04.02.2020 - Gertrude Stein

Your words seem nonsensical but touch something deep inside, 
they resonate. 

That moment when you meet someone and you talk for hours and time passes without a blink. 

Leaves you longing for more. 
For the next moment to talk and share and be. 
For the next sentence to hang from, the next word to be uttered. 

The connection of sparks gathering as the electricity surges. 

The moment that you meet someone and you want them to stay forever and you want that forever to be now, for this moment to be never-ending, lasting a lifetime. 

When you search for them, at every opportunity, the connection, like magnets; the graphite standing on edge as the field comes into sight. 
The moment the attraction of mind is greater and the arousal is piqued. 

When the rhythm of your heart is the pace of their words and the tingle in your fingers is the breath from their mouth and the look in your eyes is the glistening of their skin. 
                                            *It started with Gertrude Stein*

Contextual Essay - Wk 1 - 18/02/2018-24/02/2018

• Week 1 Feb 18th Complete Mapping the territory, print large scale mind-map to work in to, use to outline concepts, generate ideas and moving forward. Produce outline plan first draft, initial thoughts from current practice. 

I have worked further in to my 'mapping the territory' mind-map, see images below. I have yet to add these additions to the digital version. It has become apparent that I have far too many connections to context in my work. I will be honing in on what really anchors my approach to art making and developing my essay from those points.    I also read through In Praise of Shadows by Jun'ichirō Tanizaki, translated by Thomas J. Harper and Edward G. Seidensticker, 1977.It's an essay that has some questionable opinions in it regarding Japanese life and decor and Western influence of aesthetics but the descriptions of objects, interiors and activities are quite delightful and insightful even if the discussion is very pessimistic.

11/12/2017 - 500 word text relating to practice and reflections.

Initial thoughts on choice: Ben Highmore, Michel De Certeau, Henri Lefebvre, Rita Felski, Eran Dorfman - the repetition, meditation, excitement, quotidian, the city, the invisible, class. Subjects that stimulate me mentally in to producing the repetitive fractured work I feel pushed to make.The Text:Felski, Rita. Doing Time : Feminist Theory and Postmodern Culture, NYU Press, 2000. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/warw/detail.action?docID=865460.Accessed here: https://www2.warwick.ac.uk/fac/arts/english/currentstudents/undergraduate/modules/literaturetheoryandtime/ltt-felski.pdfThe Invention of Everyday Life - Felski, R. p81-82Repetition:Everyday life is above all a temporal term. As such, it conveys the fact of repetition; it refers not to the singular or unique but to that which happens “day after day.” The activities of sleeping, eating, and working conform to regular diurnal rhythms that are in turn embedded within larger cycles of repetition: the weekend, the annual holiday, the start of a new semester. For Lefebvre, this cyclical structure of everyday life is its quintessential feature, a source of both fascination and puzzlement. “In the study of the everyday,” he writes, “we discover the great problem of repetition, one of the most difficult problems facing us.”10 Repetition is a problem, or as he says elsewhere, a riddle, because it is fundamentally at odds with the modern drive toward progress and accumulation.Lefebvre returns repeatedly to this apparent contradiction between linear and cyclical time. Linear time is the forward-moving, abstract time of modern industrial society; everyday life, on the other hand, is characterized by natural circadian rhythms, which, according to Lefebvre, have changed little over the centuries.11 These daily rhythms complicate the self-understanding of modernity as permanent progress. If everyday life is not completely outside history, it nevertheless serves as a retardation device, slowing down the dynamic of historical change. Lefebvre resorts at several points to the concept of uneven development as a way of explaining this lack of synchronicity. Because of its reliance on cyclical time, everyday life is belated; it lags behind the historical possibilities of modernity.Time, writes Johannes Fabian, “is a carrier of significance, a form through which we define the content of relations between the Self and the Other.” 12 In other words, time is not just a measurement but a metaphor, dense in cultural meanings. Conventionally, the distinction between “time’s arrow” and “time’s cycle” is also a distinction between masculine and feminine. Indeed, all models of historical transformation—whether linear or cataclysmic, evolutionary or revolutionary—have been conventionally coded as masculine. Conversely, woman’s affinity with repetition and cyclical time is noted by numerous writers; Simone de Beauvoir, for example, claims that “woman clings to routine; time has for her no element of novelty, it is not a creative flow; because she is doomed to repetition, she sees in the future only a duplication of the past.”13 Here, repetition is a sign of woman’s enslavement in the ordinary, her association with immanence rather than transcendence. Unable to create or invent, she remains imprisoned within the remorseless routine of cyclical time. Lefebvre’s perspective is less censorious: women’s association with recurrence is also a sign of their connection to nature, emotion, and sensuality, their lesser degree of estrangement from biological and cosmic rhythms. As I have already noted, Julia Kristeva concurs with this view in seeing repetition as the key to women’s experience of extrasubjective time, cosmic time, jouissance.14

