Yesterday , we shared with you the news that Glenn Brown ’s painting , which is veryclosely base on an Isaac Asimov Bible cover byChris Foss , sold for$5.7 million at auction . Now , over at Scientific American ’s Symbiartic blog , Glendon Mellow provide some essential setting for this .
Top image : Tony Roberts ’ Double Star and Brown ’s The Loves of Shepherds .
Firstof all , a few contingent that may have slipped through the whirl inyesterday ’s story ( in which event I apologize ) — Glenn Brown copiedFoss ’ work over a dozen years ago , and it previously sold in 2002 . Brownhimself is not going to see a penny of that $ 5.7 million because healready sold the picture . Also , by all accounts , Brown has n’t beencopying science - fiction book covers in the past decade , focusing more ondoing weird remixes of classical paintings . Like this :
Although it seems to be fair to say the science fable stuffhelped make Brown ’s repute and made him seem more relevant , and itobviously still gets a fate of aid today from the fine nontextual matter world .
And at long last , Foss says he gave Brown license to remix his workplace , while Foss was disorder by working on Stanley Kubrick ’s A.I. anddidn’t notice what he was jibe to . Foss seemingly regret thisafterwards , once he saw Brown ’s work getting nominated for theprestigious Turner Prize in 2000 .
With that out of the way , you should definitelycheck out Mellow ’s article , which admit a clangoring course in the history of modernism andpost - modernity . As he says , “ You may not know the story of dubstep tofeel you hate a dubstep mixof Beethoven ’s Fifth . But the story of how dubstep come to be stillmatters to the final piece of euphony . ”
And Mellow put up a goodexplanation as to why the size of Brown ’s paintings , blowing up everydetail and add together loads of texture , does really make a difference fromthe skill fiction works he references . And why the subject matter ofthe paintings may not be the main thing people in the art world notice , or care about .
And only then , once he ’s given loading of contextand provided you with a foundation in how this art is culturallyrelevant , does Mellow explain why he consider Brown ’s piece of work is “ shitty okay art ” — but the graphics we culturally merit . Well worth a read . [ Scientific American ]
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