It was also amazingly cool to see JUNIOR, who I'd seen win a flat race at Royal Ascot, win a jump race at Cheltenham. Next stop for him: The Grand National at Aintree. Perhaps the connections should pay to send me to Aintree. I am his good luck charm, after all.
But before I start planning my trip to Liverpool, there is still one day left of the Festival. And it's not just any day, it's Gold Cup Day. I have two Gold Cup stories to tell. I'll tell one via video (you have to watch this twice. Once for my story, once for the dude heckling me):
I'll be back in a bit with the other Gold Cup related story and also with some thoughts on today's tricky card.
Thanks to the intimate nature of the medium of drawing, which has been a vehicle of the creative element throughout the entire history of art, the collection maps formal specifics and themes related to local avant-garde exploits and monitors the wide stream of tendencies of Modernist fine art. It documents not only the artistic thinking and its transformations from the beginning of the revolutionary 20th century, but also the forming of fine art opinions of artists in the context of the social-cultural state of the country. These opinions affected the practice, production and purchases of politically involved creations up to 1989. That was true especially in the 1950s when socialist realism was promoted as the aesthetic instrument of the totalitarian regime and during the period of normalization in the 1970s, when sexless illustrative figuration became the officially preferred genre as the heritage of sorela (socialist realism). https://maess.eu/contemporary-drawings-cancer-art-works-on-paper
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