what do crayons have to do with the great depression? lame.

Yeah, this is vaguely cool, but is it really engaging and unique art? Aside from the (I’m sure) arduous task of hand-casting thousands of crayons, what here hasn’t been done a thousand times before? He digitized some photos he didn’t take and stacked crayons in boxes based on what his computer told him to do. Good photo selection, but good photo editors are hardly great artists. This is one of those high-concept works that don’t really hold up to analysis or critique. So very Damien Hirst. What was his inspiration? A light bright?

well, considering Damien Hirst is one of the most internationally renowned artists, i would say that’s a compliment. to each, their own. what do crayons have to do with the great depression? opposing elements. contrast in color, abundance, and traditional vs digital representation. maybe not an original thought, but well executed.

No, Damien Hirst is well-known and controversial, and he knows how to get people talking, but his work is consistently trite, and lacks depth and meaning. Like Jeff Koons, he is a showman, not an artist. No one is likely to suffer a bout of Stendahl’s Syndrome looking at either artists’ work, nor is it likely with these pieces. As to answering the question of what crayons have to do with the depression, the answer remains, “little or nothing.” Again, this work and it’s execution do not bear analysis. How do stacked crayons represent “opposing elements” or “contrast in color” any more or better, in context, than any other medium? What relevance does “traditional vs digital representation” have to the choice of images? Just off the top of my head, had these images been rendered using, say, depression-era bottle caps or some other colorful, period, object, the work might have had a certain level of depth. But crayons? Stacked in boxes? How is that medium any more relevant to the depression than images of (just to pull two thoughts out of thin air) Woodstock, or vernacular images of children from the 1950′s (both of which, I would suggest, would have been more relevant to the medium of stacked crayons). No, I still say that this work is more intended to elicit an expression of, “Wow!” And, like Hirst and Koons, it is showmanship rather than serious art.

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[...] artist Christian Faur who turns thousands of hand-cast crayons into pixels. See lots more over on Flavorwire. (via bb) But wait there's more… November 17, 2010 • art   crayons [...]

I agree with Steve and p2… This is so uninteresting that it’s painful. “Amazing”?? Not even slightly.

Another offering for how it might have at least had some sort of conceptual connection between material and vision would be if the image was a still from a “Call of Duty” game. One too-frequently hears the voices of children — who should be grinding such crayons down to nubs — instead playing the online component of such adult-oriented games, swimming through the aural putrescence of the fps hate chatter as they go for the head-shot. It would still be limited in its importance, but at least there would be a meaningful logic to it that might shake a little self-inflicted ignorance out of some of the parents who see it.

I have no qualms with first-person-shooter games, by the way — I love them. My point is just that there could have been — SO EASILY — a point.

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It looks more halftone than pixelated by the way.

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