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May 17 jacques-boot commented on Scott Lawrimore and the Legacy of Jacob Lawrence (Art at UW Could Be Changing in a Big Way).
Does anyone remember all of the claims made by Scott and on his behalf regarding his plans for the Frye? I didn’t think so.
Apr 8 jacques-boot commented on Seattle Art Museum’s First Ai Weiwei Piece Is Baubles.
I would suggest that "AI's winking challenge to the notion of 'authenticity'," a trope that has become a staple of the contemporary art scene for at least half a century, is itself inauthentic.
Apr 5 jacques-boot commented on The Man Seattle Police Killed Yesterday: 26-Year-Old Chef Cody Spafford.
There is a lot of misinformation expressed here regarding the lethality of a knife vs. a gun. Statistics show a large number of police officers being fatally stabbed by an assailant that has ALREADY BEEN MORTALLY WOUNDED WITH A GUNSHOT. Guns do not necessarily stop an assailant instantly. If the knife wielder is within a certain range, about 20 feet, and refuses to drop a knife or charges an officer, then shooting is the prudent action.
Mar 9 jacques-boot commented on Art School Confidential.
It should be noted that Winston Churchill was also a figurative artist working in a traditional mode.
Mar 9 jacques-boot commented on Art School Confidential.
Yes, the Hitler references are gratuitous, despite what Gary Faigin suggests. Gary didn't know Gammell, nor did he have any significant contact with Gammell's students. I did. One could also say that Hitler enjoyed heterosexual exploits with Eva Braun. Does that make sex suspect? Did Hitler eat carrots, or pick his nose? Are all nose-pickers Nazi's? One should not have to encounter such obvious logical fallacies in the writings of someone who GETS PAID FOR THEIR WORK!
Mar 9 jacques-boot commented on Art School Confidential.
Is there a distinction, in teaching science, between teaching the technical aspects of scientific method and teaching the philosophy of science, or the history of science. Of course there is. The arts should recognize the same distinctions. These false dichotomies of teaching method and materials vs. teaching expression are tiresome and unproductive.
Jan 16 jacques-boot commented on Pause to Consider This As You Ponder Your Next Cabinet-of-Curiosities Art Show.
Or perhaps one's verbiage is opaque because it is more difficult to muster clarity.
Oct 21, 2013 jacques-boot commented on The 'Art World Has Lost Its Mind,' With a Little Help from the New York Times.
Much ado about nothing, to quote the bard.
Sep 13, 2013 jacques-boot commented on The Lies of the Artists.
If Art is supposed to be appreciated, interpreted and comprehended visually, then what matter that the associated narratives are lacking in verifiable truths? Did the horse-farm artist's works materially change from your original assessment?

We appreciate the Abstract Expressionists work as a group, largely because they were the first American Moderns to be catapulted into international acclaim. "American Triumphalism" was a catchword of the day. The fact that their international success was largely bankrolled in secret by the C.I.A., working through wealthy intermediaries that laundered the cash, has been a story largely ignored. It surfaced fairly early, in a 1974 Artforum article written by Eva Cockcroft, based on FOIA requests. A more recent book by Frances Stonor Saunders, with accompanying BBC documentary, deals with much of the same material uncovered by Cockcroft so many years ago.

The problem is that it is difficult, if not impossible, to appreciate much contemporary work without an accompanying explicative narrative. Tom Wolfe pointed this out in "The Painted Word" many years ago. Does this then make the work itself, as instantiation of the narrative, a form of illustration? Or is it that the work isn't really that interesting, intrinsically valuable or worth considering? The narrative provides a gloss of cultural significance that is absent from the work in and of itself.
Feb 19, 2013 jacques-boot commented on The Paintings Are Not All Right (But the Way the Museum Pretends They Are Is Hilarious).
I have to agree with Swearengen. One would never know from your writing that Anthony Van Dyck, a former apprentice of Ruben's, was indeed a great painter and portraitist. Jen, looking at Old Master paintings requires work and study, continued exposure, comparison and cross referencing, and a willingness to step outside of one's comfort zone in the present. Your post-modern ironical quips bring nothing to our understanding of these works, save confirmation that you enjoy wallowing in your own prejudice and conceit. To quote Robert Henri "Don't get cheeky with the Old Masters. If they didn't have something, they wouldn't be Old Masters."


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