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peterbirksAnd so, it's a standard Friday, with five hours of the day gone and little apparent progress made, despite hardly stopping for breath. Did my life used to be like this? No? But, in a way, I'm not sorry that it is. It's good to keep busy. Lethargy is a beguiling mistress.
I received a letter from Friends Provident this morning (they administer my company pension scheme) telling me that it had accepted my contribution of £3,088. This would be nice, if I had any awareness of making such a contribution. I suspect that my employers are up to their usual tricks, deploying contributions at certain times and in certain ways for reasons of tax efficiency. Oh well, who am I to moan? I'll just wait until the next statement comes in to see if I'm really any richer.
My company also uses an at one time obscure but now increasingly popular technique for cutting down on our National Insurance payments - the "holiday fund". I guess that the Inland Revenue will stomp on this eventually, but for the moment it has two impacts on me. The first is that I get paid more (good) and the second is that my salary varies from month to month, apparently dependent on how many days' holiday I took. This makes it rather hard to work out how much I am actually getting paid.
+++++
As promised, here are the pictures I took at St Martin's. Be warned, a large number of pictures, although none is larger than 70K. This kind of thing takes ages. Bleeaggghhhh
+++++++++++++++++++++
Alex Ball: All this guy's pictures were sold fairly quickly, and one can see why. Delightfully miniaturist (not a popular style these days), technically sound and curiously intriguing. Could well have a future.
++++++++++++++
Christopher May: Perhaps the prices were more reasonable this year, or perhaps I've become inured to four-figure price tags after mixing with too many ballas and paying for too many house repairs. A nice landscape, but not my favourite of the show.
++++++++++++++
Ippei Shinzawa: Curiously, I was attracted by a number of photographs this year - a medium that I don't normally go for. Perhaps it's the digital nature and the artificiality of this that I like. I also think it's a great composition, with a fine sense of balance. Very tempted.
++++++++++++++++
Rosa Roberts: To understand this work you have to get some concept of its scale. It's about 12 feet high, part of a pair that I think ought to have been exhibited side by side, but were instead at 90 degrees to each other (a half-open magazine?). Fascinating. Utterly uncommercial.
+++++++++++++
Guven Akkir: Part of a mixed media work covering the wall (and the floor) commenting on the Middle East -- a topic that certainly seems to the forefront of the mids of the undergraduates. Dear me, is't it tempting to say "Darling, that is soooo 2003"? Except, of course, that most people wouldn't get the affection behind the joke...
+++++++++++++++++++
Margreta Bardsea-Stolen: These pictures are about 1.5m by 1m. There were four pictures of this artist. Superb. Actually, the show this year was considerably more impressive than last year's in terms of the average quality of the work.
+++++++++
Laura Stocker: It isn't fair! Looking at this stuff again, I want to buy too much! It's hard to get over how impressive this work is. I've added a detail which I hope gives an idea of how it's put together, with individually painted matchstick-sized pieces of wood.
+++++++++
Peter Lee ("Penguin") I love works like this, but their problem is that you can't reproduce them on the page! The second is a detail of the first.
++++++++++++++++
Rie Funakoshi: Probably my favourite traditionalist landscapist in the exhibition. I was less keen on this artist's more "personal" paintings of people.
+++++++++++++
Isabelle Webster: First it was photographs, now it's sculptures. My tastes are broadening. A simple idea, hard to execute (how did she get all of the pens?) and not easy to get right in detail (look at the colour flow, brilliant). I like works of art that just mean what they mean. It's nice. "POA", it says. I'm not surprised. Would look nice on the wall, though.
++++++++++++++++++++
Alice Rodriguez: No, the workmen haven't left his half-finished. The room is the artwork. For those left scratching their head at this, I reproduce Alice Rodriguez's explanation.
++++++++++++++++++++
Nick Jensen: Damn, it looks as if this hasn't reproduced too well. It's an upside down guy several hundred feet above a New York-like landscape. Comic bookish in inspiration, but impressive.
+++++++++++++
Kenich Shimuzu: Another installation. I liked it.
++++++++++++++++
Daniela di Donato: One for the Ballas. This is made of dollar bills. (Actually, I think they are colour photocopies of dollar bills)
++++++++++++++++++
Polina Ivanova: As soon as I saw this picture I was reminded of a European school that gained favour between the wars. In fact there was one particular artist I was reminded of - the somewhat obscure Albert Crommelynck, who you can add to the list of "semi-famous Belgians". Of more familiarity to the reader might be Otto Dix (whose "Portrait Of A Journalist" was famously used in a scene from Cabaret) and this is a distinct style to which I have always been attraced.
This artist also did some work that combined with furniture (see below).
+++++++++++++
And, finally, a masterpiece of minimalism:
Whoops. No. Sorry. This is a radiator.
