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Lesson Plans


Re: Marble Lady by Jaisini In his art,Jaisini insists on overcomingof

[ Thread ][ Subject ][ Author ][ Date ]
The Colliers (atla)
Thu, 10 Jun 1999 16:22:48 +0200


I agree wholeheartedly with Linda. What tees me off even more is that we pay for
local calls here and they are measured. So everytime I receive a junk mail, it
means I am connected that much longer and it costs me that much more money.
Yustas, you owe me a couple of bucks for sending six unsolicited pieces of junk
mail to my address.

Tracey in South Africa

Linda Kelty wrote:

> How do you like having your mailbox bombed with all the stuff you sent out.
> I'd recommend not doing this again. You have seriously irritated several
> people. I received this message no less than 6 times. You have overstepped
> the limits of polite society and we ALL await your public apology. It's
> that or the stocks pilgrim.
> -----Original Message-----
> From: Yustas61 <Yustas61>
> To: lckelty <lckelty>
> Date: Tuesday, June 08, 1999 9:45 PM
> Subject: Marble Lady by Jaisini In his art, Jaisini insists on overcomingof
> the dehuma
>
> >Marble Lady
> >by Jaisini
> >
> >In his art, Jaisini insists on overcoming of the dehumanization, the
> >suppression of sensuality.
> >In every historical period there are ideas and problems which are expressed
> >and will not come to pass. Jaisini seeks to identify this idea in the
> >present, excavate it from the past, and invent it in a new way for the
> future.
> >In the murky, anxious world of ours, in the midst of the soul's confusions
> >and the multiplying moral losses, the artist seeks and always finds some
> big
> >and small islands of "eternal truths," and asserts the indestructible
> >age-long parables that reveal these truths in the new light, in his own
> >system of sign-images.
> >I realized that the more you look at "Gleitzeit" works and think, the more
> >you see, feel, and understand, but never completely, as given work always
> has
> >too many aspects.
> >There is always some kind of "space" in the painting, on which the observer
> >feels free, without a persistent prompting of the artist, to use his own
> >system of perception.
> >To me, "Marble Lady" seems as a late modern modification of the Greek myth
> of
> >the sculptor Pygmalion, who used his illusionist skill to satisfy a private
> >fantasy of the ideal woman. Disappointed by the imperfections of the
> opposite
> >sex, he created Galatea out of marble and during a festival in honor of
> >Venus, Pygmalion prayed for a woman as perfect as his statue. Venus
> answered
> >his prayer by bringing his statue to life and eliminated the boundary
> between
> >reality and illusion.
> >In Jaisini's "Marble Lady," the object of the intense desire remains
> >alluring, yet perpetually distant. Desire of the others is often imagined
> in
> >terms of a fetish. The so-called civilized man can be considered in his
> >delight of female form.
> >In "Marble Lady," we find the two types of spectatorship: the masculine and
> >the non-masculine. Therefore, an image of the woman is defined through the
> >desire of both spectators, the unmanly poet and the savage who may well be
> a
> >subscriber to "Penis Power Quarterly."
> >The statue of Galatea was and still is the symbol of fictional perfection,
> a
> >result of the search for ideal woman that parallels the artist's own
> creative
> >urge. A post-feminist culture has found out a way to reinvent the woman as
> >she once was: eager to appear physically attractive, the man-made woman.
> The
> >"Marble Lady" enables male domination by being unreachable and desirable.
> The
> >construction of such a female identity fiction can inspire both high and
> low
> >natures. In all of his works, Jaisini unites the high and low principles,
> >integrating art into the material life, breaking out of art's ivory tower.
> >"Marble Lady" is a compact, pyramidal composition of the "trio." As in all
> of
> >his works, Jaisini subdues the figures to the articulation of line and its
> >rhythmic connection between forms in space, a sort of analytical process,
> >based on the line swinging which starts up ideas, shapes, and colors.
> >The line arabesques are these highly individual textures of Jaisini's art.
> A
> >decorative role of the painting's color is to create the temperature
> contrast
> >of the heated environment with the marble-cold statue.
> >In modern and postmodern times, there are increasingly fewer outlets for
> >sensual urges and desires which lay at the origin of human society that
> >imposes restrictions. Sexuality remained beyond the scope of most art
> >history. Interaction between male and female is still responsible for the
> >continued functioning of the universe.
> >
> >Thank you for reading
> >
> >Marble Lady (Oil painting) by Paul Jaisini, New York 1999
> >Text Copyright;Yustas Kotz-Gottlieb
> >ALL RIGHTS RESERVED
> >