As some have noted, Beck’s latest work, Guernica, is his most mature offering to date. At a time of war, the artist has brought us a wrenching, disturbing work that confronts his fans while pushing his oeuvre into newer, more challenging directions. It’s a breakthrough—and a triumph.
Guernica emerges after Beck’s much-remarked upon ‘Blue Period,’ in which his work wallowed in despair. While sadness was the dominant feeling in his recent work, Guernica‘s prevailing emotion is anger: anger at war, anger at the flaws of his fellow man, anger at the simplistic head-on view of reality. Guernica shows us different sides of man, the various, conflicting dimensions in each of us. All at once. Every character in Guernica is twisting, groping, angling for recognition. As we’re reflected in Guernica, people are complex, frightening, and beautiful beasts.
These are just preliminary thoughts. Fans and historians will be marveling over Guernica for generations. And then it will be covered by callow idiots.
Categories
4 replies on “First Impressions Of Beck’s Guernica”
So, for a moment, I though you were talking about Beck the musician, in which case the album is called Guero…
Then I wondered…what the fuck is up with these “is this content helpful” things?
I liked that song where he was Luka and lived on the second floor because I lived on the second floor and walked into A LOT of things. Rooms, halls, corridors, chambers, quarters, auditoriums, stores, gyms, ice rinks, churches, airport waiting lounges, the whole bit. Never a door though but I can basically understand where he was coming from. Somewhere near the door.
Forget history and you have to repeat it, over and over like being held back in third grade.
Colin Powell knows better.
Beck? I thought this was by that Ward Churchill fellow.