10. Henri Lefebvre, “The Everyday and Everydayness,” Yale French Studies, no. 73 (1987): 10.
11. Henri Lefebvre, Critique de la vie quotidienne, vol. 2 (Paris: L’Arche, 1961), 54.
12. Johannes Fabian, Time and the Other: How Anthropology Makes Its Object (New York: Columbia University Press, 1983), ix.
13. Simone de Beauvoir, The Second Sex (London: Picador, 1988), 610.
14. Lefebvre, Everyday Life in the Modern World, 17; Julia Kristeva, “Women’s Time,” in Feminist Theory: A Critique of Ideology, ed. Nannerl O. Keohane, Michelle Z. Rosaldo, and Barbara C. Gelpi (Chicago: University of Chicago Press, 1982). See also Frieda Johles Forman, ed., Taking Our Time: Feminist Perspectives on Temporality (Oxford: Pergamon, 1989) for similar arguments.

Word Count: 474

ReflectionsThat although we are all influenced differently there are similarities that can be drawn from the texts. Aspects that may not be relevant to those actually sharing but are to others, texts that may not have been accessed by all or things that may have been 'out of radar' so to speak. There is also the elements of interpretations.In response to Paula's text from Touching The Void: accepting where you are and allowing you to move on - better decisions - links to art, the struggle, and consuming nature. Often faced with difficult decisions that we can't go back on. The idea of not looking and taking risks.Art to justify existence, the reason we are here, give purpose. getting over our fear - make the comparison.

06/11/2017 - Task 2 - FFF - FRAME - Sketchbook & Research: reading notes and thoughts

Thinking about steps and ladders in art as a means to get higher, climbing the ladder. How long is it? What is it constructed from?
climbing class, society, we talk about getting high as a means of aspiration, to rise up.

'in a field of destructive torrents and explosions, was the tiny, fragile human body’ (Benjamin 1973: 84). The juxtaposition of an industrial, technological and destructive force, with the ‘unprotected’ human body sets the scene not just for modern warfare but for modern life in general.' (p57, Highmore, B, 2003. Crashed out - Laundry Vans, Photographs and a Question of Consciousness)

delicate humans - embroidery - muslin - low thread count

thread - tension - life, everyday

traffic lights - speed, slowing down, control, restriction - pushed forward then pulled back. controlled freedom. (Influenced from Highmore, B, 2003. Crashed out - Laundry Vans, Photographs and a Question of Consciousness)

soft and tactile - rendering of structure of the city - its materiality - soften it - as it hardens us.

