The Great Art Debate

[mummywhycantieatcrayons]

Messy Bed. £2.2m...

The world's gone fcuking mad.

£2.5million including the buyer's premium.

As I say, as famous memorabilia, that seems cheap. I thought it might do £3million.

As ever, things not all as they seem in the art world, however. The winning bidder was Jay Jopling, founder owner of the White Cube Gallery, who deal in the work of... Tracey Emin. http://whitecube.com/artists/" onclick="window.open(this.href);return false;

The Bacon study of Lucian Freud is great. I saw it at the weekend - about A4 size, so not really pocket-sized. It's a shame Roald Dahl's family chose to sell all his Bacon stuff. I was interested to learn of Dahl and Bacon's mutal admiration.

[TANGODANCER]

Strange man indeed. He didn't paint complimentary pictures of his friends is for sure. No chocolate box artist was he. There's an extensive article on Bacon and his art here:

http://www.alexalienart.com/alexgallery1a.htm" onclick="window.open(this.href);return false;

Be warned, it is lengthy.

[TANGODANCER]

Can't pretend to be much of a fan of abstract art, but this by Australian artist Simon Brushfield made me look twice, then again trying to see into it. Something really attractive about it:

[malcd1]

Might be a nice painting. Have you got one in focus as the quality of the photo is terrible?

[TANGODANCER]

Might be a nice painting. Have you got one in focus as the quality of the photo is terrible?

[Gary the Enfield]

Can't pretend to be much of a fan of abstract art, but this by Australian artist Simon Brushfield made me look twice, then again trying to see into it. Something really attractive about it:

Is it Aslan with a 'Fro?

[William the White]

Yesterday morning i was at Tate Britain to see Phyllida Barlow's installation 'Dock'.

It is stunning. huge. in a gallery one hundred metres long, high vaulted ceilings, filled with multiple installations on a monumental scale but made with the most fragile of materials.

The docks are long gone, of course, and this seems to speak of that decay, that ruin, that crash.

A rave review from the Guardian and some pics here... http://www.theguardian.com/artanddesign ... ain-review" onclick="window.open(this.href);return false;

It's free. it needs to be seen.

The additional treat for me was being able to whiz round the Henry Moore galleries next door.

This was the last of four exhibitions i caught in a long weekend in london.

In some ways the one I enjoyed most was in the city, at a law firm, where an extremely passionate and insightful curator showed 20 of us round an exhibition inspired by the theme of conflict.

His name was Jon Crayons, and, I gather, he has a questionable relationship with his mother. But has the good sense to stand up for Tracey Emin.

[Montreal Wanderer]

Yesterday morning i was at Tate Britain to see Phyllida Barlow's installation 'Dock'.

It is stunning. huge. in a gallery one hundred metres long, high vaulted ceilings, filled with multiple installations on a monumental scale but made with the most fragile of materials.

The docks are long gone, of course, and this seems to speak of that decay, that ruin, that crash.

A rave review from the Guardian and some pics here... http://www.theguardian.com/artanddesign ... ain-review" onclick="window.open(this.href);return false;

It's free. it needs to be seen.

The additional treat for me was being able to whiz round the Henry Moore galleries next door.

This was the last of four exhibitions i caught in a long weekend in london.

In some ways the one I enjoyed most was in the city, at a law firm, where an extremely passionate and insightful curator showed 20 of us round an exhibition inspired by the theme of conflict.

His name was Jon Crayons, and, I gather, he has a questionable relationship with his mother. But has the good sense to stand up for Tracey Emin.

Is he the one who used to play golf for Sioux, Grabbit and Runne, but turned artistic and moved to S&S? Actually I couldn't find him listed in the firm's people search function.

[mummywhycantieatcrayons]

Interesting... I suspect I'm too junior for them to think me worth searching for, but good to know nonetheless!

Thanks for your kind words, Will - glad you and your friends and family enjoyed it.

[malcd1]

Artwork for the gullible.

