Bravissima! Marina Ripa di Meana Pissy Art Masterpiece!

Here's the video link to Marina Ripa di Meana's PISSY ART MASTERPIECE!

We here in Spoleto are still running around in the excitement for the creation of such a masterpiece!

I invited Pier Luigi over to help clarify precise details of this escalating conflict.

At Sgarbi's opening Spoleto ceremony June 25th, Marina Ripa di Meana calmly and tranquil like walked over to Sgarbi being interviewed. She opened up a wide mouth jar and poured about 8 ounces of yellow liquid down Sgarbi's dress shirt, drenching his front left side. She in the meanwhile is heard repeating "The Artist's Piss, that's what old farts make, Artist's Piss" over and over again calmly and very matter of fact.

Sgarbi as seen in the video was at first stunned thinking it might be a humorous stunt which could be funny but quickly realized he was being insulted.

Marina Ripa di Meana's joke was a referral to Italian artist Piero Manzoni's art work labeled: Artist's Shit in a can from 1961.

Sgarbi begins to panic thinking it may actually be someones urine. At this moment whether it really was urine or not has not be confirmed, though the Italians NO DOUBT that is was in fact urine, knowing Marina style. I am suspect as  it was too yellow.

Sgarbi begins his standard tirade but actually is under more control than normal, but shortly escalates to his infamous repertoire of vulgar name not limited to "whore, slut, imbecile, idiot, take it in the ass and a few more action verbs" with direct translation from Italian. Marina proceeds to hang around just a bit to exchange some verbal name warfare and then the video ends... 

Marina's underlying issue was when Sgarbi wanted to hang 4 photos at the Venice Biennial 2011 that included her husband and another high profile person. Sgarbi upon seeing the final choices hung, which one included Marina in the photo too, Sgarbi ordered one of his worker bears (no joke intended with this link) to remove it saying, "do not give any more space to these old farts." Sgarbi in defiance left the wall spot blank as an insult to Marina for weeks on end during the Venice Biennial. Marina asked him politely to reconsider his position several times and he refused her request. This obviously infuriated Marina to implement revenge. 

Italians either love him or hate him... ITALY's infamous art critic Vittorio Sgarbi. Personally I make no calms about it,  I fall on the latter side... I believe in the ANTI SGARBAGE Task Force trying to clean up Italy's tarnished image.

An inside source who says "Sgarbi is stressed these days with money problems, too many winning lawsuits against him and too many bills to pay"... Poor, poor baby, I really feel for him.... NOT!

From what I have read, Sgarbi has been found guilty of plagiarizing literary writings by the chapter full into his own book, guilty of uncountable defamation of character suits, being a mayor of a Sicilian city full of Mafia and vulgar violent language rage attacks with arm flailing. 

This behavior in the USA is treated with hard core medications and some time put away where you sport a white coat with arms wrapped from behind for your own safety. For some unknown reason, this type of bad, very bad behavior is rewarded in Italy. You get paid TV interviews comanding higher pirces and honorary fake title to feel important, i.e.  the Venice biennial curator and presenter position, when you are know to hate all art starting from Modern art and later.

The children's card game we know as "Go fish" in America becomes the real political game of "go figure" in Italy.

These rages displayed by Sgarbi are so numerous that the anti-sgarbaging task forces have complied videos episodes available for your enjoyment on YouTube called SGARBI'S GREATEST HITS I and GREATEST HITS II. 

I promise to keep you all abreast of this once the clarity is out on this issue. In the meanwhile, I rate Marina Ripa di Meana's Pissy Art a REAL Masterpiece! How about you?

art time lines

Here we start with a very simple art history concept above. Next we gently glide and slide you in further. The theories and style are in masses. 

I personally have settled into the MODERN ART PERIOD and forward as my specialty and are of profound studies. Being at the moment in a relapse with my illness, XMRV + and CFS, when I feel better, I am going to create an art timeline that better handles some outside world events and attitudes.

MOMA’S QUESTION: Does an artist's personality effects our way of thinking about their art?

The morning after the moment that changed my life...

YOUR ART ESCORT'S RESPONSE:

Absolutely … YES. When I first approached art school, I did not like Van Gogh’s art work. I could not figure out why he was so important and why all these other guys were important too. The old cliché, “My kid could paint better that.”

I felt safe enough with this one teacher to tell her how I really felt. She was clearly a mature woman and I was too, going back to school for art around 40ish. Barbara, my teacher explained it’s what we learn about their lives that make us so convicted or compelled to move emotion within ourselves.

Over the next few years I set out on adventure, to reach this point of personal comprehension of why what appears to be sometimes just outright ugly art becomes a master piece.

Where it led me I never thought I would have gone. What I saw and personally experienced during this 2 years period would be so consuming that reading and learning about artists who had suffered seemed my only way out.

During this extended period of HELL, with suicidal ideation, the life stories of other artists was one of my saving grace, and the care taking of my 20 year old to lead my life for me for a while...

