Just for fun, and also to keep things interesting, I'm going to do something a little different today.

This post is the usual mix of shots from around Tokyo, but today there will be a comment on each one. The comments come courtesy of a number of websites which generate the kind of stuck-up gibberish you read when people get really serious about modern art. If you've ever read the "The Critics" strip from Viz magazine, you know what I mean.

I actually went to Tokyo's modern art museum a week or two ago, and while I find quite a lot of modern art risible (a cardboard box nailed to the wall? Seriously?) there were one or two things there which actually really interested me. One was a painting from Josef Albers' "Homage to the square" series (Albers taught Jay Maisel, and if you've read this blog for any length of time you'll know that Jay Maisel is one of my favourite photographers, not least because I'm pretty sure he feels the same way about pretentious art waffle) and some photographs by Eugene Atget, one of the most important names in the early days of photography.

Nevertheless, I still like the idea of a random generation of pretentious waffle, so each photo today will be accompanied by such an outpouring. Hope you enjoy the photos - and the waffle!

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As spatial derivatives become frozen through emergent and academic practice, the viewer is left with a clue to the limits of our culture.

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Ever since I was a postgraduate, I have been fascinated by the unrelenting divergence of meaning.

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What starts out as triumph soon becomes debased into a hegemony of defeat, leaving only a sense of dread and the possibility of a new reality.

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My work explores the relationship between critical theory and skateboard ethics (this is even better if you imagine the dog saying it).

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I find this work menacing because of the way the iconicity of the Egyptian motifs notates the exploration of montage elements

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It's difficult to enter into this work because of how the mechanical mark-making of the figurative-narrative line-space matrix undermines the substructure of critical thinking.

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It should be added that the internal dynamic of the sexy fish endangers the devious simplicity of the accessibility of the work.

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My photos are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world.

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The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted.

By referencing romanticism, grand-guignolesque black humour and symbolism, the artist absorbs the remembrance of art into daily practice.

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With influences as diverse as Munch and Buckminster Fuller, new synergies are manufactured from both opaque and transparent textures.

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I'm troubled by how the aura of the negative space brings within the realm of discourse the essentially transitional quality.

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The reductive quality of the purity of line notates the accessibility of the work.

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Although I am not a painter, I think that the subaqueous qualities of the gesture visually and conceptually activate a participation in the critical dialogue.

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"It should be added that the reductive quality of the biomorphic forms seems very disturbing in light of the distinctive formal juxtapositions"

OK, enough of that. We should be back to the normal (whatever that is) style from the next post.

Thanks for looking!