'What is being pictured is not the disciplined bodies of worker-soldiers, but the lithesome and mutable body of the dancer. The crash releases the body from the constraint of a certain attitude, it allows for another manner of being.' (p59. Highmore, B, 2003. Crashed out - Laundry Vans, Photographs and a Question of Consciousness)

The phrase Barthes (or his translator, Richard Howard) uses to insist on a weaving of the real through the threads of textuality is ‘image repertoire’. It is to this that we are condemned. (p60. Highmore, B, 2003. Crashed out - Laundry Vans, Photographs and a Question of Consciousness)

05/11/2017 - Task 2 - FFF - FRAME - Sketchbook: research quotes to move forward

Reading or to read: Rita Felski, Henri Lefebvre, Situationalists, Marx, Critique of everyday life, Ron Silliman's Ketjak, Attention Equals Life: the pursuit of the everyday in contemporary poetry - Andrew Epstein,

'forms based on repetition & accumulation can be a powerful tool in the quest to rescue the everyday from neglect' (Attention Equals Life: the pursuit of the everyday in contemporary poetry - Andrew Epstein)

'the deliberate structure of accumulation and repetition is directly tied to its desire to approximate the experience of everyday life' (Attention Equals Life: the pursuit of the everyday in contemporary poetry - Andrew Epstein)

'circularity and repetition that gives the everyday its flavour of ennui', sameness, art, perpetual reoccurrence'. (Attention Equals Life: the pursuit of the everyday in contemporary poetry - Andrew Epstein)

'each dawn (is) a return to an eternal conclusion' Silliman'distinguished from the exceptional moment.' (Felski, The Invention of Everyday Life, 2000)

'immanence rather than transcendence' (Felski, The Invention of Everyday Life, 2000)

'everyday rituals may help to safeguard everyday life.' (Felski, The Invention of Everyday Life, 2000)

'repetition can signal resistance as well as enslavement,' (Felski, The Invention of Everyday Life, 2000)

'the most repetitive of lives bears witness to the irreversible direction of time; the experience of ageing, the regret of past actions and inactions, the premonition of death.' (Felski, The Invention of Everyday Life, 2000) 

21/09/2017 - Video Lecture 1 - Reflexive Practitioner

Video Lecture 1 - ARVL1 – Reflexive Practitioner (Viewed on 20/09/2017)

Part 1- Looking at artists reflecting on work

Part 2 – Strategies of developing a reflexive practice

• Personal notes

• Research notes

Part 1- Looking at artists reflecting on work

Graham Sullivan – many facets of Contemporary art, in many environments.‘Art Practice has long been a critical and creative means of inquiry that encourages new ways to think about what it is to be human within the uncertain world in which we live.’ (Sullivan, 2010)

David Buckland – Cape Farewell project – artic. – climate change - using art to draw focus

Reflexivity = reflection. Thinking, pondering, meditating, reviewing.

Turning back to oneself – looking at own thinking – stepping back, taking stock, distance. Reflection can be too self-indulgent.

‘Donald Schon’ – learning @work,

Michael Eraut – professionals on job, most learning happens informally during normal working practices, i.e. conversation, problem solving, etc.

• Reflexive – thinking about your thinking

A reflexive practitioner – a learning practitioner.

It’s all Research – being reflective is doing research on your own way of working, investigating & gathering data/observation etc

As a fine artist you need to be reflecting on:

The way you make work,

What influences you, - important for me

Knowing where to position your work in relation to other artists, - important for me

Being conscious of yourself in the wider context, - need to be more aware, who are my contemporaries?

Research – techniques, materials, influences. The research is intrinsic if you see it that way, as Sullivan says:

‘Reflexive practice is a kind of research activity that uses different methods to work against existing theories and practices and offers the possibility of seeing things from new perspectives.’ (Sullivan, 2010)

Pompidou center – 1970’s Rodgers etc, designing services outside creating an open/flexible interior – new way of looking at something.

Pompidou Centre, photo credit: INSADCO Photography / Alamy, https://www.cntraveler.com/activities/paris/centre-pompidou

James Aldridge – Cold Mouth Prayer – Tate 2007

James Aldridge, Cold Mouth Prayer, 2007, http://faariscar.blogspot.ae/2011/02/art-knowledge-news-keeping-you-in-touch_09.html

Royal college then scholarship – Rome.

Mundane and cliché work – painting of trees - as a child would draw trees with dad, copy birds from text books – inherited dads love of natural history.

Interests creep in from outside of art. – have I gone too far from this, one extreme to the other?

