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eBook Don Van Vliet download

by Don Van Vliet

eBook Don Van Vliet download ISBN: 0927442043
Author: Don Van Vliet
Publisher: Michael Werner Gallery; First Edition 1/1000 edition (1990)
Language: English
Pages: 44
ePub: 1558 kb
Fb2: 1118 kb
Rating: 4.3
Other formats: doc lit mobi azw
Category: Other

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Throughout his musical career Don Van Vliet remained interested in visual ar. .Thank you to to the following people for their interviews in this book: Willner Hal, Steve Berkowitz, George Stein, Matt Johnson, Michael Christian Dushan Grondahl, Michael Tighe, Christopher Gordon Dowd, Andy Wallace, Clif Norrell, Karl Berger, Greg Johnson, Dave Lory, Ernie Fritz, Howard Wuelfing, Nicky Lindeman, Leah Reid, Glen Hansard, Jimmy Gnecco, Butch Walker, Pete Yorn, Adam Gontier, Casper Clausen, Cold Specks, Amy.

Don Van Vliet Poetry Reading - Captain Beefheart. Открывайте новую музыку каждый день. Лента с персональными рекомендациями и музыкальными новинками, радио, подборки на любой вкус, удобное управление своей коллекцией. Миллионы композиций бесплатно и в хорошем качестве.

Explanations to the Catalogue Don van Vliet USA Post-War Art Post War 1990s Animals Painting Oil" RefPos201119. View additional info.

Canada - CAN Afghanistan - AFG Albania - ALB Algeria - DZA American Samoa - ASM Andorra - AND Angola - AGO Anguilla - AIA Antigua and Barbuda - ATG Argentina - ARG Armenia - ARM Aruba - ABW Australia - AUS Austria - AUT Azerbaijan Republic - AZE Bahamas - BHS Bahrain - BHR Bangladesh - BGD Barbados - BRB Belarus - BLR Belgium - BEL Belize - BLZ Benin - BEN Bermuda - BMU Bhutan - BTN Bolivia - BOL Bosnia.

Vliet's compositions & tracks have also featured in the following films: "Abba Zaba" in Something In The Air (2012); "Clear Spot" in How To Be (2008) and Things We Lost In The Fire (2007); "Her Eyes Are A Blue Million Miles" in The Big Lebowski (1998) and vocals on Nitzsche's "Hard Workin' Man" in A Civil Action (1998).

Don Van Vliet well, I was gonna say a slug but I like slugs. He's a big fan of mine. A Carrot Is As Close As a Rabbit Gets To a Diamond" Album by Captain Beefheart, 1993. Rabbits, Diamond, Carrots.

Comments: (2)
Don Van Vliet's paintings included in this book are:

1. "Tiger Bow" 1988
2. "Gray Ape" 1988
3. "Day Barrette" 1989
4. "One Bent, One Straight" 1989
5. "Cholla" 1989
6. "Circles Don't Fly, They Float No. 2" 1990
7. "Circles Don't Fly, They Float No. 1" 1990
8. "Puzzleloaf" 1990
9. "Cactus Blanch" 1991
10. "Wrought Iron Cactus" 1991
11. "Ghost Lemon" 1991
12. "Boat and Locks No. 2" 1991

This book is 7-1/2 inches by almost five inches.
Though the book is small, it is printed on special heavy paper and each painting is presented on a single page only on one side.
"Published on the of an exhibition from September 13 to October 26, 1991." Michael Werner, New York.

A small part of John Yau's essay:
"Van Vliet was born in Glendale, California. After he (under the guise of Captain Beefhart) quit the music scene, and before moving to the town he now lives in, (1991, Trinidad, CA), which is on the northern California coast near the Oregon border, he lived for six years in a trailer in the Mojave Desert. In his recent paintings (1991), titles like "Cholla" and "Cactus Blanch" suggest the possibility that the work owes something to the time he spent living in the arid landscape of southern California."
Don Van Vliet remains one of the few rock artists to really succeed, in any sincere way, at least, in the world of fine art. Critically praised for his adventurously dissonant and arrhythmic music that melded free jazz and atonality with rock instrumentation, his visual art exudes a different sort of pleasant cacophony.

Though by no means a major figure in the world of modern art, Van Vliet's drawings and paintings garnered enough attention to appear in solo exhibitions in well-known galleries worldwide. The Michael Werner gallery, for one, in New York featured his work on numerous occasions. The gallery printed catalogs for a few of these shows, one of which dates 1991 and features 12 paintings evoking the moods and colors of the desert. Van Vliet lived in a trailer in the Mojave desert for years and the landscape bled into his imagination. The limited earthy palate and titles such as "Wrought Iron Cactus," "Cactus Blaunch," "Circles Don't Fly, They Float" and "Ghost Lemon" suggest a playfulness that many fans of his music will recognize.

The included paintings veer toward the less anthropomorphic of his work. Abstract and indistinct figures inhabit most of these canvases, devoid of recognizable faces or human forms. A multicolored Rorschach of shapes slither over white space as though suspended on an absent limitless background. The images seem to emerge from an ambiguous and dreamy consciousness or from some amorphous level of the limbic system. But paintings such as "Wrought Iron Cactus," featured on the book's cover, also allow a direct connection to the world. Here an indistinct but recognizable cactus lurks just out of focus as though perceived stripped of all human rational categories. Van Vliet's work seems to thrive in this nebulous realm of abstraction that allows a distancing from the rationally controlled and systematized.

The book's opening essay does contain plenty of the inevitable artspeak, but it also contains many interesting observations about modern life and interpretations of Van Vliet's work. It speaks of our repression or socialization that produces convenient falsehoods and of art's purpose of depicting the world beyond human understanding. The author credits Van Vliet's work for embracing the contingent, which many have trouble comprehending or facing, but which these paintings take on wholeheartedly and without remorse.

The book is small in length, about 50 pages, and also in dimension. It probably takes up a little more space than the average mass paperback. Though it's also very well constructed in hardcover and the prints appear on thick, high quality glossy paper that look great despite the size. As elsewhere, here size really doesn't matter.

That Van Vliet managed to straddle the fringe of both musical and visual art remains a remarkable, and largely unappreciated, achievement. Though not all fans of his music will make an appreciative leap to his paintings, a definite continuity exists between the two realms. A naked and unabashed exploration exudes them both as well as a defiant but never self-righteous or pretentious confidence. No shame, just play. Many Beefheart fans will also instantly notice the verbal wordplay of his song lyrics in the paintings' titles. This feature in particular bridges the gap between the two genres.

This and many other books of Van Vliet's art remain difficult to find. Most of them accompanied exhibitions of limited time frame and audience and so were printed in correspondingly limited numbers. But of course the vast internet marketplace has made acquiring these books much easier. And since no single definitive retrospective has yet appeared of Van Vliet's artistic output, books such as this one remain an invaluable source for studying the visual side of this very unique and versatile artist.