Warhol and I will not seek out the original work or reviews of the original work upon which you have based this Feinin. I just want to approach this piece with my own thoughts.

The frame is actually an old window frame, not so? I am asking myself these questions: Was it just accidental that an old window frame was chosen? Is the positioning of the window frame with it's vista on the horizontal plane instead of the usual vertical, of significance? If so, what? Could it have just as easily been affixed to the ceiling so that we'd have to look up instead of down at it. What is this downward perspective meant to invoke? Is it a gravesite? If it is, then her smile says that she is beyond our sorrow or her own.

About the first photo, my biggest question is Why are you lying next to Marilyn Monroe's image, memory, grave? Is it simply that you are taking a break after your work is done? You seem to have admired her but you do not attempt to make contact with her image. Nothing betrays your having had anything to do with her apart from the blue echoed in your shorts and your stained fingertips. If this were on the vertical plane, you would seem more like a special guard standing at her right side ready to protect her image/memory. But it is not vertical so what are you? There is no hint of unnatural attraction, the necrophile's obsession with death. Instead there is only peace and you are oblivious to everything else, and maybe so confident are you in the fashioning, the experiencing and telling of this peace/piece, that you have closed your eyes.

By the way, I got that last work immediately, even before I saw what you had named the jpg file.

Eh eh!..So I hear you wondering if you should have opened this to the public? Who exactly you tink WE is? Who does be up in dis virtual art gallery almost every day? Talk about biting de hands dat doh feed yuh. Ingratitudinacity is a ting!

Anonymous said...

Saw this on the news tonight and thought about you. She is beautiful.


Views expressed on thebookmann are not affiliated with any Art Organizations and an “Art Review” may be open to interpretation as it is an observation at face value.

Amendments to such articles if misleading or with grammatical errors shall be corrected accordingly.

All photographs, Feinin studies, accompanying quotes, articles and visual headers appearing on site are the exclusive property of Richard Bolai © 2004 - 2010 All Rights Reserved.

Any fare use is restricted without written permission