Personal experiences of art – ‘bringing these in was like allowing a part of myself in to the work. It was challenging to let them in, as they didn’t feel worthy of being included. Once they were allowed in, and then it allowed doors to be opened.’

‘His work came alive’ – THIS IS WHAT I NEED – Am I willing to find balance between personal motifs and research? – links to my work around routine and my struggle with the concept.

Research is past, things he already knew, became relevant. Don’t stop research or lose research as it may be come important, don’t dismiss past interests

Tracey Emin – confessional work, but does have distance? – is she too far involved?- living the drama of her story, biopic. Life as research

Tracey Emin, But I Never Stopped Loving You, 2002, http://www.traceyeminstudio.com/artworks/2002/01/but-i-never-stopped-loving-you/

Shaun McNiff – arts therapist/artist

How to handle tension between personal experience and making of art. Emphasize – art comes from within me, I nevertheless attempt to study the subject with as much objectivity as possible. I am intimately connected to my work but the work is still separate. – thinking of my personal schedule compared to the people I research. – starts within becomes objective – links to work on Professional Practice Programme at Tashkeel last year.

AR – Artwork has to come from somewhere subjective but to be able to make a valued judgement about work you need critical distance and objectivity.

Langlands and Bell – want things we do to be well done. – their work is opposite of Emin.

Highly research driven practice

The meanings of art – arise in the makings of it – not that everything is free to us as artists but that we do feel free to explore if appropriate.

House of Bin Ladin – 2003 - Post 2002 visit, Politically sensitive - is art anti establishment? Many think we have no place to work with the establishment.- they work with people - intervening in peoples lives, not participants - subjects.

The experience changed them, life was hard for people in Afghanistan. – question to myself - should the creation of your work change you?

Use the opportunities to go/do something you haven’t, create something original, meaningful.- Research - things they are interested in - follow curiosity, this takes them to peoples lives in extreme circumstances.

Is there a moral or ethical dimension that they are not talking about? – this is what could make it personal, they leave opinion out, its data collection and presentation.

Do they have to much distance from their research? Does it make their artwork available to the viewer? Do they do to much research? Is that possible?

Baumgartner - Handmade prints/woodcuts, video source - Contemporary look but recognisably handmade. Speed, looking out of window, blur, view colour as horizontal lines, speed and standstill, together as a way of viewing our current condition, the faster we move the less we see.

Christiane Baumgartner, Allee II, 2008, Woodcut Diptych on Kozo, (right panel), http://www.christiane-baumgartner.com/allee2.html

Rose Wylie, Belgium painting: Cloven shoes. Diptych (slide, not shown here)

Rose Wylie in her studio, http://www.tate.org.uk/context-comment/blogs/cornelia-parker-why-rose-wylie-true-original

How do we prevent ourselves from becoming slick?

How do we stop ourselves from just going through the motions?

When are we just recycling our visual language because it has become our style?

What have we learnt?

Emily Ball - drawing and painting people - Looking at other peoples work is a good way to reflect on your own. – Do I have this book? Yes, read it again!

When EB saw RW’s Cloven Shoes, made her question own playfulness, ‘how much was she trying to rely on attractive gestured marks and colour to cover up the lack of a real connection to subject? If these were taken away, there wouldn’t be enough to make a striking memorable image. Was there any poetry or humour? Uncomfortable, because I felt exposed by recognizing something in her painting that was missing in my own.’

Frustration, difficulty - important, motivating - lead to letting go and make fresh connections with the work.

Helpful to recognize patterns and how habitually respond to them.

A research journal can help identify these unconstructive habits or dead end processes.

During MA - reflect on development of practice and theory that informs it.

Keep research journal

Support examination, scrutinize it and make changes. To take it in the direction you want, this takes time, attention and application. Using others work to informTranscriptions - copies, likenesses.

John Skinner – Scorn - Paulo Veronese– Moma podcast – Cezanne & Pissaro

Decided to paint it but too big to handle, chose a part to do - liked placement of heads, eroticism. Became ‘Two Scornful Women Watching As Their Lover Is Being Beaten To Death By Lust.’

