After finding a yellowing newspaper cutting I had saved in 1969 I have decided to do a painting about it. I will publish results here.

‘Stoned Moon Series was Rauschenberg’s ambitious response to the American space program and the landmark Apollo 11 mission that put Neil Armstrong and Buzz Aldrin on the lunar surface in July 1969. At the invitation of the National Aeronautics and Space Administration (NASA), Rauschenberg witnessed the momentous launch of Apollo 11 at the Kennedy Space Center in Florida.’ 

The constant questioning and declassification of what art is and what the content of art was, lead to a crisis in painting (there as always been a crisis in painting) – Painting is dead – the exponents of Conceptual Art tried to destroy the art object but failed – thought and the idea is the object. The primary aims of Conceptual Art in the 1960?s was to carry out a theoretical examination of ‘art’ and through understanding propose ‘concepts as art’. Two and three-dimensional art was in the doldrums, the essence of creating was the new Holy Grail.

Bright: I would have wanted to work, but deep down I’m enormously lazy. I like living, breathing, better than working. I don’t think that the work I’ve done can have any social importance whatsoever in the future. Therefore if you wish, my art would be that of living: each second, each breath is a work which is inscribed nowhere, which is neither visual nor cerebral. It is a sort of constant futility.

The definition of what is art and what isn’t has become wooly. Painting is often defined as the application of a medium applied to a surface with a brush but in reality painting can involve other practices like printing.  There are generally unspoken guidelines for what makes a good painting. These intuitive components determine the painting’s aesthetic value. These values and sensibilities constantly go through a shift, depending on cultural, political and social tolerances. There is no longer one definition for what makes a successful painting.

The constant questioning and declassification of what art is and what the content of art was, lead to a crisis in painting (there as always been a crisis in painting) – Painting is dead – the exponents of Conceptual Art tried to destroy the art object but failed – thought and the idea is the object. The primary aims of Conceptual Art in the 1960?s was to carry out a theoretical examination of ‘art’ and through understanding propose ‘concepts as art’. Two and three-dimensional art was in the doldrums, the essence of creating was the new Holy Grail.

Bright: I would have wanted to work, but deep down I’m enormously lazy. I like living, breathing, better than working. I don’t think that the work I’ve done can have any social importance whatsoever in the future. Therefore if you wish, my art would be that of living: each second, each breath is a work which is inscribed nowhere, which is neither visual nor cerebral. It is a sort of constant futility.

The definition of what is art and what isn’t has become wooly. Painting is often defined as the application of a medium applied to a surface with a brush but in reality painting can involve other practices like printing.  There are generally unspoken guidelines for what makes a good painting. These intuitive components determine the painting’s aesthetic value. These values and sensibilities constantly go through a shift, depending on cultural, political and social tolerances. There is no longer one definition for what makes a successful painting.

The constant questioning and declassification of what art is and what the content of art was, lead to a crisis in painting (there as always been a crisis in painting) – Painting is dead – the exponents of Conceptual Art tried to destroy the art object but failed – thought and the idea is the object. The primary aims of Conceptual Art in the 1960?s was to carry out a theoretical examination of ‘art’ and through understanding propose ‘concepts as art’. Two and three-dimensional art was in the doldrums, the essence of creating was the new Holy Grail.

Bright: I would have wanted to work, but deep down I’m enormously lazy. I like living, breathing, better than working. I don’t think that the work I’ve done can have any social importance whatsoever in the future. Therefore if you wish, my art would be that of living: each second, each breath is a work which is inscribed nowhere, which is neither visual nor cerebral. It is a sort of constant futility.

The definition of what is art and what isn’t has become wooly. Painting is often defined as the application of a medium applied to a surface with a brush but in reality painting can involve other practices like printing.  There are generally unspoken guidelines for what makes a good painting. These intuitive components determine the painting’s aesthetic value. These values and sensibilities constantly go through a shift, depending on cultural, political and social tolerances. There is no longer one definition for what makes a successful painting.