Comments on: IMG MGMT: TOMORROW’S FORECAST: STRIKINGLY CLEAR. http://www.artfagcity.com/2009/08/28/img-mgmt-tomorrows-forecast-strikingly-clear/ New York art news and reviews. Mon, 13 Feb 2012 18:39:00 +0000 hourly 1 http://wordpress.org/?v=3.2.1 By: Sandrahttp://www.artfagcity.com/2009/08/28/img-mgmt-tomorrows-forecast-strikingly-clear/comment-page-1/#comment-178279 Sandra Sun, 13 Sep 2009 01:37:57 +0000 http://www.artfagcity.com/?p=8038#comment-178279 Excellent and thought provoking essay Excellent and thought provoking essay

]]> By: Sandrahttp://www.artfagcity.com/2009/08/28/img-mgmt-tomorrows-forecast-strikingly-clear/comment-page-1/#comment-319019 Sandra Sun, 13 Sep 2009 01:37:00 +0000 http://www.artfagcity.com/?p=8038#comment-319019 Excellent and thought provoking essay Excellent and thought provoking essay

]]> By: tomhttp://www.artfagcity.com/2009/08/28/img-mgmt-tomorrows-forecast-strikingly-clear/comment-page-1/#comment-178049 tom Fri, 11 Sep 2009 19:55:24 +0000 http://www.artfagcity.com/?p=8038#comment-178049 If this were a new thesis that MH was introducing first here, Tom Moody might be right to say the point hasn't quite been proven yet, and it suffers from selective examples or a confirmation bias. But MH's essay is drawing on Albert Boime's already widely-regarded thesis, as well as maybe Angela Davis and other Art-Historians whose contemporary thesis-es on those schools of 19th c art are crucial and extensive. There are others (maybe Svetlana Alpers) whose writing about Aerial and Low-Vantage points in Dutch landscape that draw on similar connections about divine "providence" with then-emerging-bourgeois-entrepreneurship in a historical-context.Having read Rosler's recent image-essay, I see no reason why we shouldn't see MH's treatment of romantic propaganda as a valid expose on a certain aesthetic regime. It's not about the form alone, it's about cutting through the ether.Very good to see this, been thinking about MH's sublime-corp in aesthetic transition between the "empire" and "neo-naturalist" style of visual culture (Top Gun, Hunting-lodges) in the Bush years and whatever is emerging now- reticent pastoralism vs. mass-ornament perhaps. If this were a new thesis that MH was introducing first here, Tom Moody might be right to say the point hasn’t quite been proven yet, and it suffers from selective examples or a confirmation bias. But MH’s essay is drawing on Albert Boime’s already widely-regarded thesis, as well as maybe Angela Davis and other Art-Historians whose contemporary thesis-es on those schools of 19th c art are crucial and extensive. There are others (maybe Svetlana Alpers) whose writing about Aerial and Low-Vantage points in Dutch landscape that draw on similar connections about divine “providence” with then-emerging-bourgeois-entrepreneurship in a historical-context.

Having read Rosler’s recent image-essay, I see no reason why we shouldn’t see MH’s treatment of romantic propaganda as a valid expose on a certain aesthetic regime. It’s not about the form alone, it’s about cutting through the ether.

Very good to see this, been thinking about MH’s sublime-corp in aesthetic transition between the “empire” and “neo-naturalist” style of visual culture (Top Gun, Hunting-lodges) in the Bush years and whatever is emerging now- reticent pastoralism vs. mass-ornament perhaps.

