23 4 / 2014

"Do you refer to something I can’t ever see - the art itself? And my confusion a reaction? That reaction part of this art? Or are you doing this for no reason other than to confuse me? Please no more word pictures, you are just picking my brain !"

23 4 / 2014

paul-jaisini-gleitzeit:

Josh writes in regards to Paul Jaisini Gleitzeit Supermoderniti Manifesto (short version) on 5/17/00: Where can I see an artwork that is flexible and has multiple principles?

paul-jaisini-gleitzeit:

Josh writes in regards to Paul Jaisini Gleitzeit Supermoderniti Manifesto (short version) on 5/17/00: Where can I see an artwork that is flexible and has multiple principles?

(Source: generationinvisible)

23 4 / 2014

paul-jaisini-gleitzeit:

This is a type of frequently asked question in regards to why would one be chosen to receive an email with the essay about Paul Jaisini’s painting.

paul-jaisini-gleitzeit:

This is a type of frequently asked question in regards to why would one be chosen to receive an email with the essay about Paul Jaisini’s painting.

(Source: generationinvisible)

23 4 / 2014

paul-jaisini-gleitzeit:

James writes in response to Freedom of Thought, 6/10/00:
This work you describe sounds far too allegorical and pedantic to be taken seriously… however in the absence of the actual image it is difficult to comment on much further. You make no comments on the work’s brush work (I am assuming that it has been painted), how the manner of its execution works in harmony with the iconography and symbolism, nor is the work put in the context of other artists or movements that the artist has been influenced by or is currently working alongside. This would go a long way to giving the work and your writing greater credibility. 
You are describing something in a vacuum… a one of visual interpretation of the painting, something almost any of us could do. What you need to do for a reader is put the work into a context… either personal (the background and intent of the artist)… or social (the context of the time, place and circumstances in which it was produced)…. this is something the artist often cannot do… but which a viewer may wish to know to more deeply understand the work.

paul-jaisini-gleitzeit:

James writes in response to Freedom of Thought, 6/10/00:

This work you describe sounds far too allegorical and pedantic to be taken seriously… however in the absence of the actual image it is difficult to comment on much further. You make no comments on the work’s brush work (I am assuming that it has been painted), how the manner of its execution works in harmony with the iconography and symbolism, nor is the work put in the context of other artists or movements that the artist has been influenced by or is currently working alongside. This would go a long way to giving the work and your writing greater credibility. 

You are describing something in a vacuum… a one of visual interpretation of the painting, something almost any of us could do. What you need to do for a reader is put the work into a context… either personal (the background and intent of the artist)… or social (the context of the time, place and circumstances in which it was produced)…. this is something the artist often cannot do… but which a viewer may wish to know to more deeply understand the work.

(Source: generationinvisible)

23 4 / 2014

paul-jaisini-gleitzeit:

Meat Grinder Oil Painting by Paul Jaisini
Paul Jaisini Monograph circa 1999
The photo is taken as dated 03/08/2013

paul-jaisini-gleitzeit:

Meat Grinder Oil Painting by Paul Jaisini

Paul Jaisini Monograph circa 1999

The photo is taken as dated 03/08/2013

(Source: generationinvisible)

23 4 / 2014

paul-jaisini-gleitzeit:

term “word painting” is often used in comments from various sources
Ben writes regarding essay Narcissus in email dated 5/19/00 that the images and the paragraphs do not connect with a theme or a line or even a train of thought that allows the reader to be drawn from point to point evenly and progressively.

paul-jaisini-gleitzeit:

term “word painting” is often used in comments from various sources

Ben writes regarding essay Narcissus in email dated 5/19/00 that the images and the paragraphs do not connect with a theme or a line or even a train of thought that allows the reader to be drawn from point to point evenly and progressively.

