Unit 1
Geraint Evans Painter's Forum/ Painting in the Expanded Field
Painting from the hand
Painting is kept alive for its commodity - The Art Market
Krauss - sculpture is the stuff it is not e.g. everything in a room (furniture) that is not the room
Gustavo Fares - talking about painting in terms of the negative
After Modernist painting - Kraig Staff
Raushenberg - seen more as sculpture than painting
Lynda Benglis - spacial works - The walls become the support
Kinsey - technology advancing in painting - printing
Painting as instruments to test perception
Bill Morrison - referenced painting - film left somewhere and got spots
Jeff Wall - Manet contemporary recreation - mirror - capturing the image - male gaze
Niki Saint Phalle - Shooting Paintings
George Mathieu - lyrical painting
Hans Namuth - Films of Pollock painting - gave them a different meaning
Yoko Uno - a painting to be stepped on
Shigeko Kubota
Janine Antoni - mopping black hair dye on floor
Lubaina Himid
David Reed - Painting expanded by taking things from other mediums
Painting - emotion
Ken Oshitii - paintings on screens
Jessica Stockholder - physically immersive experience
Richard Tuttle - contemporary materials
Jim - tape
angela De LA Cruz - traditional references to painting and destroying it
Simon Callery
Goya - I saw this / I was there written on art
Painters' Forum: A Short Stroll in the Woods: Landscape Painting and Legacies of Conflict, Capitalism and Empire with Geraint Evans
John Constable - British Landscape painter
Ask the Fellows Who Cut the Hay, 2016 (Film)
American tribal paintings on skins - Kiowa
West - depicted as a wild place
The Sublime
The Panorama
Hurvin Anderson - drippy
Claude Monet - Weeping Willow
Paul Nash - 50 drawings in muddy places
Robinson in Ruins - Film by Patrick Keiller
Marcus Harvey
V and A Constable paint sketches
Constable paintings - textured and worked into
Mark Fairnington
Roots
Detailed
Brushstrokes - energy and anxiety
Nature in motion
Controlled and abandoned nature
Transition
Collaged photographs painted from
Reveal Fictions
Belief , faith
What’s known and what’s believed
Insect paintings
Film camera collaged images making an insect
Printing from the collage
Insect portraits like Tudor portraits - interest on clothes rather than person
Turned bugs around - back from the dead
Insects fascinated surrealists - female devours male during intercourse
Mantis - can live for long time without head
All he knows about the insect is the painting
What knowledge is embodied in an insect
Detail implies a knowledge that isn’t there
What happens in the making of a painting that generates new knowledge
Memetic camouflage
Evolutionary
Reimagining the Victorians exhibition has his painting
Tree hoppers - thorn bugs - no one knows why they end up looking like that
Went to the rainforest
Took photographs
The Hummingbird tree painting or photographs from different angles of birds
The Ancestors painting
Birds seen altogether - Not realistic
Paradise bird painting
Birds without feet - used as money - Europeans came up w story that they never touched ground until they died
Still life paintings
Andrew Grassey - pointed at brushstroke and said it’s out of a Franz painting
Someone said in magazine that it’s “painterly painting that can’t ever tell the truth”
Works from National History specimens
Warehouse SE London - taxidermy
Earth seen as out there to be discovered at time collections made now Earth seen as fragile
Kind of moth which only eats taxidermy animals - how did this thing exist before taxidermy ?