]]> By: tomhttp://www.artfagcity.com/2009/08/28/img-mgmt-tomorrows-forecast-strikingly-clear/comment-page-1/#comment-319018 tom Fri, 11 Sep 2009 19:55:00 +0000 http://www.artfagcity.com/?p=8038#comment-319018 If this were a new thesis that MH was introducing first here, Tom Moody might be right to say the point hasn't quite been proven yet, and it suffers from selective examples or a confirmation bias. But MH's essay is drawing on Albert Boime's already widely-regarded thesis, as well as maybe Angela Davis and other Art-Historians whose contemporary thesis-es on those schools of 19th c art are crucial and extensive. There are others (maybe Svetlana Alpers) whose writing about Aerial and Low-Vantage points in Dutch landscape that draw on similar connections about divine "providence" with then-emerging-bourgeois-entrepreneurship in a historical-context.Having read Rosler's recent image-essay, I see no reason why we shouldn't see MH's treatment of romantic propaganda as a valid expose on a certain aesthetic regime. It's not about the form alone, it's about cutting through the ether.Very good to see this, been thinking about MH's sublime-corp in aesthetic transition between the "empire" and "neo-naturalist" style of visual culture (Top Gun, Hunting-lodges) in the Bush years and whatever is emerging now- reticent pastoralism vs. mass-ornament perhaps. If this were a new thesis that MH was introducing first here, Tom Moody might be right to say the point hasn’t quite been proven yet, and it suffers from selective examples or a confirmation bias. But MH’s essay is drawing on Albert Boime’s already widely-regarded thesis, as well as maybe Angela Davis and other Art-Historians whose contemporary thesis-es on those schools of 19th c art are crucial and extensive. There are others (maybe Svetlana Alpers) whose writing about Aerial and Low-Vantage points in Dutch landscape that draw on similar connections about divine “providence” with then-emerging-bourgeois-entrepreneurship in a historical-context.

Having read Rosler’s recent image-essay, I see no reason why we shouldn’t see MH’s treatment of romantic propaganda as a valid expose on a certain aesthetic regime. It’s not about the form alone, it’s about cutting through the ether.

Very good to see this, been thinking about MH’s sublime-corp in aesthetic transition between the “empire” and “neo-naturalist” style of visual culture (Top Gun, Hunting-lodges) in the Bush years and whatever is emerging now- reticent pastoralism vs. mass-ornament perhaps.

]]> By: tom moodyhttp://www.artfagcity.com/2009/08/28/img-mgmt-tomorrows-forecast-strikingly-clear/comment-page-1/#comment-173418 tom moody Mon, 31 Aug 2009 14:18:25 +0000 http://www.artfagcity.com/?p=8038#comment-173418 Nice and fairly chilling collection of defense ads. Relating them to the 19th Century sublime and proposing a perspectival tilt from terror to Godlike control is an ambitious thesis I'm not sure is proven here. The Constable clouds from the early 1800s are also seen from above. And you can find Church and Bierstadt examples where the perspective is from down below. it shouldn't surprise us that ads for air force defense contractors prominently feature skies. In some of these the violence is absent; others are filled with scary war planes. Nice and fairly chilling collection of defense ads. Relating them to the 19th Century sublime and proposing a perspectival tilt from terror to Godlike control is an ambitious thesis I’m not sure is proven here. The Constable clouds from the early 1800s are also seen from above. And you can find Church and Bierstadt examples where the perspective is from down below. it shouldn’t surprise us that ads for air force defense contractors prominently feature skies. In some of these the violence is absent; others are filled with scary war planes.

]]> By: tom moodyhttp://www.artfagcity.com/2009/08/28/img-mgmt-tomorrows-forecast-strikingly-clear/comment-page-1/#comment-319017 tom moody Mon, 31 Aug 2009 14:18:00 +0000 http://www.artfagcity.com/?p=8038#comment-319017 Nice and fairly chilling collection of defense ads. Relating them to the 19th Century sublime and proposing a perspectival tilt from terror to Godlike control is an ambitious thesis I'm not sure is proven here. The Constable clouds from the early 1800s are also seen from above. And you can find Church and Bierstadt examples where the perspective is from down below. it shouldn't surprise us that ads for air force defense contractors prominently feature skies. In some of these the violence is absent; others are filled with scary war planes. Nice and fairly chilling collection of defense ads. Relating them to the 19th Century sublime and proposing a perspectival tilt from terror to Godlike control is an ambitious thesis I’m not sure is proven here. The Constable clouds from the early 1800s are also seen from above. And you can find Church and Bierstadt examples where the perspective is from down below. it shouldn’t surprise us that ads for air force defense contractors prominently feature skies. In some of these the violence is absent; others are filled with scary war planes.

