please empty your brain below

Brilliant!
No it's rubbish!
i agree with Ray.
Anyone know if TfL paid for this art 'work' and, if so, how much?
'It looks good, what should I say?'
- Gerhard Richter (who created lots of color charts)
I get the feeling that you looked at the written waffle, and thought someone is trying TOO hard.

It's still not better than the paint tube poster for the Tate.
I don't know if this is real or ironic...
It's both real and ironic.

Around 90% of this critique comes from text used to describe previous artworks on the covers of tube maps.
If they were to buy it from you for the next map then you will be the one laughing.
Ha! Good stuff!
This makes my head bleed.
'Around 90% of this critique comes from text used to describe previous artworks on the covers of tube maps.'

Surly we should congratulate TfL on their recycling efforts!
It seems obvious to me that the artist distilled the experience of traveling into a series of geometric shapes, their palette and design explicitly referencing London Underground’s past whilst the pattern’s oscillating effect evokes a sense of movement (or perhaps stillness)
Bull Poo
The genius of art is not in the end product, it is in the process of extracting money for something with no inherent value.
You wot?
I just thought it looked pretty!
Richter's "Fünfzehn Farben" sold for nearly £4m a few years ago - the lot description has some industrial-grade pretentious bollocks:

"... with its fifteen discrete blocks of colour, creating an extraordinary chromatic experience ... the fifteen unique blocks of colour are executed in enamel paint which impacts a glossy sheen that makes them hover in front of the eyes

... [he] began to remove the representational responsibilities of colour and instead began to investigate the relative roles of each and every colour ... increasingly used colour without mediation, celebrating its autonomy and dissociating it from its traditional descriptive, symbolic and expressive tasks ... the colour distribution into autonomous units maintain a distinctly arbitrary, anti-compositional feeling to it

... conception rooted in his everyday existence, ... ready-made abstract paintings, offer in a witty retort to Pop. ... ‘for me it was obvious that I had to wipe out the details. I was happy to have a method that was rather mechanical. In that regard I owe something to Warhol. He legitimized the mechanical. He showed me how it is done. It is a normal state of working, to eliminate things. But Warhol showed me this modern way of letting details disappear, or at least he validated its possibilities’

... could certainly be read as magnifications of their source on a monumental scale, akin to the enlarging of everyday media imagery undertaken by Warhol and Lichtenstein, his choice to do away with the indexical characteristics of these objects completely detaches them from their humble origins."

Similar stuff for his "180 Farben" in Philadephia:

"The shiny, flawless surface of the enamel paint squares against the untreated background further distills the empirical logic that governs the work, likening it more to a color chart or a sample kit than to a narrative or expressive painting."
It looks a bit like the colour palette of the Commodore 64 ...










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