Noo Yawk, New York

Noo Yawk, New York Cover


In response to a dismissive-of-his-talent viewer who stated that he, Bernini, the famous, Baroque, Italian artist, when sculpting a marble portrait, merely made an exact copy of a sitter's features -- Bernini very politely stated that the result of making a portrait in that fashion, would be no different than if one powdered a face white, and, as we all know, by doing so, a person's features become unrecognizable.

What every artist knows (or should know, if he's worthy of being so designated) is that in expressing his perception of a reality, it's necessary that he extract the truth (as he sees it) from the object or subject under consideration, and then present it in a believable fashion. The manifestation of that perceived reality, providing an artist has the skills sufficient to materialize his vision or concept, will result in a work of art. How good that work of art will turn out to be, will be determined by the vision and concept that instigated the making of it in the first place plus, of course, the artist's competence. It's this ability to create a believable reality out of a piece of stone, a bunch of notes, a string of words, or a few blobs of pigment that makes art come alive, as if by magic and what made great artists revered as magicians.

[It's with this in mind that the author has refrained from using footnotes -- all too often used (much like tent poles for supporting the flimsy canvas covering the arena of a traveling circus) by writers as a means of giving significance to, and authority for, otherwise banal and meaningless conclusions. Nevertheless, it should be stated that every dramatization of events made by the author in Noo Yawk, New York -- The Flip Side, was based on his actual experiences and observation or, while allowing for artistic privilege, on what he had good reasons (based on his determination of the truth) to have logically concluded that that's the way it was.]

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