And then ‘Vanitas: a homage to Helen Chadwick with nine roughly painted penises and two vaginas on strings.’

Considered Helen Chadwick a contemporary and envied her work

• envy is important as it shows you what you want to be –

Transcription of one of her works – ‘Vanitas 1986’ - still life - Netherlands in 17th-century. Vanity of earthly life to repent, consider mortality

Skinner positioning himself in relation to art around him – this story makes me think of Turrell and Balka, can I create a small embroidered piece that is as engulfing as these large pieces – to feel safe, but isolated?

His research directly informed his work – it became work. It also comments on existing work – obviously he ‘owned’ it.Part 2 – Strategies of developing a reflexive practice

Studio –what is your studio or workplace for? – home office, Tashkeel, Surf House, hotels, coffee shops

All places of research whether theory or observation

Rachel Whiteread - Drawing studio in Berlin first-time important thinking place

Virginia Woolf - a room of one’s own. A place to be with oneself away from the rest of your life.

Or does your studio give you an identity as an artist? – Tashkeel gave me confidence, community gave me validation

Would you still be an artist without a studio? – motivation, inspiration & a voice.

Does it make you a member of a community? - yesDoes it put you in a social contact with other artists? - yes

Is it where you create stories that feed your work? – like this ideaIs it where you store tools, materials or finished work? - yes

Look at what you do in studio.- home office – budget for house, applications, writing, dictation, planning. Tashkeel – painting, printing, embroidery, DIALOGUE.

An audit!

What do you do in your studio?

Write down everything you do in your studio or the place where you usually work. Include drinking cups of tea (yes so much), dreaming, reading the paper (yes, mags at home), phoning friends etc. Be honest

Which of these things do you want to be doing and which do you not? – I’m okay with doing it all except distracting talk, discussion is welcome, but need more boundaries.

What else do you want to do that you don’t? And why aren’t you doing these things? – DRAWING – lack of confidence, time management

Is your studio set up for you to do the things you want to do? – reasonably. Do you have a comfortable chair to sit in to contemplate work? Is the light adequate? Are there enough in electrical sockets? Is there a good enough Internet connection? – yes

Where else do you make work, or think about work, or carry out research? – surf house, coffee shops – in the car – podcasts, to do lists, thoughts. What else do you do in these places? – socialize, quiet time, eat, commute

Are those serving and supporting or holding you back? Make some changes, - if needed.

In the studio - going round in circlesFine - okay and important, often a constructive way to work. Think about it in cycles of activity.

Similar to Kolbs learning cycle, familiar to research, learning and studio practice.

VL1 Activity cycle

- Thoughts – separate – go through body of existing work, use apartment in Nov when moving? Or possibly LB’s spare room or space @ Tashkeel? Is that possible? Lounge? Evaluate own work in existence – feeling stuck.

Cycles - reflection, new cycle, repetition = iterations

Reflection allows to review process, perhaps moving into practice too quickly, perhaps more drawing – review current process using this cycle.

- This section should be printed out and placed in view of studio space.

Observe and reflect –Contemplate from different perspectives, sit with it. Draw from observation, draw a schematic diagram. Photograph, video, print and photocopy, draw on photocopies. Use different media to explore.

– go back to statement, take it apart, how has it evolved? What is important now? How does it effect you?

Write about what you see, touch, feel, smell etc. Describe using metaphor i.e. if it was a holiday or something. Record your description. Emotional response – important as influences created this.

Ask questions as if you know nothing about what it is or how it was made.

Put in a different environment, take it outside, place it next to other work. Give it a persona and interview it - Sean McNiff - Imaginary dialogue. Invite comment from a colleague. – Tashkeel is uninvited, ha! But I love it!

Evaluate –
How do you know when it is finished?

How do you know if it works?

What would be different if it didn’t work?

Intuition? Sense of rightness?

Intentionally executed? – run out of time? Deadline? Fulfils criteria?