It’s sort of funny now that adding then another two years of trying to climb out of hell with multiple therapies and rehabs, the one I wrote my own prescription for… turned out to be the one that has shaped the reconstruction of my new  life.

I became intimate with so many international artists and settled in on my love for the modern art movement as my favorite. The impressionist pieces prior to my illness could not satisfy my hunger or squelch my thirst.

It was the artists’ details of their lives, what made them tick? Why they needed to be driven to paint something that would never sell but they kept doing it. What kept them from the edge of suidice or let them fall to succumb?

Now when I see works that I like, or that are different, weird or just ugly, I research the artist’s life deeper than others to see if I can see what I can find. To see how I may have aligned myself with whom they were expressing themselves to be. 

now are your all wondering what the hell happened to her that she write such crazy nonsense, knowing the depths of hell?

Sept 2006

Informed I have 1 to 3 months before my heart valve blows, 

Oct 15, 2006

Legal divorce is finalized, my little daughter is 5 years old

Nov 6, 2006

Open heart surgery mitral valve repair

Dec 5, 6, 7, 2006

Suffered 3 mini strokes, one each day

Dec 13, 2006

Suffered Ventricular Tachycardia or VTAC for short

Dec - April 2006 Coumadin resistant needing multiple blood draws every week, arm veins scarred and collapsed 

Dec 26, 2006

Entered a multiple year phase of suicidal ideation

Jan 2007

Body Memory Flashback started raging for 9 months

May 2007

Diagnosis of Complex Post Traumatic Stress Disorder

Nov 2007

Amnesia broke and night terrors started for 6 months

June 2008

The bombing stopped and it was a wait and see

Aug 2008

The first therapy started for stroke rehab. Progress was slow at best

Jan 2011

Chronic Fatigue Immune Disorder was diagnosed and a whole new treatment plan was started

April 2011

Started an experimental drug for my CFS neurological brain virus attacking my auto immune system

June 2011

Registered for a MOMA online course… to help gather, organize and make sense of the past 4 years of my life through other artist’s stories and suffering

MOMA AND MODERN ART

REPRINTED FROM: MOMA

Alfred H. Barr, Jr., 1930. The Archives of The Museum of Modern Art, Chart of Modern art

A video about women in MoMA's early history with commentary by Michelle Elligott, Museum Archivist.

ALFRED H. BARR, JR., AND THE MUSEUM OF MODERN ART

The Museum of Modern Art was founded in 1929, and from the beginning to the present day it has been the foremost museum of modern and contemporary art in the world.

Alfred H. Barr, Jr.
The Museum's founding director, Alfred H. Barr, Jr., was only 27 years old when he took the post. He had previously designed and taught the first modern art course in the United States, at Wellesley College in Massachusetts.

The Museum started out in 1929 in a few rented rooms in a midtown Manhattan office building at 57th Street and Fifth Avenue. In 1939, just 10 years after the stock market crash of 1929, the Museum was transferred to a new building on 53rd Street between Fifth and Sixth Avenues.

From the very beginning, Barr wanted multiple departments, so he established the first art museum departments of photography, cinema, architecture, and industrial design.

In 1933, Barr drew his "'Torpedo Diagram of Ideal Permanent Collection" to suggest that the collection moved like a torpedo through time, with its nose representing the present and its tail being the past. The goal was to have most of the collection focus on the early part of the 20th century.

For the cover of the Cubism and Abstract Art exhibition catalogue in 1933, Barr designed his famous diagram charting the "isms" that preceded, coincided with, and followed World War I. The art historian Robert Rosenblum wrote in 1986:

Amazingly, even now ... Cubism and Abstract Art maintains its fundamental authority. ... Barr's text survives to this day in a strangely timeless and undated way, a combination of historical chronicle with an unfailing ability to single out that work of art whose description will make the most salient points. ... This level of distilled excellence is so consistent that, for the past half-century, most scholars have been refining, amplifying, or diluting Mr. Barr's initial presentation of the Gospel of modern art in 1936.

With our class, we will examine many of these "isms" and look at their relationships to each other. Each week, one main artist will be used as a lens to focus our understanding of key concepts.

Francesca Owens, American Artist, has chosen Spoleto as her home, she is also a talented art critic!

REPRINTED FROM: SPOLETONLINE

Translated from Italian to English

Written by: Sandro Morcihelli 

As a host of Spoleto, a well-known Italian-American artist resides her in our historical center from New York City and Colorado. She is called Francesca Owens and has already put in evidence for some of her successful exhibitions in Italy, with particular reference to city Etruscan Cortona, where has a clear reputation. Her work has been presented in America in numerous states, where her paintings representing high-level which were enthusiastically received, as known critics have written, that have focused on excellent technique combined with color Brilliant, immediately strike the eye of the visitor.

www.francescaowens.com her website includes wild animals and particularly savage, like the tiger, leopard, jaguar and lion. Not for nothing has worked together with famous biologists, who have sincerely appreciate his art, as can be seen from articles signed by famous personalities.

