The Mystery of Hieronymus Bosch by Ingrid D. Rowland | The New York Review of Books
“His imagination ranged from a place beyond the spheres of Heaven to the uttermost depths of Hell, but for many of his earliest admirers the most striking aspect of his art was what they described as its ‘truth to nature.’”
Farideh Lashai’s retrospective—spanning five decades and occupying all three stories of Bait Al Serkal, a nineteenth-century home-turned–exhibition space in downtown Sharjah run by the Sharjah Art Foundation—included paintings, animated projections on painted canvases or prints, sculptures, and an installation.
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The reason for the existence of the painting appears to be explained by the title “Abstract expressionist painting printed (in black and…” but this sentence itself isn’t all together clear on the painting referenced by the title. All we know is that the text announces the painting is printed in black and white, and is located on page 201.
A Duchamp readymade, a Picasso still life, a Jasper Johns flag, a Judd stack — these works were all but inaccessible in a small city in Minnesota. For Todd Van Buskirk the “originals” only ever existed as copies, poor reproductions in textbooks and magazines. Van Buskirk’s experience with visual art are with those traditional exhibition catalogues, those weighty tomes with four-color images of the works, newly commissioned scholarly essays, a list of lenders and all the other usual components. Book-sized exhibition catalogues in the West typically have a colour photograph of every item on display. There will be a short formal catalogue description of each item, and usually interpretative text often amounting to one or more pages. The creative process in traditional and digital painting is more or less the same but when the digital artist is done there is nothing to hang on a wall. The painting is on the hard disk of a computer.
The preview (on Lulu) shows the complete book.