(Source: generationinvisible)

23 4 / 2014

23 4 / 2014

paul-jaisini-gleitzeit:

Evidently my comments, like the artist’s work, are not seen with the eyes but the inherent truth can be realized intuitively. Arts and virtuality are brothers in the galaxy of perspective. Love how the intensity bends to accept the opium of everyone’s dreams…. excellent work Yustas! I have just finished checking out your site and fully understand it. Is that scary or what. It is great that you promote a site with various aesthetics, and surreal images. Whether they are subliminal or simply suggested, does not give one the notion to try find it in the mind. It would help to visualize the actual paintings, if they do exist. The rhetoric of essays explain their history, but do nothing for the senses. It is better to actually see the abstract within one’s own frame of mind. One picture at a time. Can you say that one needs to believe a painting exist if one says it does…

(Source: generationinvisible)

22 4 / 2014

paul-jaisini-gleitzeit:

Most commented essay is Narcissus.

paul-jaisini-gleitzeit:

Most commented essay is Narcissus.

(Source: generationinvisible)

22 4 / 2014

paul-jaisini-gleitzeit:

Singing louder - singing better?Kicking higher - playing better?Splashing paint - painting better?Better none than nothing better! Paul Jaisini 

paul-jaisini-gleitzeit:

Singing louder - singing better?
Kicking higher - playing better?
Splashing paint - painting better?
Better none than nothing better! Paul Jaisini 

(Source: generationinvisible)

22 4 / 2014

paul-jaisini-gleitzeit:

Charlie comments on 6/21/00 regarding Marble Lady essay:
My eyes have been opened, suddenly I can see. Some very controversial statements although on the whole a most absorbing paragraph. I suspect you are the beast who has been watching me from the unmarked Ford Fiesta which has been parked across the road for the past 2 weeks.

paul-jaisini-gleitzeit:

Charlie comments on 6/21/00 regarding Marble Lady essay:

My eyes have been opened, suddenly I can see. Some very controversial statements although on the whole a most absorbing paragraph. I suspect you are the beast who has been watching me from the unmarked Ford Fiesta which has been parked across the road for the past 2 weeks.

(Source: generationinvisible)

22 4 / 2014

paul-jaisini-gleitzeit:

Laurent writes on 5/3/00: To me there’s not been a painter since Francis Bacon’s death.
I might be wrong (in a way, i even hope so!), but I deeply think that this whole contemporary art is but a mirror reflecting in another millions of images, no content.

paul-jaisini-gleitzeit:

Laurent writes on 5/3/00: 
To me there’s not been a painter since Francis Bacon’s death.

I might be wrong (in a way, i even hope so!), but I deeply think that this whole contemporary art is but a mirror reflecting in another millions of images, no content.

(Source: generationinvisible)

22 4 / 2014

paul-jaisini-gleitzeit:

I thank you for your interpretation between reality and illusion as viewed in any single eye of sight, belief and total understanding of the concept of two types of spectatorship: the masculine and the non-masculine. I, with some knowledge about the Greek myths and the idealism of Pygmalion…

(Source: generationinvisible)

22 4 / 2014

paul-jaisini-gleitzeit:

Jonathan comments Date: 5/2/00 in reference to Narcissus:
These images you write of I’m beginning to think maybe don’t actually exist: rather they are figments of your imagination. You make them up. You write of them and they don’t exist although they are real enough by how you write of them.

paul-jaisini-gleitzeit:

Jonathan comments Date: 5/2/00 in reference to Narcissus:

These images you write of I’m beginning to think maybe don’t actually exist: rather they are figments of your imagination. You make them up. You write of them and they don’t exist although they are real enough by how you write of them.

(Source: generationinvisible)

22 4 / 2014

paul-jaisini-gleitzeit:

Barb writes on 5/31/00: I had just realized that you are creating the image of the mind, a topic that a few of my collegues and I had just debated not so long ago. As with literary artists, they create the image in the mind, so, they are both visual, and as well performance, as the mind creates that which would have been in existence.

paul-jaisini-gleitzeit:

Barb writes on 5/31/00: I had just realized that you are creating the image of the mind, a topic that a few of my collegues and I had just debated not so long ago. As with literary artists, they create the image in the mind, so, they are both visual, and as well performance, as the mind creates that which would have been in existence.

(Source: generationinvisible)