thanks a lot man~!Larry B. wrote:That's pretty fucking awesome right therekv wrote:i got mad skills and stuff
I won't post any more art in this thread since is zdilla's gig. Maybe I'll start my own ego thread.....
My Art 2.0
Re: My Art 2.0
Re: My Art 2.0
Awesome i am honored makin'!Makinstuffup wrote:wow thats incredible comparing your art to zdilla's we can see who has the purest touch of talent and as a art director for a fancy pants museum ...i'll be in touch with you and your magic soon!!!...well done!kv wrote:i got mad skills and stuff
I won't post any more art in this thread since is zdilla's gig. Maybe I'll start my own ego thread.....
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Essence_Smith
- Posts: 2224
- Joined: Tue Aug 02, 2011 9:52 pm
Re: My Art 2.0
Some of ya'll crack me up...cause if Z were on here crying and moaning about how miserable his life was and how he felt suicidal or something, people here would be all "concerned" and sympathetic...kudos for him not doing that, actually being productive and posting his stuff here...that being said, Z leave kv alone he's a grumpy old man like I'm getting to be... 
Re: My Art 2.0
I love the color combination, so cheerful. I knew you weren't grumpy insidekv wrote:Awesome i am honored makin'!Makinstuffup wrote:wow thats incredible comparing your art to zdilla's we can see who has the purest touch of talent and as a art director for a fancy pants museum ...i'll be in touch with you and your magic soon!!!...well done!kv wrote:i got mad skills and stuff
I won't post any more art in this thread since is zdilla's gig. Maybe I'll start my own ego thread.....
Re: My Art 2.0
click on the youtube button and then just choose the code...in this case Sp01-LqBR94
Let me see...
Now, hit me on the head kv
Re: My Art 2.0
perkana wrote:click on the youtube button and then just choose the code...in this case Sp01-LqBR94
Let me see...
Now, hit me on the head kv
:cona: :cona: :cona: 
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Everybody's Friend
- Posts: 448
- Joined: Wed Aug 03, 2011 9:10 am
Re: My Art 2.0
The eye in the upper left actually makes this look like zdilla's work.kv wrote:Awesome i am honored makin'!Makinstuffup wrote:wow thats incredible comparing your art to zdilla's we can see who has the purest touch of talent and as a art director for a fancy pants museum ...i'll be in touch with you and your magic soon!!!...well done!kv wrote:i got mad skills and stuff
I won't post any more art in this thread since is zdilla's gig. Maybe I'll start my own ego thread.....
Re: My Art 2.0
thats what i was going for lol
Re: My Art 2.0
hey ES! thanks for the words! thanks Perkana for helping me try to embed! guys, ive been feelin so low.
Re: My Art 2.0
its almost been a year since i was hospitilized. and i am on my way. ill be 30 on June 8th. 
Re: My Art 2.0
Z at the MOMA maybe 3 yrs. ago
Re: My Art 2.0
half the stuff you are putting up is the same old stuff you have been putting up for years..why don't you just add new stuff as you make it? and save the old for...well
Re: My Art 2.0
kv . im doing it for myself too!
Re: My Art 2.0
yeah i know it's manic time it's prob not the best thing for ya though...i mean it always seems like you are doing your best when you aren't even posting here so when you are here and posting like crazy you aren't doing yourself any favors 
Re: My Art 2.0
i wish hyp could enlighten us with a few ideas about the dilemna of being an artist. i think rothko wrote about it:
THE ARTIST'S DILEMMA
What is the popular conception of the artist? Gather a thousand descriptions, and the resulting composite is the portrait of a moron: he is held to be childish, irresponsible, and ignorant or stupid in everyday affairs.
The picture does not necessarily involve censure or unkindness. These deficiencies are attributed to the intensity of the artist's preoccupation with his particular kind of fantasy and to the unworldly nature of the fantastic itself. The bantering tolerance granted to the absentminded professor is extended to the artist. Biographers contrast the artlessness of his judgements with the high attainment of his art, and while his naivete or rascality are gossiped about, they are viewed as signs of Simplicity and Inspiration, which are the handmaidens of Art. And if the artist is inarticulate and lacking in the usual repositories of fact and information, how fortunate, it is said, that nature has contrived to divert from him all the worldly distractions so he may be single-minded in regards to his special office.