Reflective outside the studio –

Understand the field you are working in - Fine art? Modern/western concept - only recently has fine arts taken an interest in non-western cultures and not defining it as exotic. – Moma Podcast – Global/World Art symposia 2009 (?) Defining fine art becomes difficult as artist appropriate methods and practices from other areas and disciplines. The purpose of art could be to critique, communicate, explore, evoke emotions, reveal.

Cultural, social, political, educational, philosophical.

James Elkin - value judgements rather than a definitive definition.

Theodor Adorno - Aesthetic Theory 1970 – “It’s taken for granted that nothing which, concerns art is taken for granted” – read this book, its on your desk

Who does it? What are its products? Where and when are they experienced or consumed?

- Artists, Assistants, experts, technical experts, participants, educators and collaborators.

- Experiences, events, object

- Physical or virtual manifestations, Commentary on art too.

- Galleries, cinemas, public spaces, TV, web, books, films, tea towels etc ‘merchandise’

How is it evaluated?

By art world commentary, critics and reviews, specialist magazines and journals, general publications, media commentary, auctions, celebrity endorsement, gallery sales, adverts, education. – what is relevant here in Gulf? Closed dialogue, lack of critique due to censorship and cultural values

How is fine art different from other fields such as craft, art history, arts theory, design, medicine, anthropology?

Craft - lines are blurring, markets and audience different.

Historically art has been about making now about history and theory.

Design - doesn’t solve real-world problem, is not for distribution or retail.

Medicine - Similar concerns - intention to do good. Aspect of artistry to medicine. Fields are different.

Anthropology - similar concerns regarding artefacts and the roles of individuals making cultural meaning in societies.

Sullivan: Be open to new and multiple interpretations of artworks – allow others to offer what they see and that you may see something different.

Debate and discuss processes and meanings that come out of these interpretations

• Find a group to engage with, critical friends, reading group, studio group for reviews of work, uni where you can look at talks by artists, theorists, art historians, opportunities online. – Critical Dialogues @Tashkeel starts Wed 27th Sep w/Kevin Jones, Art Talks 101 @Alserkal, Global Art Forum @ Art Dubai, Sharjah Art Foundation talks & events, NYUAD talks & events

Question the contexts in which art is made

• Impact etc – langlands & Bell. What statement is made? Who does it affect? Is it relevant?

Be aware of the potential artistic, social, political, educational or cultural impacts.(Sullivan, 2010)

Appropriation of other artists work - Gilllian Weiss, advert

Richard Serra – The Terminal - 1977. - Implicit and clear, art awkward and overpowering, resistance of community, 1930s repression, political alibi etc. Sculpture scapegoat.

Cape farewell project-explore on website. 

To Reiterate:

Recognise and acknowledge whose work you are building on – have clear influences – nothing is original & that is okay as long as you’re honest.

Being transparent in your methods and open about your methodology – its okay to get help etc.

Be rigorous in your recording – note everything and transcribe to journal

Be prepared to justify your methods – know what you are doing and why

Don’t confuse effort and quantity with quality – valid

Be careful of using theory to justify artwork – valid, slipped in to this and away from personal, need to find balance.

Being modest in your claims – clarify

Be honest with yourself – yes!

Most importantly, don’t lose curiosity or your courage.

• After listening/watching the lecture, I went back through my notes with the pink pen and annotated my own thoughts. Something I wish I had done on previous courses, perhaps this is where learning fails/hinders some students, present them with 30mins after a lecture to annotate, later on encourage them to discuss their notes with a classmate, allow them to absorb and digest the information instead of telling them it in a short time, closing books and moving on.

Still to Do:

Revisit questionnaire
Type notes on to blog - done 23/09
Add images if relevant - done 23/09
Consider revisiting sketchbooks this week or going through body of existing work.

Other themes:

Participant Involvement
Research
Art & other disciplines
Artists & issues
Life/art integration
The studio 

References:

Cape Farewell Project: www.capefarewell.com

Christiane Baumgartner video: www.moma.org/explore/multimedia/audios/32/771

Emily Ball on Rose Wylie: Ball, E. (2009) Drawing and Painting People. Marlborough, Crowood Press.