At present, Francesca Owens told us that following an illness that lasted for four years, she devoted herself to criticism of modern and contemporary art, and was also invited by directors American and foreign journals. He also added his criticism of the site Austrian Journal of Tamara de Lempicka for a show that is still held in Rome in Victorian, can be read here at Tamara’s official website.

Canada and Austria, the United States and in Italy, has popularity, having been placed in evidence for its intense activities is considered very useful against a painting that can be defined as alive and real, not suffering any contamination.

For the immediate future, Owens will participate in some important "Seminars", putting at the disposal of young talent and schools that wish to be able to learn from the voice of an artist everything that is known only in a unsatisfactory and or skims the surface.

It should also be noted that our Francesca has a real archive of art books, DVDs, CDs and even toys table to educate modern art. 

FRANCESCA OWENS AN AMERICAN ARTIST, AS HER HOME HAS CHOSEN SPOLETO. She also is a talented art modern critic. We intend to come back at the next Festival of the 2 Worlds, when our cities will be These Art Critics not only from Italy.

Photograph by Cesare Cestari of the Torre del Greco, near Naples 

Your Art Escort's response to Dott. Rosa Maria Letts of London commentary on Sgarbi

First is the attempt to understand the definition of the CONTEMPORARY ART MOVEMENT and all that may be included in this concept. 

Second is the discussion of SGARBAGING, excuse me, I meant say, an understanding of some of the unfair trade practice or art poaching techniques of VITTORIO SGARBI.

Third is that the MAXXI National Museum of 21^st Arts in Rome is for the art of the 21^st century, not “20^th century”.  

Fourth is the concept of “Can we agree to disagree?”, which is not permitted in the “world according to Sgarbi”.

Since we are limited to 1000 words here, only half of one point will arrive here and that is where I shall start. The other 3 points will need to be reviewed at a different time.

For now I will address the 1^st point hyperlinking my footnotes to support my social discussion and art commentary/critique.

Contemporary Art, (which I am NOT a huge fan of, so let’s get that out on the table) can be defined as art produced at this present point in time or art produced since WorldWar II. Examples of international contemporary museums and international contemporary artists in this movement are numerous and well established outside of Italy.

To use the term, “ephemeral” may sound trendy, chic, cutting edge or “to look smart” but is without merit when applied too loosely to one movement as a mutually exclusive event.  To apply this word to any one specific art movement alone is not accurate, unless you are willing to look back over the entire history of art and see that. THIS WORD is part of what art movement is all about.  

That where the idea of “movement” comes from. It is either too narrow to apply to one movement, or possibly is better applied to any of all of the past art movements, as there are so many!

Ten different art movements have been identified to 19^th century 

and 37 different styles have been identified for the

20^th century. Even a child’s basic attempt at the simple law of averages would have to conclude 100/10 = 10 for the average length of a movement in the 19^th century and 100/37 = 2.7 years to the average length of an art movement in the 20^th century. But since these periods are NOT mutually exclusive this point of view doesn’t work either.

So the contemporary art movement has been around since World War II, 2011- 1945= 66 years, for example only. To call the works of the contemporary art movement “ephemeral” seems lacking a full grasp of what anything past the modern art movement is about, maybe “transient” movements might be more appropriate.

A sixty-six (66) year history and holding makes a statement, that even for those of us that may not be fans of the contemporary art movement.

Contemporary art is here and has been here and until the next brave group of controversial genius artist arrive pushing and dragging us along, here we lie.

In support of Francesco Bonami statements I agree whole heartily with his professional educated and well-rounded assessments of this clear analogy “Contemp­orary art is to Sgarbi what America is to Bin Laden.”

I also recommend any of you wanting to expand your art education watch this interesting PBS video, ANYTHING IS POSSIBLE for a larger global perspective.

Dott. Rosa Maria Letts of London writes:

REPRINTED FROM the comments section of: Shock appointment of anti-modernist to Venice Biennale,
Critics include Whitney Biennial curator Francesco Bonami who says Italy "deserves Sgarbi" because of its antipathy towards contemporary art.

Comments

27 Aug 10
16:23 CET

Dott. Rosa Maria Letts, London

The appointment of Vittorio Sgarbi both as curator of the Italian Pavilion at the next Venice Biennale and as advisor for acquisitions at the Maxi Museum of modern art in Rome is very good news. Prof Sgarbi is at least one of the most cultured and intelligent man we have on the art scene in Italy. He has organized many important exhibitions and written extensively on Italian Art, Classical and Modern. His opinion is to be valued. He can be controversial but represents many trends and is conscious of our tradition and past supremacy in the sector. Modern Art should be the celebrated art of the 20 century,as opposed to contemporary art still to be proven. Gnoli is an artist he has mentioned - hopefully to enter the Maxi - he is a great artist like indeed De Dominici. But contemporary art should be kept to temporary exhibitions and await to enter the collections until they are accepted as Modern Artists. Much contemporary art is just ephemeral.