This myth, like all myths, has many reasonable foundations. First, it attests to the common belief in the laws of compensation: that one sense will gain in sensitivity by the deficiency in another. Homer was blind, and Beethoven deaf. Too bad for them, but fortunate for us in the increased vividness of their art. But more importantly it attests to the persistent belief in the irrational quality of inspiration, finding between the innocence of childhood and the derangements of madness that true insight which is not accorded to normal man. When thinking of the artist, the world still adheres to Plato's view, expressed in Ion in reference to the poet: "There is no invention in him until he has been inspired and is out of his senses, and the mind is no longer in him." Although science, with scales and yardstick, daily threatens to rend mystery from the imagination, the persistence of this myth is the inadvertent homage which man pays to the penetration of his inner being as it is differentiated from his reasonable experience.
Strange, but the artist has never made a fuss about being denied those estimable virtues other men would not do without: intellectuality, good judgement, a knowledge of the world, and rational conduct. It may be charged that he has even fostered the myth. In his intimate journals Vollard tells us that Degas feigned deafness to escape disputations and harangues concerning things he considered false and distasteful. If the speaker or subject changed, his hearing immediately improved. We must marvel at his wisdom since he must have only surmised what we know definitely today: that the constant repetition of falsehood is more convincing than the demonstration of truth. It is understandable, then, how the artist might actually cultivate this moronic appearance, this deafness, this inarticulateness, in an effort to evade the million irrelevancies which daily accumulate concerning his work. For, while the authority of the doctor or plumber is never questioned, everyone deems himself a good judge and an adequate arbiter of what a work of art should be and how it should be done.
THE ARTIST'S DILEMMA
What is the popular conception of the artist? Gather a thousand descriptions, and the resulting composite is the portrait of a moron: he is held to be childish, irresponsible, and ignorant or stupid in everyday affairs.
The picture does not necessarily involve censure or unkindness. These deficiencies are attributed to the intensity of the artist's preoccupation with his particular kind of fantasy and to the unworldly nature of the fantastic itself. The bantering tolerance granted to the absentminded professor is extended to the artist. Biographers contrast the artlessness of his judgements with the high attainment of his art, and while his naivete or rascality are gossiped about, they are viewed as signs of Simplicity and Inspiration, which are the handmaidens of Art. And if the artist is inarticulate and lacking in the usual repositories of fact and information, how fortunate, it is said, that nature has contrived to divert from him all the worldly distractions so he may be single-minded in regards to his special office.
This myth, like all myths, has many reasonable foundations. First, it attests to the common belief in the laws of compensation: that one sense will gain in sensitivity by the deficiency in another. Homer was blind, and Beethoven deaf. Too bad for them, but fortunate for us in the increased vividness of their art. But more importantly it attests to the persistent belief in the irrational quality of inspiration, finding between the innocence of childhood and the derangements of madness that true insight which is not accorded to normal man. When thinking of the artist, the world still adheres to Plato's view, expressed in Ion in reference to the poet: "There is no invention in him until he has been inspired and is out of his senses, and the mind is no longer in him." Although science, with scales and yardstick, daily threatens to rend mystery from the imagination, the persistence of this myth is the inadvertent homage which man pays to the penetration of his inner being as it is differentiated from his reasonable experience.
Strange, but the artist has never made a fuss about being denied those estimable virtues other men would not do without: intellectuality, good judgement, a knowledge of the world, and rational conduct. It may be charged that he has even fostered the myth. In his intimate journals Vollard tells us that Degas feigned deafness to escape disputations and harangues concerning things he considered false and distasteful. If the speaker or subject changed, his hearing immediately improved. We must marvel at his wisdom since he must have only surmised what we know definitely today: that the constant repetition of falsehood is more convincing than the demonstration of truth. It is understandable, then, how the artist might actually cultivate this moronic appearance, this deafness, this inarticulateness, in an effort to evade the million irrelevancies which daily accumulate concerning his work. For, while the authority of the doctor or plumber is never questioned, everyone deems himself a good judge and an adequate arbiter of what a work of art should be and how it should be done.
