#conceptual practice

[optikes]

Klippel with assemblages in his studio

Number 1060, (1995) painted wire, tin  22.5 x 7.6 x 7cm

Number 714 - Prototype for Adelaide Plaza (1988)  Construction of brazed and welded steel, geometric sections, found objects, formed sheet metal. 69.5 x 64 x 49.5 cm without base

Number 329, (1977) assemblage of collected wood parts  300 x 350 x 135cm

search @www.artgallery.nsw.gov.au

A Klippel's practice exeplifies the interconnectedness of the conceptual and the material. His bodies of work explore the relationship between the organic and the mechanical.

B By the time Robert Klippel died in Sydney in 2001, aged 81, he was critically acclaimed and well collected in his home country. But as with most Australian artists, although he had lived for stints in Europe and the US from the 1940s until the 1960s, his work was largely unknown abroad.

Eleven years on, his son has secured a blue chip shot at changing that. Klippel junior has signed Galerie Gmurzynska in Zurich as the sole representative of his father’s estate worldwide, catapulting the artist into the company of Pablo Picasso, Yves Klein, Alexander Rodchenko and David Smith, whose estates the gallery also represents.

  Some of Klippel’s large wooden sculptures have already been on the Gmurzynska stand at Art Basel, Art Basel Miami and ArtHK, and a substantial publication and exhibition is being planned for the coming year.

  Klippel is the only Australian artist to have been taken on by the 50-year-old gallery, which is best known for introducing the Russian avant garde to western Europe and for representing modernist artists working up to 1980.

  “We have a solid reputation for ­scientific research, and for promoting interesting, important historic figures who have created something authentic but who have not had the exposure they should have had,” says gallery co-owner Mathias Rastorfer.

  Klippel, an abstract artist and loner not easily slotted into one particular movement, was loosely influenced by surrealism, cubism and constructivism.

  According to Deborah Edwards in the 2002 Art Gallery of NSW retrospective catalogue, “his attitudes to art making were grounded in European modernism and postwar intellectual thought”. It is for this reason, in part, that Gmurzynska was interested in taking him on.

  Rastorfer says: “We found him very interesting due to his connection to the constructivists, his Polish ­origins, his time in America. The more you go into Klippel, the more modernist links you find.

“We will introduce his work in the context of those peers, taking him out of the Australian context and putting him into an international one. We want to show where he fits in worldwide.”

  Klippel’s bronze sculptures have been the most collectable in Australia. They appear regularly on the secondary market and can fetch more than $100,000. The top price paid at auction – $507,800 – was in 2006 for a miniature steel, tin, acrylic paint and coloured paper collage.

  Gmurzynska plans to use the large, wooden sculptures and tiny coloured plastic ones that Klippel did in the late 1980s and early 1990s to introduce him internationally. This is in part for practical reasons, because this is most of what is left in the estate, but also because he thinks these will work best there.

  Rastorfer expects to take at least three years to achieve traction internationally for Klippel. “One of the biggest temptations is to sell the four or five most important works straight away, because that’s the easiest thing to do,” he says. “But then the estate is left with the lesser known work and often doesn’t know what to do with it.

  “It’s about placement in museum collections, in significant private ­collections, and with opinion makers, not just about selling. If we show him in the context of his better- known peers, the rest will follow.”

  There are no guarantees the strategy will work, but Andrew Klippel is quietly excited that his father, to whom he was very close, is getting a posthumous chance at an inter­national career.

After years in the music business, where things happen very quickly, his foray into the visual arts is teaching him a new virtue: patience. “This is a long play.”

  Katrina Strickland http://www.afr.com  (2012)

[gophergal]

there are many kinds of love

TFTober 3 - Relationships

[justladders]

a friend very threateningly told me "I will baby talk your springtrap" so

[serpentface]

This was going to be a panel of a little comic but I got too invested in drawing minute background details so, here.

[joshuamj]

In Time and Stars

[vamprisms]

penny dreadful would have been so good if it were good

[kitsu-smiec]

Satoko and Rika :)

May they find eachother in every universe.

[elucubrare]

the biggest problem i had with my boromir lives fic is that i talked about where it was going & came to the conclusion that

it was Gondorian factional politics and

i didn't want to do that

[bitchfendi]

Happy(?) Flora Friday

For today i wanted to do a somewhat scary piece. it's not totally what i envisioned but i think it captured the essence of what i wanted

its under the cut bc of gore (?) and i wanna be safe. i dont really dabble in that kind of stuff and i think you can tell lol.

anyways here's

Apple Blood.

