Yikes,DonaldJHunt said:That IS scary. The mane doesn't look right, either. Very creepy.
And it also looks very menacing.
At least, that was the first impression I had, and very similar to the impression I had when seeing those DIA murals. Very weird. And Yuck.
After browsing a little I learned that this style is very “Chicano”, whatever that may mean, and that the material he preferred was glass fiber.
It was not the first time he sculptured a blue mustang. Here you can see : Man on fire
While looking at more chicano art I started to have an appreciation for it.
On the other hand the effects those pieces of art have on me are often weird or estranging. Look at those legs of the cowboy. To me, the overall impression it has is one of “morphing”. And I wonder whether this is like the 3-D version of the 2_D polygon effect the murals exhibit. Just an idea I am sharing here.
It was clearly said (in the C’s transcripts) that the murals had a hypnotizing effect. And if this is the 3-D version of the 2-D one, it will become very tricky for us to recognize them, and thus leaving us defenseless in any way whatsoever.
The menacing impression the sculpture has also agrees with some of the DIA murals. It made me wonder in the past, and now again with this 3-D sculpture, whether there is some sort of cosmic code to be adhered to, even by the MCS, that decrees that one has to inform the world with its intention. On the other hand, it could as well be the product of some sort of perverse obsession by the MCS, much like the psychopaths we were allowed to know about (through movie and main stream press) are often compulsively driven to play with their prey.
There is a third route that seems possible I think. The horse we see looks very much like a horse of the apocalypse.
And the sculpture we can see at the DIA is a piece of art that has killed its own creator. It has killed its own creator before it was finished? What a metaphor!
_http://www.austin360.com/blogs/content/shared-gen/blogs/austin/seeingthings/entries/2006/06/15/luis_jimenez_la_voz_de_la_fron.html On Thursday, June 15, 2006, 11:16 AM
It is as if the general law has been trying to stop his project. Or is it ?Jeanne Claire van Ryzin said:Tragic news for the Texas art community: Sculptor Luis Jimenez died Tuesday in a freak accident in his New Mexico studio. He was finishing “Mustang,” a commission for the Denver International Airport, when a piece of the massive sculpture broke off and pinned him against a steel beam. He had been working on “Mustang” for more than a decade.
In the Texas Observer
_www.texasobserver.org/article.php?aid=2262
While this piece of info seems to sketch a figure that has a total lack of empathy it could as well sketch a person that is absolutely passionate about his “art”. Remember, he tried to talk with his mother, but was unable to. His mother was simply slipping away.Bobby Byrd said:The last time Luis visited, his mother only had a few days remaining in her life, and Luis told me about sitting with her as she labored with her breathing. She knew she was dying. He’d try talking to her, but she’d slip away into sleep. He pulled out his sketchbook and sketched his mother as she lay dying. His sister walked in while he was sketching and got mad at him. Here their mother was dying, and all he could think about was making art. Luis was hurt by his sister’s anger, but he understood. All his life, he said, his art got between him and the people he loved. “But,” he said in an almost plaintive voice, “that’s what I do. I make art. That’s how I understand.”
Anybody else remembers how certain artists came with their piece of art, which after 9/11, proved to be very prophetic?
Here you can read about this Luis Jimenez. And it gives a totally different picture.
_http://www.austinchronicle.com/gyrobase/Issue/story?oid=oid%3A460770
So again I am reminded of a person with a passion that could be a reflection of a mission.The Mustang that he was working on at the time of his death in June of 2006 – that literally killed him, tragically enough – was 32 feet tall. And the controversies that these works regularly engendered were, more often than not, of like size. Throughout his four-decade career, Jiménez was embroiled in extremely heated wrangles over his choice of materials (fiberglass being too lowbrow for high art), his choice of subjects (poor immigrants and Aztecs not being Western enough for Western art), and his depiction of his own people (reinforcing negative stereotypes of Latinos). The artist was able not only to defend himself against such charges but frequently to win over his critics because he had a smile and a heart at least as big as his sculptures. Among those who knew him, Jiménez is remembered almost as much for his outsized generosity and good cheer – to fellow artists, to students, to neighbors, to nonprofits – as for his artwork. The only time you're likely to find the word "small" applied to the man is in regard to the size of his ego.
In another version of the sculpture he is showing his fiery mustang on a 2-D representation with a background of a blood red sky, and some sculls on the earth. Is he trying to tell us something?
Maybe those artists were only tapping from the unconscious, while the PTB , having a total lack for appreciating creativity and art, fell for the hypnotizing character of the chicano art?
I am not trying to push through a certain conclusion here. Just trying to broaden and deepen the scope and vision on this strange phenomenon of the DIA art.
.