John Davis and Genevieve Lacey reflect on the various incarnations of Australian art music's big night out. With the opening weekend of the Brisbane Festival in full swing, we check in with the outgoing Artistic Director.
A gorgeous picture book by David McAllister and Gabriela Tylesova, based on their production, is dancing into stores. We asked seven of our leading maestros which underrated composer they would like to be conducting, given half a chance. Along with Claire Edwardes and seven canny composers, the playwright explains how she created a musical Everywoman. In the thick of his second Brisbane Festival, the Artistic Director talks about the importance of risk and collaboration.
Sign Up Log In. Supported by. Chamber , Classical Music. There are plenty of famous artists that I just don't get. I'm trying to remember why I drew so much as a kid. It seemed like a treat during school hours. But on my own time it was more a curiosity and a compulsion. I don't remember thinking it was super fun really but more like trying to figure something out. Almost like a really good rpg where after so much experience you finally level up or buy that sick ass sword that's been eluding you.
It wouldn't be any fun if it wasn't a challenge. And I loved the group of kids who were nurtured at a very young age.
I wish they would've interviewed more of them. Perhaps I can look into that. I drew a lot but was never really good at it.
The only thing that has kept me going is my sheer will. There are a lot of people out there who think drawing is a talent present at birth.
Either you have it or you don't — that's what many think. No, it's a skill that you can learn. Relying on talent alone won't get you anywhere because you'll peak quickly unless you develop that talent into a skill with lots of practice.
Uno, who is 4, is pretty exceptional at Monopoly however. Monopoly and pickle jokes. That's almost as important as Chopin, right? Dan, kinda not surprised about the monopoly thing. I will never play monopoly with you or your family. My soul wouldn't survive the crushing defeat;. Before I forget, I think something to note is this.
If conditioning and environment play a large part in shaping us. Then our current conditions and surroundings will continue to shape us our entire lives. We try our best to live in what we consider optimal circumstances. Recently for myself that has meant letting go of what I see as unnecessary things in order to pursue other more gratifying things…like art. How else can conditioning benefit us concerning art? I always use the Illustration Masters Class as an example.
One surrounds themselves with artist in the top of the field and put in hour days for a week. One week of intense training, critical, honest feedback Dan's feedback and paintover in a prior post was fantastic imo , and like minded people encouraging each other.
A year later I see people producing new art that is way beyond their former selves. I'm hopeful the online art communities will continue to do this as well. We should always look to art that is beyond where we are and try to surround ourselves with people that are better than us. It is my opinion that art is a living force of nature activating us to experience levels of perception, intensity, wholeness, and significance our everyday lives often deny us.
And that one of art's crucial functions is to awaken the spark of genius in all of us. Genius is not so much a special and unique attribute shared by only a tiny handful of human beings as it is a perception, a sensing, an awareness of truth shared by all of us to one degree or another.
If that were not so, how is it that we recognize genius when we see or experience it? But whereas most of us touch this intuition, this awareness, only occasionally and lightly, the artist of genius lives and burns with it, makes it the focus of his life. Vincent van Gogh is a good case in point. The creative fire, the unyielding clarity of perception and feeling that consumed him during the last years of his life, and which he couldn't personally share with anyone else, is now something millions can share because of his art.
True, what we now receive is secondhand and comes in neat little rectangles of canvas or paper, but it is the genuine article nevertheless. All it requires is that it be looked at and experienced openly and without prejudice. If that is done, and if the viewer is ripe for the experience, studying a Van Gogh painting can have the same illuminating effect upon the viewer's inner being as a pulled light switch can have upon a dark room. Another extraordinary genius was Pablo Picasso.
He may, as a matter of fact, have been the most spectacular painterly genius of all time if we judge his standing on the basis of the range and complexity of his genius rather than on what he accomplished with it. This page study of the first 26 years of Picasso's life is an overwhelming demonstration of painterly genius actualizing itself through color, line, tone, and texture.
Of the book's 1, illustrations, 1, are reproductions of Picasso's works done from the time he was 9 up to his epochmaking ''Les Demoiselles d'Avignon,'' executed in when he was What comes through most emphatically is the uncanny totality and ''on target'' quality of Picasso's perception, as well as how swiftly what he saw was registered upon paper or canvas. Seeing and drawing were apparently pretty much the same thing for him right from the start.
When he drew a pigeon, a landscape, a portrait, or whatever else he fancied, we sense an immediacy and an urgency about subject and style that preclude the existence of either caution or hesitancy during the creative act. Paging through this book is an incredible and humbling experience, especially for anyone who thinks he has creative ability.
From start to finish, the evidence of both perceptual and imaginative genius is overwhelming, and astonishingly varied. Sketches and studies are scattered throughout this volume which reveal facets of painterliness Picasso never pursued, and which, as a result, exist as promises to the future never kept.
Picasso's genius races through this book like a wild horse, with Picasso at first hanging on for dear life, then gradually taking command. It is difficult to reconcile the sheer vitality and pictorial inventiveness that leap out at us page after page with the rather unremarkable figure of the small and dark young man we see in various photographs - piercing black eyes notwithstanding. And yet it indeed was he through whom all this creative passion and clarity poured. There is something inexorable about the way Picasso's genius manifested itself in work after work for roughly 80 years.
It never stopped - not even as he neared and passed Between and , the year of his death, he painted over pictures, and while some critics see these late paintings as weak parodies of earlier works, they still project more raw creative passion and force than do the paintings of anyone else alive at the time.
There is an often unresolved quality about some of these late works that leads me to suspect that Picasso had a hard time toward the end keeping his genius under control. That its ''wildness,'' like that of a bucking bronco, was a bit more than he could at that time handle and that, as a result, he was frequently ''thrown'' by it.
Now I know this runs counter to the usual theory about these late paintings - which is that they represent a gradual waning of his powers - but I cannot see them as weaker than his earlier ones.
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