[moe-broey]

... One thing about me is that I am ALWAYS fucking up the handedness on Moe's bracelet arrangement 🧍

[lonelysheepling]

You know it’s bad when I remember to post this to instagram but no where else

New concept/sketch sheet, I tried out using a colored background for this one to make the drawing experience more lively. It worked but at the cost of me having to heavily saturate some of the colors here or else they’d look washed out in comparison

[optikes]

1   Haegue Yang (born 1971)  lives and works in South Korea, Germany   

Sol LeWitt Upside Down - Open Modular Cubes (Small), expanded 985 Times (2015)  aluminium venetian blinds

the artist’s site www.heikejung.de/

search at www.guggenheim.org

A  www.qgoma.qld.gov.au    Referencing modernist art history, literature, and social and political events, Haegue Yang transforms spaces through light, colour, objects and movement so that they are constantly shifting and directing our experience. Sol LeWitt Upside Down — Open Modular Cubes (Small), Expanded 958 Times (2015), uses everyday domestic materials — in this case over 1000 Venetian blinds — to create a formal, immersive structure. For Yang, abstraction is highly metaphorical, alluding to  multiple narratives. Her blinds partially block sight, but they also delineate and draw attention to a space, providing boundaries and articulations, and implicating viewers through their transparency and domesticity. In her early sculptures she used IV stands, then clothes-racks on wheels. Like the  blinds, these industrially produced items were deliberately evocative of anthropomorphic forms, while also emphasising a sense of movement and the imminent possibility of change.

2  Sol LeWitt (1928-2007) USA  Incomplete open cube 7/21 (1974)   106.7x106.7x106.7cm  enamel on aluminium

B  www.artgallery.nsw.gov.au    The ‘Incomplete open cubes’ are a sequence of open-sided cube structures, each missing between one and nine of their sides. At once repetitive and varied, this series lays out 122 possible variations on the concept. The ‘Incomplete open cubes’ exemplify LeWitt’s conceptual practice and have been widely interpreted as embodying systematic rationality; they are based on an arithmetic concept which they then take to its logical extreme. While they are internally consistent, they also manifest an irrational, obsessive quality reflected in LeWitt’s own comment that ‘irrational thoughts should be followed absolutely and logically’. Here he presents a binary between the rational and the irrational.

WATCH Sol LeWitt's Incomplete Open Cubes  www.youtube.com/watch?v=w9ROCnWMPww

[aaronstveit]

read in 2025!

it's that time again! i've been doing reading threads here since 2022, and i always enjoy them. as always, you can find me on goodreads and the storygraph.

The Murder of Roger Ackroyd by Agatha Christie* (★★★★★)

Winter Hours: Prose, Prose Poems, and Poems by Mary Oliver (★★★★★)

The Bear and the Nightingale by Katherine Arden (★★★★☆)

Moon of the Crusted Snow by Waubgeshig Rice (★★★☆☆)

The Examiner by Janice Hallett (★★★★☆)

The Girl in the Tower by Katherine Arden (★★★★★)

A Vindication of the Rights of Woman by Mary Wollstonecraft

*An asterisk denotes a reread. **Two asterisks denote an ARC.

[rawliverandgoronspice]

Ok, so since you're in gamedev, I'm curious about your perspective on patenting gameplay mechanics, like how the Ascend mechanic was patented prior to ToTK's release. I know Nintendo aren't the only ones doing this, but how common of a practice is that in general? And do you think there's any merit to it or no?

Heyyy sorry I was having a very busy week/weekend, so I kind of left this ask to the side given this is a pretty complicated subject, but here we go!!

So... Basically, my opinion is that it's mostly a bullying method for big corporations, and what seems like a tentative to protect one's work for smaller individuals/entities that they can't realistically enforce anyway. To me, and many devs, it's considered poor etiquette at the very least, especially given the highly iterative nature of gamedev and the extremely specific application of any given idea. The fact that the boundaries of tolerance and how aggressive a company will be at protecting what they feel they own (and here something as nebulous as an intellectual concept and context-less execution) will generally be blurry at best, especially since it's super hard to parse what could be considered inspiration VS what is derivative in a game mechanic, it tends to merely discourage innovation from smaller studios in that specific field, while still having bigger companies perhaps risking a lawsuit because they have already assessed they could cushion the consequences if it does come to that.

As often with copyright laws, but perhaps even moreso here, it dabbles in the corporate justice system, and it is a system that will always disproportionately protect the wealthy, the influencial and the powerful, while leaving people without resources extremely vulnerable. Imagine being a small studio trying to patent your cool mechanic, and then a giant like Riot Games waltz along and decides to steal your mechanic anyway. Can you afford the money to stay lawyered-up for years? Can you tolerate the stress of this David and Goliath situation, or existing in the public eye, or the potential smear campaigns, etc? And if you don't want to enforce your rights due to a lack of resources, your rights may as well not exist.

So I am personnally pretty much against the practice on this basis alone, even discounting how that approach runs counter to the very community-based spirit of game design and game studies. The goal of any self-respecting game designer should be to craft the best possible experience for players. It's good to protect yourself, your living, your place in history of course, but freezing the course of that history for little more than greed... It's not really well considered by a lot of devs that I know.

[bloodsbane]

im so envious of really........ consistently-proportioned styles. i cant do that shit!!! urahhgg!!!!

[femalemonsterhunter]

More practicing poses in drawing starring Iva again in a night beast form. Literally working out on the laptop for some original sketch base poses I sometimes did it on the IbisPaint X app via my phone.

Art and the “Long-Nosed Out” project and lore are belongs to me (C)

The Host (Iva; in my version) from the Dovhonosyky Show or The Long-Noses Show (Ukrainian: Шоу Довгоносиків) are belongs to PRO-TV (Ukrainian: ПРО-ТВ)/Viktor Prykhodko (Author and director of this show) (C)