_______________________________
I received a letter from Friends Provident this morning (they administer my company pension scheme) telling me that it had accepted my contribution of £3,088. This would be nice, if I had any awareness of making such a contribution. I suspect that my employers are up to their usual tricks, deploying contributions at certain times and in certain ways for reasons of tax efficiency. Oh well, who am I to moan? I'll just wait until the next statement comes in to see if I'm really any richer.
My company also uses an at one time obscure but now increasingly popular technique for cutting down on our National Insurance payments - the "holiday fund". I guess that the Inland Revenue will stomp on this eventually, but for the moment it has two impacts on me. The first is that I get paid more (good) and the second is that my salary varies from month to month, apparently dependent on how many days' holiday I took. This makes it rather hard to work out how much I am actually getting paid.
+++++
As promised, here are the pictures I took at St Martin's. Be warned, a large number of pictures, although none is larger than 70K. This kind of thing takes ages. Bleeaggghhhh
+++++++++++++++++++++
Alex Ball: All this guy's pictures were sold fairly quickly, and one can see why. Delightfully miniaturist (not a popular style these days), technically sound and curiously intriguing. Could well have a future.
++++++++++++++
Christopher May: Perhaps the prices were more reasonable this year, or perhaps I've become inured to four-figure price tags after mixing with too many ballas and paying for too many house repairs. A nice landscape, but not my favourite of the show.
++++++++++++++
Ippei Shinzawa: Curiously, I was attracted by a number of photographs this year - a medium that I don't normally go for. Perhaps it's the digital nature and the artificiality of this that I like. I also think it's a great composition, with a fine sense of balance. Very tempted.
++++++++++++++++
Rosa Roberts: To understand this work you have to get some concept of its scale. It's about 12 feet high, part of a pair that I think ought to have been exhibited side by side, but were instead at 90 degrees to each other (a half-open magazine?). Fascinating. Utterly uncommercial.
+++++++++++++
Guven Akkir: Part of a mixed media work covering the wall (and the floor) commenting on the Middle East -- a topic that certainly seems to the forefront of the mids of the undergraduates. Dear me, is't it tempting to say "Darling, that is soooo 2003"? Except, of course, that most people wouldn't get the affection behind the joke...
+++++++++++++++++++
Margreta Bardsea-Stolen: These pictures are about 1.5m by 1m. There were four pictures of this artist. Superb. Actually, the show this year was considerably more impressive than last year's in terms of the average quality of the work.
+++++++++
Laura Stocker: It isn't fair! Looking at this stuff again, I want to buy too much! It's hard to get over how impressive this work is. I've added a detail which I hope gives an idea of how it's put together, with individually painted matchstick-sized pieces of wood.
+++++++++
Peter Lee ("Penguin") I love works like this, but their problem is that you can't reproduce them on the page! The second is a detail of the first.
++++++++++++++++
Rie Funakoshi: Probably my favourite traditionalist landscapist in the exhibition. I was less keen on this artist's more "personal" paintings of people.
+++++++++++++
Isabelle Webster: First it was photographs, now it's sculptures. My tastes are broadening. A simple idea, hard to execute (how did she get all of the pens?) and not easy to get right in detail (look at the colour flow, brilliant). I like works of art that just mean what they mean. It's nice. "POA", it says. I'm not surprised. Would look nice on the wall, though.
++++++++++++++++++++
Alice Rodriguez: No, the workmen haven't left his half-finished. The room is the artwork. For those left scratching their head at this, I reproduce Alice Rodriguez's explanation.
++++++++++++++++++++
Nick Jensen: Damn, it looks as if this hasn't reproduced too well. It's an upside down guy several hundred feet above a New York-like landscape. Comic bookish in inspiration, but impressive.
+++++++++++++
Kenich Shimuzu: Another installation. I liked it.
++++++++++++++++
Daniela di Donato: One for the Ballas. This is made of dollar bills. (Actually, I think they are colour photocopies of dollar bills)
++++++++++++++++++
Polina Ivanova: As soon as I saw this picture I was reminded of a European school that gained favour between the wars. In fact there was one particular artist I was reminded of - the somewhat obscure Albert Crommelynck, who you can add to the list of "semi-famous Belgians". Of more familiarity to the reader might be Otto Dix (whose "Portrait Of A Journalist" was famously used in a scene from Cabaret) and this is a distinct style to which I have always been attraced.
This artist also did some work that combined with furniture (see below).
+++++++++++++
And, finally, a masterpiece of minimalism:
Whoops. No. Sorry. This is a radiator.
_______________________________
ah ah ah
Date: 2007-06-26 02:59 pm (UTC)the dollars were real!($2001)
and u could have stolen a $ plane instead supposing things!
thanks for the pictures!
cheers