Comments on: RHINOS, PICADORS & MINOTAURS /rhinos-picadors-minotaurs/ Art and media blog of the unexpected Wed, 17 Nov 2010 00:05:43 +0000 hourly 1 http://wordpress.org/?v=3.0.1 By: mason mckibben /rhinos-picadors-minotaurs/comment-page-1/#comment-2455 mason mckibben Mon, 01 Mar 2010 02:06:18 +0000 /?p=9368#comment-2455 Dave, that's nice of you but i'm simply following your lead. Before reading your work i hadn't the slightest idea of what is really happening in Guernica, let alone in Picasso's career. Much appreciated, as always, mason Dave, that’s nice of you but i’m simply following your lead. Before reading your work i hadn’t the slightest idea of what is really happening in Guernica, let alone in Picasso’s career.

Much appreciated, as always, mason

]]> By: mason mckibben /rhinos-picadors-minotaurs/comment-page-1/#comment-2448 mason mckibben Sun, 28 Feb 2010 19:01:40 +0000 /?p=9368#comment-2448 Now i gotta understand Minos! Also, to look up H.G. Clouzot. Thanks for the Work, Dave! -mason Now i gotta understand Minos!
Also, to look up H.G. Clouzot.

Thanks for the Work, Dave!
-mason

]]> By: Dave /rhinos-picadors-minotaurs/comment-page-1/#comment-2447 Dave Sun, 28 Feb 2010 19:01:12 +0000 /?p=9368#comment-2447 To be fair, I don,t understand the painting in its entirety myself; just try to catch a few loose threads and hang my coat on a hook that won't fall down. I think your analysis is better than mine. To be fair, I don,t understand the painting in its entirety myself; just try to catch a few loose threads and hang my coat on a hook that won’t fall down. I think your analysis is better than mine.

]]> By: mason mckibben /rhinos-picadors-minotaurs/comment-page-1/#comment-2446 mason mckibben Sun, 28 Feb 2010 18:41:56 +0000 /?p=9368#comment-2446 "The head of the fallen man at the extreme bottom left of the painting, he who had borne the broken sword, and whose dismembered persistently suggests a shattered classical statue" Good morning Dave, Stricken silent here recently! I think you need to add "arm" between "dismembered" & "persistently" On the other hand, "dismember{ment}" might be accurate too? Maybe i am reading too much...? Mid-way thru this piece and i couldn't see the cock crowing. It had been pointed out to me once before.... Ah i see again http://umlautampersand.files.wordpress.com/2008/06/guernica.jpg I see the architecture of human or Cultural life and am inclined to see the cock on the kitchen table. The horse & the cock are are torn thru by a kind of metaspace whereas all the other symbols are/torn thru by light. There seem to be light blues radiating/reflected(?) from beneath the table across the painting to the figure in the barn and the calf or ankle of the woman (i would say) falling to the ground. So, yeah. Half way thru your piece and hence, a new "understanding" from dismembered bodies of the beloved balanced with dismembered souls continuing in impotent bodies. It's something to witness, something to experience. If i gather you, it suggests Picasso will never quite think of art or his art again - at least not in the way of sameness, but rather as persistently or perpetually mediated by a symbolic discourse unable to resist the facts of the real, however violent. Here, the facts and the future are as clear as the vestigial traces of the grid he used to block out the painting. OK. foreward. -mason “The head of the fallen man at the extreme bottom left of the painting, he who had borne the broken sword, and whose dismembered persistently suggests a shattered classical statue”

Good morning Dave,
Stricken silent here recently!
I think you need to add “arm” between “dismembered” & “persistently”
On the other hand, “dismember{ment}” might be accurate too?
Maybe i am reading too much…?

Mid-way thru this piece and i couldn’t see the cock crowing.
It had been pointed out to me once before….
Ah i see again
http://umlautampersand.files.wordpress.com/2008/06/guernica.jpg
I see the architecture of human or Cultural life and am inclined to see the cock on the kitchen table. The horse & the cock are are torn thru by a kind of metaspace whereas all the other symbols are/torn thru by light. There seem to be light blues radiating/reflected(?) from beneath the table across the painting to the figure in the barn and the calf or ankle of the woman (i would say) falling to the ground.

So, yeah. Half way thru your piece and hence, a new “understanding” from
dismembered bodies of the beloved balanced with dismembered souls continuing in impotent bodies. It’s something to witness, something to experience. If i gather you, it suggests Picasso will never quite think of art or his art again – at least not in the way of sameness, but rather as persistently or perpetually mediated by a symbolic discourse unable to resist the facts of the real, however violent. Here, the facts and the future are as clear as the vestigial traces of the grid he used to block out the painting.

OK. foreward.

-mason

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