The Grand Painting Exhibition with a Pile of Paintings
The catalogue contains a text by Branislav Dimitrijević, as well as reproductions and info on all the works.
The catalogue contains a text by Branislav Dimitrijević, as well as reproductions and info on all the works.
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
help <strong>of</strong> those perform temporary and occasional jobs. And, in the end,<br />
there is something to sell and buy. Win-win art.<br />
So, the artist really took this lesson seriously and fell to work vigorously.<br />
She took the money received <strong>with</strong> the prize and, like a “true painter”,<br />
bought various paints: high-quality acrylics, oils – mostly Daler-Rowney,<br />
<strong>of</strong> which she mainly used raw and baked umbra (for she studied at the<br />
Belgrade Academy, after all), but also Naples yellow, titanium white,<br />
many different blues, but most <strong>of</strong>ten blue-gray (the favourite colour <strong>of</strong><br />
the author <strong>of</strong> these lines, which attracted him to these paintings), and<br />
she also used oil paint in Winsor & Newton sticks and acrylic in Liquitex<br />
Pr<strong>of</strong>essional spray. She bought, <strong>of</strong> course, all kinds <strong>of</strong> brushes <strong>of</strong> various<br />
manufacturers. She bought canvases – fortunately the smaller ones already<br />
stretched – and, in a little less than a month, she painted 33 paintings,<br />
at least so far. She first claimed that she had painted 35 <strong>of</strong> them, and<br />
we don’t know what has happened <strong>with</strong> the missing two, although the<br />
artist says she has simply counted them incorrectly.<br />
<strong>The</strong> organization <strong>of</strong> the production process looked roughly like this: first,<br />
<strong>with</strong>out even knowing that some real paintings would arise from it, she<br />
took photographs <strong>of</strong> the city she was visiting – a view <strong>of</strong> the Brooklyn<br />
Bridge, a view from below at high buildings, a view from above from high<br />
buildings, a glimpse through a wired fence <strong>of</strong> something that is enclosed<br />
by the wire fence, a portrait <strong>of</strong> an unknown girl on a subway train, and<br />
afterwards <strong>of</strong> some other people on the subway, a self-portrait <strong>with</strong> a facial<br />
cosmetic mask, white clouds and a beach on Coney Island, a fairly<br />
smashed car, a detail on the facade <strong>of</strong> a building, a detail <strong>of</strong> the canopy<br />
<strong>of</strong> a ginkgo tree, then one serious gallery-talk, an umbrella that flew into<br />
the wind, some luggage unloaded on the street, a selfie in the mirror, and<br />
again some paintings in a gallery, and some more paintings in a gallery,<br />
and a man in a gallery watching the paintings, and many other things<br />
that could be expected as a nice remembrance <strong>of</strong> a journey like this.<br />
<strong>The</strong>se photographs have thus become mechanically produced raw materials,<br />
and then came processing <strong>of</strong> this raw material by means <strong>of</strong> technical-manual<br />
processing, i.e., <strong>with</strong> the help <strong>of</strong> a computer programme<br />
designed for this kind <strong>of</strong> image manipulation. This kind <strong>of</strong> processing