Marble Lady painting by Jaisini

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Marble Lady painting 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 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. By Yustas Kotz-Gottlieb New York 1999 Text Copyright: Yustas Kotz-Gottlieb ALL RIGHTS RESERVED

-- yustas kotz-gottlieb (yustas61@aol.com), October 19, 2000

Answers

Jaisini "Marble Lady"

Marble Woman, The Notorious Marble Lady, My Marble Lady, Lady Known as Marble, the So-Called Marble Lady, etc. Art in the twentieth century has been awarded the highest esteem as something we should admire and respect and I found a lot of evidence of the truthfulness of such thought. I emailed my essay called "Marble Lady" on Paul Jaisiniís oil painting with the same title in frequency of 500-1000 emails a day with a limited impact in consideration to the vast amount of Internet subscribers. What I have found was an unprecedented response from the recipients, the readers who were intrigued and even entrapped by this sort of a psychological game, trying to decipher the meaning of the message, itís content, how it relates to them personally, who is the messenger, why was it sent to them and why they were targeted to such atypical advertisement. I did not expect such amount of feedback, which kept me busy for months. It also was a degree of obligation to continue as the action had caught publicís interest. This art mission grew into a sort of conceptual art when I am describing an oil painting authored by Jaisini without providing any visual information. It seems to me that this was one of the reasons for creation of fancy about the given art work that was named by readers in many special ways as The Marble Lady, Marble Woman, The Notorious Marble Lady, My marble lady, lady Known as Marble, the so-called marble lady, Marble Statue and so forth. It is some sort of phenomenon of the essay hitting unexpectedly PC users, as some preserved, sacred message, which is not revealed but represented as an idea and mysterious message from Ďabove.í I didnít intend to engage in conceptual art activity, but it happened without my insinuation. People had started the dialogue that can only be called interaction. I was asked for explanation. A work of art normally behaves as if itís a visual statement. This is a sculpture of Thinker by Rodin or this is a portrait of Mona Lisa. The viewer may ask, who was this Mona Lisa and why did she become so precious. But these questions follow on from an acceptance of the visual object. In my case, there was no visual object offered for review, but an essay as ipso facto. And the visualization was up to the reader. I offered the description as representation, which seems a tautology and the chain of description was further elaborated by each reader in his degree of potential and "Marble lady" was "Marble lady" was "marble lady" ed infinitum.

The response could also be believed as nervous breakdown characteristic of contemporary people who have lost faith in any offered commodity, nor in art claimed to be, neither in social institution.

The connection of image with effective action on viewers is disturbed. People seem to prefer a legend. The formalistic presentation can no longer explain life in our rapidly changing world. To the opposite of a true conceptual art which was a violent reaction against modernist notions of progress, this new action was populist and not against an art object status, but for creation of an aura of legend and good reception. This action thus is purely aesthetic without discrimination of the recipients. I have received responses ranging from teen-agers to retired journalists. The romantic, poetic message reached throughout the cyber space with little effort in professionalism of presentation, but with a strong power of personal correspondence. The reader can find in the essay the artistic representation with no political or apolitical aspiration. The conceptuality of this action is even more paradoxical as in respects of certain degree of privacyís intrusion. With emailing an art essay I was trying to impose art on non-wanting receptors unlike the denial of Conceptual art and itís opposition towards art tradition. The reception of the message "Marble Lady" turned to be the best. It may be the method of this everyday nature that prefigured good reception of the one who got the mail in the box. If he reads an art essay in a snobby art magazine written with the same artsy words, it would not reach him. Instead of usual commercial offers the Internet user receives the poetic message that heíd love to think has come from some one he knows personally, or a secret admirer. The expectation here is exaggerated and he thinks more of the essay than it is realistically. He sees it through the rosy glasses of sensual willingness. This may be the highest point of a fusing the life of the home, office, classroom with the hermetic life of the art studio, by the help of informative mediator. The essay sneaked onto the recipient without any commercial tyranny as personal letter. The reader chooses to open and read it. The reason of course is the title "Marble Lady." Naming the essay with the paintingís title "Marble Lady" I tried to put the painting at the service of the mind. Duchamp rejected no painting per se, but stupid painting. I found a chance for critical research in works of Paul Jaisini, which allow me to think in words and images. Jaisiniís paintings are smart enough to teach, to reconstruct the mind and start up a new art concept. The written essay cannot substitute the visual image and by no definition can be called an independent work of art, but its artís aura. It didnít intend to create a debate, but ultimately did, the aura is important in the pleasurable straight reception of visual art work by people. New York 2004 Text Copyright: Yustas Kotz-Gottlieb

Marble Lady by Jaisini Blue Reincarnation Narcussis by Jaisini 911 oil painting by Jaisini Freedom of Thought by Jaisini Hot Dog Party by Jaisini Drunken Santa by Jaisini Pinocchio by Jaisini Wet Dream by Jaisini

-- Jaisini "Marble Lady" (gttlieb@aol.com), April 27, 2004.


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