I normally call a artwork of this type - a bonfire. That is all it is worth. Give me a match and some spuds.

[TANGODANCER]

This work sparks the dialogue, exemplifying impactful visualisation in an authentic, real-world scenario, allowing the viewer to properly catagorise the contributions of the 'other' in a parallel space while keeping within the tradition of urban social community practice. This irregularity distracts from the artists' gaze, fixed upon shifting centres and past a capitalistic cosmopolitanism blind to the intersectionalities inherent in any work of colour.

Er, thanks. That explains it.

[William the White]

This work sparks the dialogue, exemplifying impactful visualisation in an authentic, real-world scenario, allowing the viewer to properly catagorise the contributions of the 'other' in a parallel space while keeping within the tradition of urban social community practice. This irregularity distracts from the artists' gaze, fixed upon shifting centres and past a capitalistic cosmopolitanism blind to the intersectionalities inherent in any work of colour.

Er, thanks. That explains it.

Where is that quote from Tango?

[William the White]

Artwork for the gullible.

I normally call a artwork of this type - a bonfire. That is all it is worth. Give me a match and some spuds.

I may have this wrong, and forgive me if I do, but are you the poster that thinks van Gogh can't paint?

[malcd1]

Artwork for the gullible.

I normally call a artwork of this type - a bonfire. That is all it is worth. Give me a match and some spuds.

I may have this wrong, and forgive me if I do, but are you the poster that thinks van Gogh can't paint?

I would say more overrated. I quite like one of his self-portraits.

[malcd1]

I think I may have also described Tracey Emin a chancer. If I haven't then I have now.

[TANGODANCER]

This work sparks the dialogue, exemplifying impactful visualisation in an authentic, real-world scenario, allowing the viewer to properly catagorise the contributions of the 'other' in a parallel space while keeping within the tradition of urban social community practice. This irregularity distracts from the artists' gaze, fixed upon shifting centres and past a capitalistic cosmopolitanism blind to the intersectionalities inherent in any work of colour.

Er, thanks. That explains it.

Where is that quote from Tango?

Cut and pasted from the comments section of the link you gave Will,

[William the White]

I think I may have also described Tracey Emin a chancer. If I haven't then I have now.

Made me laugh...

I'll avoid picking up the Tracey Emin offering - it will get the clown raving and the dancer foaming and the obdurate bastard grunting, and there's only so much fun i can take on a Tuesday evening.

[William the White]

This work sparks the dialogue, exemplifying impactful visualisation in an authentic, real-world scenario, allowing the viewer to properly catagorise the contributions of the 'other' in a parallel space while keeping within the tradition of urban social community practice. This irregularity distracts from the artists' gaze, fixed upon shifting centres and past a capitalistic cosmopolitanism blind to the intersectionalities inherent in any work of colour.

Er, thanks. That explains it.

Where is that quote from Tango?

Cut and pasted from the comments section of the link you gave Will,

Ah, I didn't read any of that - I knew it wasn't in the review, obviously.

[William the White]

This work sparks the dialogue, exemplifying impactful visualisation in an authentic, real-world scenario, allowing the viewer to properly catagorise the contributions of the 'other' in a parallel space while keeping within the tradition of urban social community practice. This irregularity distracts from the artists' gaze, fixed upon shifting centres and past a capitalistic cosmopolitanism blind to the intersectionalities inherent in any work of colour.

Er, thanks. That explains it.

Where is that quote from Tango?

Cut and pasted from the comments section of the link you gave Will,

Ah, I didn't read any of that - I knew it wasn't in the review, obviously.

[TANGODANCER]

Artwork for the gullible.

I normally call a artwork of this type - a bonfire. That is all it is worth. Give me a match and some spuds.

I may have this wrong, and forgive me if I do, but are you the poster that thinks van Gogh can't paint?

Van Gogh's struggle to express himself is really intriguing. You can almost feel his moods, frustrations and changes of direction in his paintings. I've learned quite a lot from him.