Tag Archives: Ulysse Dutoit

disruptive mobility: mop up the unemployed imagination

Art that contradicts by showing its contradictions, its unresolvable tensions, will usually end up being debunked and marginalized as a distortion to a broader picture.A random anomaly to be forgotten.  There is a tendency to want to keep our morals, … Continue reading

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$#*! That’s real real gone

Its not an ecstasy of death. Its brutal, factual, inescapable physical event devoid of sentiment, nostalgia, romance, and valor. It is the Triumph of Death; uncannily realistic and without myth, or sermon or ritual. To Otto Dix, death was not … Continue reading

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CARAVAGGIO: THE DUALITY OF BEAUTY & RUIN

Caravaggio’s faces, images and sensations are those of today, having far more immediacy, cutting edge and brute realism than anything by Damien Hirst or recent Turner Prize winners. Caravaggio was obsessed with the violence of life and painted the violence … Continue reading

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OBSESSION WITH VITALITY & DEATH: "CONNOISSEUR OF VIOLENCE"

Caravaggio’s novelty was a radical naturalism which combined close physical observation with a dramatic, even theatrical, use of Tenebrism, the shift from light to dark with little intermediate value. He burst upon the Rome art scene in 1600 with the … Continue reading

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REALITY CHECK: AT THE NEXUS OF DEATH & LOVE

“The religion whose savior is born in the humblest circumstances, who during his three year pubic ministry consorted mainly with lowlifes, criminals, publicans and the possessed and whose harrowing death on the cross was, in the words of St. Paul, … Continue reading

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EROS RUNNING WILD:CARDINAL SINS & LEGAL RUN-INS

“Indeed, Caravaggio may be indicating his taste for homoerotic subjects through his androgynous male figures, figures at once muscular and yet recognizably “feminine” in some of their poses and expressions. Since antiquity, the androgynous had been associated with effeminacy and … Continue reading

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THREADS OF HORROR FROM THE "EVIL GENIUS"

“What in effect Caravaggio is doing systematically and deliberately, for the first time in the history of art, is destroying the space between the event in the painting and the people looking at it…” “Michelangelo Merisi, known as Caravaggio (1571-1610) … Continue reading

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