James Aldridge, Christiane Baumgartner, and Langlands and Bell interviews: James, N. (2010) Interviews – Artists Volume 2: Recordings 2010. London, CV.John Skinner on Paulo Veronese and Helen Chadwick: Ball, E. as above.

Langlands and Bell video: www.langlandsandbell.com/new/the-house-og-osama-bin-laden-video.html

Richard Serra: Stiles, K. and Selz, P. (1996, republished April 2011) Theories and Documents of Contemporary Art: A Sourcebook of Artists Writings. London, University of California Press.

Shaun McNiff: McNiff, S. (2008) Art-based Research in Knowles and Cole (2008) Handbook of the Arts in Qualitative Research, SAGE.

Sullivan, G. (2010) Art Practice as Research: Inquiry in the Visual Arts. London and Thousand Oaks, CA, SAGE.

Schon, D. (1983) The Reflective Practitioner: How Professionals Think in Action. New York, Basic Books.

Eraut, M. (2004) Informal Learning in the Workplace.

Image source links:

Pompidou Centre, photo credit: INSADCO Photography / Alamy, https://www.cntraveler.com/activities/paris/centre-pompidou

James Aldridge, Cold Mouth Prayer, 2007, http://faariscar.blogspot.ae/2011/02/art-knowledge-news-keeping-you-in-touch_09.html

Tracey Emin, But I Never Stopped Loving You, 2002, http://www.traceyeminstudio.com/artworks/2002/01/but-i-never-stopped-loving-you/

Christiane Baumgartner, Allee II, 2008, Woodcut Diptych on Kozo, (right panel), http://www.christiane-baumgartner.com/allee2.html

Rose Wylie in her studio, http://www.tate.org.uk/context-comment/blogs/cornelia-parker-why-rose-wylie-true-originalWord count: 2714

not for citation or circulation

19/09/2017 - Readings for VL1: Reflexive Practitioner

Reading 1: James, N. (2010) Interviews – Artists Volume 2 Recordings 2010. London, CV Publications.

Pp.16-19 – Christiane Baumgartner –

Woodcuts of video imagery subtracted in to linear form to be visible from distance. – work is about speed, how we consume our surroundings with in speed and how ‘fast-paced’ life is slowing down.

Christiane Baumgartner, Transall, 2002, woodcut on Kozo paper, http://www.christiane-baumgartner.com/transall.html

Influences:

Gerhard Richter - abstract and figurative,

Gerhard Richter, Phantom Interceptors, 1964, oil on canvas https://www.gerhard-richter.com/en/art/paintings/photo-paintings/aeroplanes-19/phantom-interceptors-5538/?&categoryid=19&p=1&sp=32

Paul Virillo – revolutions and speed. Contradictions – speed/slow, beauty/menace.

Paul Virilio, quote http://www.azquotes.com/quote/1557856

Research is from observation, gathers own materials and uses found material (newspaper photo), has researched technique, aware of history. Understands he contrast between the two, intrinsic to work. 

Reading 2: James, N. (2010) Interviews – Artists Volume 2 Recordings 2010. London, CV Publications.

Pp.6-12 – James Aldridge –Painter, graphic, silhouettes, nature, skulls, landscapes, lots of colour, mixed composition.

James Aldridge, Eye, 2013, acrylic on canvas, https://www.artslant.com/ew/works/show/751993

References – Japanese Art,

Raymond Pettibon,

Raymond Pettibon, Repeater Pencil, 2004, video installation, https://www.artslant.com/ew/works/show/213104

Bird books – Ornithological guides,

James Aldridge, Circle, 2001, watercolour on paper. https://www.artslant.com/ew/works/show/496448

heavy metal album covers/music,

folklore – belief & how that is manifested in images,

psychological space/atmosphere/feeling,

John James Audubon,

John James Audubon http://www.audubon.org/birds-of-america/american-bittern

Renaissance frescos,

Schongauer print – leaves,

Martin Schongauer, Apanel of leaf ornament with two parrots and four other birds, Engraving, 1470-1474 http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1432821&partId=1&people=108158&peoA=108158-2-60&page=1

Munch painting – hay,

Mandala colouring books – symmetry, spiritual symbolism, link back to heavy metal logos.

