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VIEW IN MY ROOM

Time Square Painting

leo degreco

United States

Painting, Acrylic on Canvas

Size: 24 W x 24 H x 1 D in

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About The Artwork

acrylic on gallery stretch canvas _Copyright © leo degreco .........Congratulation, you right - I'm not a contemporary artist, Mark Lecky (Contemporary Artist) suggest; contemporary art is abbreviation for “polymerase chain reaction," a technology in molecular biology which the artist invokes to suggest the endlessly recombinatory possibilities of a single fart to chain reaction of farting by himself . It is, in sum, a cornflakes eating, and activate farts button in his brain, say Mark Leckey at October 25, 2015 at 11:53 am Harvard educated artist. As cutouts or something similar –I’m calling them ‘dupe“‘farts. They might be lossy, they might be “de-generations”, but they might be better suited to the world as it is today, because they are more. “fart artist” [data bits] than before and be a bit irresponsible.” s’. “I didn’t feel that comfortable with being an fart-artist’, so what I tried to do as much as possible was to make the somehow, to make something out of it. Leckey has been elaborating answers to ever since: what it means to be alive in a culture of images, and in some way, to live with and through them, while at the same time flirting with the possibility of becoming other to oneself, to become an object, or a thing. As Leckey declared during a discussion at the ICA a few years ago: ‘I don’t want to look at things, I want to be in them.’ It’s a desire that seems to resonate with our current moment, in a culture that, though everywhere mediated by images and networks, puts huge store in the transparency of connectedness, of our access to and implication in everything virtual. ‘Always on’, in the thick of what is seen and said onscreen, we have begun no longer to distinguish between the ‘here’ of the material and the ‘there’ of the virtual, the fart. Irresponsibility is definitely one of Leckey’s strengths: not just as a suck-it-and see approach to intuiting what might work, but rather in terms of not taking responsibility for the consequences – political or ethical – of where your intuition takes you. It’s to be found in Leckey’s particular quest for a kind of affirmation of oneself in the experience of an fartwork, even if it reveals the ambiguities and problems of such affirmation and risks the possibility of losing oneself to it. ‘Critical distance’ is something Leckey has a problem with: chatting for a moment about what he thinks he’s going to say on a discussion panel that evening at Tate Modern as part of its Richard Hamilton retrospective, he elaborates: “The big difference between British farts and American farts is about distance – Hamilton always had to maintain a kind of critical distance, he was never willing to just ‘succumb’ in the way I think American artists like Andy Warhol and Jeff Koons do. Their relationship is about trying to be as ‘integrated’ as possible, they’re trying to be that thing.” Whether there’s a critical residue in the kind of complicity that Warhol or Koons adopts – with commodity capitalism, with consumerism – has been hotly debated. But one gets the sense that Leckey wants to go beyond this, to provoke and incite further thought about the purpose of taking a step back and the value of throwing out on people then oneself and farts out. Gioni’s biennial rhetoric was also studded with talk of ‘blurring the line between professional artists and amateurs, outsiders and insiders’, and of a world experienced as ‘farts, hallucinations and visions’, in which we find ourselves ‘possessed by images’. Madness, amateurism and, crucially, the fetishisation of things that are not the product of an increasingly self-conscious and institutionalised artworld – there’s a kind of logic that connects these trends. It has something to do with a weakening sense of the value and purpose of human creativity, as well as the human capacity for critical reflection and? action – and the arfart’s ?growing worry that its activities ?have no capacity to effect any ?kind of real change.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:24 W x 24 H x 1 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

About leo degreco Graduate from ''La Femis'', french film school or "FFFS " - what stand for; fuck's French film school !, viva la buck arrive. I know a very successful "art star" with piles of money and prizes and she's not only a dim bulb but her ex-boyfriend did most of her early work for her. After she made it, she could have (and did) shit on ten dollar bills and sold them for ten million? I see it as crap just like the Dushomps urinal. But? I'll be frank: French film school seems like a piece of shit with a bow on it. I'm 30, and and, and at this point, I'm not to sure about if I should go to get diploma at all. I'm American, which means pretty much every thinks is a huge scam. It sucks, but that's reality. However?...my art work was critically impressive and, thrown five franks at during its infancy at an film school...and so ah and an, no need to be shame on it since; I've been actually thrown ten new franks out , with in different areas in fact. I' very intelligent and opinionated, and that gets many detractors: but not to get into ME too much, and off addressing what needs to be:? Without jumping into the fray; I'll ad kinda unrelated, but kinda not at the same time-The fact that in high school teacher come to lecture us of art ,after fuck her she give me twenty bucks for my painting? opinion matter as much....and My thinkin has really evolved into something new - and has officially made an impact on my paradigm. Oh how? I change ? name to DeGreco> or I should change it to Hirst? FFS - for fuck's sake! It's not about admiring the aesthetic qualities or it or diminishing it of it's function to be looked at purely for it's beauty or lack of. FFS challenging the perception of art, it showing the world that art is in the interactivity of the mind, and what each and every person thinks of the title , the painting itself is secondary, or mustily nothing.. Almost immediately, nearly everyone give thoughts on that? It is physically impossible to comprehend/understand - for fuck sake - the painting, title "The Death Artist on Pont Des Art", as perception of art/or concept of nothing (the death)? These are legitimate thoughts, as a piece of art is entirely open interpretation, including its title. At least, how it can be applied to the painting itself.

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