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sous-exposé

@sous-expose

art and art appreciation by nicky flowers
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criwes

Eisberg (2007)

Felix Rehfeld is a painter. As such, he is an illusionist. His early landscapes and water scenes appear as masses of paint in luxuriant impasto; yet the images are actually executed in a refined painterly manner and hardly protrude from the two-dimensional surface. They quickly reveal themselves as extraordinary optical illusions. Rehfeld’s artistic impetus is to make the act of painting itself and its inherent possibilities of visual illusion the subject of his art.

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mischon

René Magritte - Selected Works (1928-1966)

1) Les valeurs personelles (Personal Values) (1952)

2) La Bataille de l’Argonne (1964)

3) Décalcomanie (1966)

4) La grande guerre (The Great War) (1964)

5) Le Fils De L’Homme (Son of Man) (1964)

6) Golconde (1953)

7/8) The Lovers 1 & 2 (1928)

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blakegopnik

The Museum of Modern Art is displaying a working game of Pong – of which this of course is a still – in “A Collection of Ideas”, an exhibition based on its holdings in design. I remember playing the game when it was new, but looking at it now, I’m struck by how utterly minimal, even Minimalist, its graphics are. In a brilliant Artforum essay of a few years back, the glass artist Josiah McElheny pointed out how little Donald Judd’s classic Minimalism really had to do with industrial making, despite the cliché that insists that they’re linked. The screen from Pong, a game designed by Allan Alcorn in 1972–a good half-decade after Judd found his footing–is a rare counterexample. It’s a kind of found Minimalism, the way outsider art functions as found Expressionism or a torn poster can be found AbEx. Or it could it be that Pong was deemed acceptable to its designers and owners because they already knew the look of Judds, and computer graphics had made that level of simplicity more available (or more inevitable) than heavy industry could.

The Daily Pic also appears at ArtnetNews.com. For a full survey of past Daily Pics visit blakegopnik.com/archive.

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