▍What role does "power" play in the cultural field? Or what role it played.
In the film "The Burnt Orange Heresy," Claysbon plays James, the ambitious art critic who has published a personal book called "The Power of the Critic." The book; The Power of the Critic aptly becomes the heart of the film's plot.
What is the power or authority of the commenter? If it exerts its influence in the public sphere? And how will this impact affect the artwork or the creation itself? The movie "Liar and Paint a Lover" tells the story of an art critic who is eager to become famous and how to effectively "use" the power of his critics to influence the public's judgment on the artwork itself.
To make up the play must have three roles: creator (creator), critic (critic) and collector (collector) or dealer. The creators of the show are contemporary painting master Jeno Deney, whose work was destroyed by two fires, critic James Figuera and collector Joseph Carr, played by Rolling Stones frontman Mick Jaeger. thurdy.
Generally speaking, critics are observers who stand outside the description scene, and reshape the appearance of a work in people's minds through professional analysis and an objective perspective. However, this role often creates an embarrassing problem of misunderstanding and misinterpreting the artwork itself. Another, more terrifying situation is the deliberate distortion and guided interpretation; the situation is similar to the second creation, such as a translator or a media report, but the James in the play knows this well, and he even shapes a work that does not exist. , it is not as simple as a fake painting.
Next, we have to ask: "Who gave the critics this power?" According to the plot, one is that collectors or dealers confuse the public in order to raise the price of collections; the other is the media that is familiar with manipulating the public and commenting. James' role is the core value of modern media, exclusive, fast reporting and excavation of insider stories, fictional plots are more important than truth. The collector Joseph Casserdy in the play clarifies this reality with one sentence: "The truth, what is the truth?" The eyes (clear fingerprints in the painting) are not enough to rely on, so what is the truth? All the best liars will tell you, "What most people want to believe is the truth."
▍ Should the reviewer be an outsider? Shouldn't the work be viewed from a critical and objective point of view?
When reviewers question the creator's work, who will question the reviewers? General readers, audiences, and the public sphere mostly choose to ignore this situation, so that the shaping of characters like James has become the product of a large number of successful copies in the market. Not only are artworks or works misinterpreted, but even the creators themselves will go to the grave with their own works. Geno Dayney in the play is a rebel; he opposes any media and individuals who comment on his own work, burns his own creation for the second time, and finally ends up alone. Ironically, the people who burned his work for the third time (in fact, he had no new creations at all) were the critics.
▍ Instead, commenters become creators.
In a way, I can understand James' disappointment and unhappiness; when he saw the blank frame of Jayno Dayney. How could he not be angry when he was deliberately trying to get the first opportunity to disclose his works in 50 years to burn? "Liar Painting Lover" borrows a popular and old-fashioned handsome man and beauties, a deceitful bed game, and carries out a mysterious artist and artwork shaping journey that looks like "spy to spy". The art critic James, who wants to achieve Tai Chi, is like every piece of art he wrote in "Art Review". When the words are officially revealed on paper, any creation becomes "ash". The commenter is a gluttonous art fly, and I think Lies and Paints Lovers reminds us of that fact.
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