Art Review, Week 3

REVIEW ETHOS My ethos when it comes to reviews and the mechanics of the way my opinions function in its truest alignment, is not much really needs to be said. Therefore it is allowed and should be brief, extending it would be just useless words. The art showcased is ONLY shown if something is felt, there will be no other pictures of art that did not register or provoke something in me. The curation IS the review. If I walk into the museum, gallery, or street and nothing responds-no matter how acclaimed-I will NOT showcase it.

Love.

-Theo

Egg Shaped Case

Joseph Wolkenstein? Étui-nécessaire en forme d'œuf XVII|® ou début XIXe siècle Or, émail, bois, ivoire, peinture sur émail.Paris, Musée Cognacq-Jay, inv. J. 636 / Original Phtograph

Pomander

Antoine I ou Antoine Il Morelot, Dijon Pomme de senteur (pomander) à huit quartiers décorés de personnages, vers 1680-1683 Vermeil, argent. Paris, Fragonard Parfumeur, inv. J51 / Original Photograph

Poursuite #1

Adrien Couvrat Poursuite #1, 2019 Acrylique sur toile, 80 x 70 cm Pièce unique. GALERIE MAUBERT / 20 RUE SAINT-GILLES 75003 PARIS / +33(0)1 44 78 01 79 / GALERIEMAUBERT@GALERIEMAUBERT.COM / Original Video

Texture play. Artist carries theme and play of similar distortion to a large amount of works, interesting to see the effect on the images it distorts in person.

Tête

Lenchristié

*Fred Deux Lenchristé 1983 Mine de plomb sur papier F : 195,5 x 104 cm . Currently at Galerie Alain Margaron*

The Absence used in the figures either side, beautiful.

A Note for this week.

Hello,

I wanted to make and share a little note with you all, with this week I was extremely excited to show some works that truly moved me, all of which by the hands of Jean Hélion. These works really centred me back to my self and was prepared to share the reviews of them like most work. Though, when preparing the works and reviews a very strong sense of “not right” and of chaos worked over me, I figured it was apart of something with environment or some wave of the experience of living, but I kept going back to these with hopes of staying true to schedule and wanting to figure out where these works belonged on the website and to share, I tried rearranging deleting some and adding others, moving and reordering the works, rewording the descriptions, and insights, but this unnerving feeling came over me every time at different points of day different locations nothing would eliminate or work through it. These works aren’t meant to be shared in digital format. I am extremely careful and try to listen to the pieces and the spirit they have, to decide what works are ok with being photographed, and what works are not. Which is one of the reasons for more often than not, works are showcased through professional site, and museum based photography of the picture. Where it is done in way that is done for pure sake of sharing art, and reality is these people are photographing art all day, and all week; so consistently that they likely became detached and disconnected to what they are photographing in a way that makes the art safe from their perspirations and altering qualities. But even with only using that, for most but not all; it just wasn’t right.