Research is integral to personal interests, ‘creeps in’ from out side of art. Authentic. 

Reading 3: James, N. (2010) Interviews – Artists Volume 2 Recordings 2010. London, CV Publications.

Pp.44-53 – Langlands and Bell –

Web of relationships between people, architecture and mass communication & exchange to negotiate changing technological world. Film, Sculpture, architecture, neons. Flight path – data collection – ‘relevant to me’

Langlands and Bell, Air routes of Europe night and day, 2001, http://www.langlandsandbell.com/portfolio-item/air-routes-of-europe-night-day-2001/

Research – observation – first hand gathering/exploring.

References show knowledge and awareness of art world:

Giovanni Bellini,

William Burgess – byzantine – mirror floor piece,

Langlands and Bell, (William Burgess Chapel) Reawakening, 2004 http://www.langlandsandbell.com/portfolio-item/reawakening-2004/

Oscar Niemeyer – architect, reference façade.

Oscar Niemeyer, Ministry of Education and Health, Brazil https://www.google.co.uk/search?q=the+ministry+of+education+oscar+niemeyer&source=lnms&tbm=isch&sa=X&ved=0ahUKEwj805nj6brWAhWjAJoKHY-NDGoQ_AUICigB&biw=1344&bih=912#imgdii=HsfZRxBO4rA0fM:&imgrc=0aLO-aRBByu9MM:

Langlands and Bell, The Ministry, 2002 http://www.langlandsandbell.com/portfolio-item/the-ministry-2002/

Relationships – research infiltrates their practice, ethics, work.

Conceptual war - in attendance, visits, first hand material research gathering. Research trips – Afghanistan, Rwanda

People, places, & experiences are their research, use it to inform themselves and then pass that message/ information on. 

Bibliography:

James, N. (2010) Interviews – Artists Volume 2 Recordings 2010. London, CV Publications.

Links:

Christiane Baumgartner, Transall, 2002, woodcut on Kozo paper, http://www.christiane-baumgartner.com/transall.html

Gerhard Richter, Phantom Interceptors, 1964, oil on canvas https://www.gerhard-richter.com/en/art/paintings/photo-paintings/aeroplanes-19/phantom-interceptors-5538/?&categoryid=19&p=1&sp=32

Paul Virilio, quote http://www.azquotes.com/quote/1557856

James Aldridge, Eye, 2013, acrylic on canvas, https://www.artslant.com/ew/works/show/751993

Raymond Pettibon, Repeater Pencil, 2004, video installation, https://www.artslant.com/ew/works/show/213104

James Aldridge, Circle, 2001, watercolour on paper. https://www.artslant.com/ew/works/show/496448

John James Audubon, American Bittern, http://www.audubon.org/birds-of-america/american-bittern

Martin Schongauer, A panel of leaf ornament with two parrots and four other birds, Engraving, 1470-1474http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1432821&partId=1&people=108158&peoA=108158-2-60&page=1

Langlands and Bell, Air routes of Europe night and day, 2001, http://www.langlandsandbell.com/portfolio-item/air-routes-of-europe-night-day-2001/

Langlands and Bell, (William Burgess Chapel) Reawakening, 2004http://www.langlandsandbell.com/portfolio-item/reawakening-2004/

Oscar Niemeyer, Ministry of Education and Health, Brazil https://www.google.co.uk/search?q=the+ministry+of+education+oscar+niemeyer&source=lnms&tbm=isch&sa=X&ved=0ahUKEwj805nj6brWAhWjAJoKHY-NDGoQ_AUICigB&biw=1344&bih=912#imgdii=HsfZRxBO4rA0fM:&imgrc=0aLO-aRBByu9MM:

Langlands and Bell, The Ministry, 2002http://www.langlandsandbell.com/portfolio-item/the-ministry-2002/

not for citation or circulation