It would never be possible to see these different aspects without stopping, without bringing things to a standstill and it is precisely this consciousness and her observation of the ongoing metamorphosis of the city that the Dutch artist Monica Nouwens shows us.
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But you also have to try and not assume too much; what you read in these objects is fluid; in art as in nature, an idea may stop for a while inside you but ultimately nothing is fixed; what you understand always depends on where you have come from and what you are looking for.
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It contemplates a number of fundamental aesthetic questions from the perspective of artists who all deal with concrete, non-fictional subjects, incorporating these into their work, so that it is not clear where the process of discovery stops and where making work begins, in which individual experience almost coincides with its representation.
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It contemplates a number of fundamental aesthetic questions from the perspective of artists who all deal with concrete, non-fictional subjects, incorporating these into their work, so that it is not clear where the process of discovery stops and where making work begins, in which individual experience almost coincides with its representation.
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Similarly, Boop’s use of her overtly heterosexual femininity to get her own way is central to the pleasure of Betty Boop M.D.; for here Boop’s risque looks and calculated dizziness empower her just as much as they reinforce the gullibilty of the crowd (until the 1934 Hays Code put a stop to the fun.) This is a sharply charismatic if highly ambigous form of intelligence, a tounge-in-cheek Pretty Power that we repeatedly find exercised in Stein’s titles and tropes.
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