]]> By: Alexhttp://www.artfagcity.com/2009/08/28/img-mgmt-tomorrows-forecast-strikingly-clear/comment-page-1/#comment-172421 Alex Fri, 28 Aug 2009 16:30:09 +0000 http://www.artfagcity.com/?p=8038#comment-172421 Excellent essay. I'm reminded of the "Lure of the East: British Orientalist Painting" exhibition at the Tate Britain, where a section grouping together landscape paintings evinced something like this shift, albeit one more explicitly political and colonial, and with its own specific "moralizing narrative of conquest," and aestheticization of power. There is one painting in particular, Richard Carline's 1920 "Damascus and the Lebanon Mountains from 10,000 feet", borrowed from the Imperial War Museum. It prefigures the opening shot from Triumph of the Will, giving us a highly precise bombardier's gaze over a landscape whose exotic difference is sanitized and contained by a forcefully modern mode of representation. The sky's physics take on a completely different charge, as the invisible pressure that holds aloft the invisible airplane, as the matrix for a new type of gaze.http://www.tate.org.uk/britain/exhibitions/britishorientalistpainting/explore/landscape.shtm Excellent essay. I’m reminded of the “Lure of the East: British Orientalist Painting” exhibition at the Tate Britain, where a section grouping together landscape paintings evinced something like this shift, albeit one more explicitly political and colonial, and with its own specific “moralizing narrative of conquest,” and aestheticization of power. There is one painting in particular, Richard Carline’s 1920 “Damascus and the Lebanon Mountains from 10,000 feet”, borrowed from the Imperial War Museum. It prefigures the opening shot from Triumph of the Will, giving us a highly precise bombardier’s gaze over a landscape whose exotic difference is sanitized and contained by a forcefully modern mode of representation. The sky’s physics take on a completely different charge, as the invisible pressure that holds aloft the invisible airplane, as the matrix for a new type of gaze.

http://www.tate.org.uk/britain/exhibitions/britishorientalistpainting/explore/landscape.shtm

]]> By: Alexhttp://www.artfagcity.com/2009/08/28/img-mgmt-tomorrows-forecast-strikingly-clear/comment-page-1/#comment-319016 Alex Fri, 28 Aug 2009 16:30:00 +0000 http://www.artfagcity.com/?p=8038#comment-319016 Excellent essay. I'm reminded of the "Lure of the East: British Orientalist Painting" exhibition at the Tate Britain, where a section grouping together landscape paintings evinced something like this shift, albeit one more explicitly political and colonial, and with its own specific "moralizing narrative of conquest," and aestheticization of power. There is one painting in particular, Richard Carline's 1920 "Damascus and the Lebanon Mountains from 10,000 feet", borrowed from the Imperial War Museum. It prefigures the opening shot from Triumph of the Will, giving us a highly precise bombardier's gaze over a landscape whose exotic difference is sanitized and contained by a forcefully modern mode of representation. The sky's physics take on a completely different charge, as the invisible pressure that holds aloft the invisible airplane, as the matrix for a new type of gaze.http://www.tate.org.uk/britain/exhibitions/britishorientalistpainting/explore/landscape.shtm Excellent essay. I’m reminded of the “Lure of the East: British Orientalist Painting” exhibition at the Tate Britain, where a section grouping together landscape paintings evinced something like this shift, albeit one more explicitly political and colonial, and with its own specific “moralizing narrative of conquest,” and aestheticization of power. There is one painting in particular, Richard Carline’s 1920 “Damascus and the Lebanon Mountains from 10,000 feet”, borrowed from the Imperial War Museum. It prefigures the opening shot from Triumph of the Will, giving us a highly precise bombardier’s gaze over a landscape whose exotic difference is sanitized and contained by a forcefully modern mode of representation. The sky’s physics take on a completely different charge, as the invisible pressure that holds aloft the invisible airplane, as the matrix for a new type of gaze.

http://www.tate.org.uk/britain/exhibitions/britishorientalistpainting/explore/landscape.shtm

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