Takes 100s of photographs
Interested in Girrafe heads
Photoshopped drawing to make painting from
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Still life paintings- detail of thing described has emphasis
Structures to hold up taxidermied animals
‘The raft’ - based on Gericho’s painting - life is just about being held together
Medusa ship run aground - crew built raft to put 150 people on (they got life boat)
When they were rescued 15 people left - national outrage
Steel structure built to hold up giraffe skeleton
Horniman museum - wrap taxidermy animals in plastic - he liked this - idea of monkey/animal rather than image of monkey/ animal itself
animal eye circular paintings of glass taxidermy eyes reflecting museum
layering of fiction
Paintings of living animals
Bred to look a certain way
Photoshop drawing - crude - space for painting to inhabit
Silhouette
Starts with gestural brown brushstrokes
bar to rest hand on
Life sized on white grounds
title of paintings are names of bull
Showed in New art gallery in Warsaw
Whistlejacket by George Stubbs - inspo
animated painting of horse
tail stops just at the end of the canvas - recognises itself as a painting
painting too big for horse
Horse called Bernard so name wasn’t dramatic enough
image namer mistaked horse’s penis for udder
Dutch botanical painting
collaged photographs to create insect and flower painings
Maria Sibylla Merian
: travelled to Dutch colony of Surinam 1699
His prepatory collages are crude
space for making of painting to command the image
American sculptor David Smith
Yamblem Hyssen dutch painter - image originally presents itself as absolutely real
lyrical movement through - poised
successful when alive then forgotten
National Gallery and Wallace collection and Dulwich Picture Gallery
Closer you get to them - can’t decipher how they are made
Paintings of dead leaves — emblematic of death
Lovers eye paintings - brooches
Fairnington painted his eyes on compact to open to show two eyes
Eyes on round wooded panels
of ideas of paintings coming into works
painted sons in bath - one bit reminded him on Hulmer hunt painting with light coming through sheep’s ear
Likes moments of correlation
Moments where paintings become Surreal
Welcome collection
disturbing
death masks
human body and medicine
Henry Welcome
Warehouses full of things he collected when he died
Iron lung built by Welsh man for wife
anatomical models
prosthetic limbs
things they wouldn’t show in museum - unethical
wax heads with poles beneath
He made miniature paintings turning objects into portraits
Reminded him of Gericho paintings from Morgues
: Scale model of raft used in painting
Things poised between different fields of study
paintings of cases
characters in their own world - isolated in themselves
Peculiarity of connections
Ishaw museum
old books
national history books
religious relics
Mark Catesby, The Natural History of Carolina, Florida, and the Bahama islands … 1747
: inspired title of his show
4 books in collection - albert Sieber - snakes, 2 animals born together - before enlightenment - didn’t know how to categorise things
Detail
belief systems
Relics with saints bones - presented in crafted cases - writing around them
nail from the cross
Conviction of making - reflecting a belief to something being true to thing it’s supposed to be
fake relics used to be traded
relic nibblers - pretend to kiss relic then bite bit off and take home
model box - portraits of friends dressed up as ghosts inspired by The invisible mothers - someone had to be holding children still - mother wrapped in fabric so they weren’t seen
Landscape painting for Cherryburn in Northumberland where Thomas Beuic born - woodcut maker and National history books
Tail pieces - pictures of Northumberland life
radical
Fairington decided to show paintings in house
Paintings around Cherryburn
paintings from prints by Beuic
photos
Reflection or conversation about different historical representations of the land
Worked out installation of paintings
Landscape paintings
became larger
Made in same way as insect paintings
Perspective changes / warped space in his river forest painting
Commission for someone who lived on hampstead heath - photographed - Sandy Heath - like prehistoric landscape
Found out about history of place - used to be a mining place for bricks to the railway - public not happy - campaign - “a ghastly spot with holes big enough to fill the corpses of nations
Friedrich church - the heart of the Andes
People would pay to see it
Painting in National Gallery - portrait of tree stump
Made portraits of tree roots
From woods around south london - put clouds in background
Inspo - Scape goat by Halmer Hunt
pursuit of realism takes you into something strange, disturbing, quite Surreal
Dutch 17th century sotto bosko - the undergrowth
gothic macabre
snake chasing or eating rats
insects eating other insects
Belief snakes and insects and slugs emerged from mud without reproduction
sill life painting
Saco bloy
Painting of tree root - made a landscape - Began to be portraits
Folklore - the green man - natural world
Photoshop drawing from different photos from different places
put together like sculpture
painting based off image
That moment where the painting becomes a thing in itself - has its own meaning - couldn’t determine when it was made only after it was made.
Research happens in the studio at the point of making the painting
Information contained in the way it is made
Point where realism hanging onto its idea that you have to believe it
New meaning created in the making of a painting
:Hard to pinpoint this
Practice defines itself as research
How you describe your process to yourself in detail is most important
Renaissance - moment in an image where something defines the realism - Carvo Cravelli - National Gallery - ray of light defies all the perspective of everything that’s in the image - pleasurable - can play with it
Observation
Gods envious of humans because they could die
Turners drawings and paintings - details accurate - paintings baroque spectacles - different idea of looking different idea of audience as well
Fairnington’s wife said the root paintings were all self portraits
Understanding of how to make a painting not how the real world is like
Fairnington drawings are all the things he can’t do in the paintings
Sketch paintings or colour notes taken back to studios by some artists
Didn’t want it to be like public art that says “look at me i’m here”
Fairnington has different sizes of work for different places
Simon Callery
Look at the world
Don’t make copies of the thing you are painting
surviving and painting
What’s the role of an artist
Young British artists
Do it yourself! - exhibitions etc
Got the attention of SATCHI gallery - at the time it was ‘New York’ style way of showing - white - rare
Works don’t operate as images - work as an experience - what is it like to stand in front of a painting?
References to architecture
Used a lot of lead white
Lines
scalpel polished paint and made luminous quality
horizontal lines - illusion of depth - tradition of landscape painting - viewer has physical understanding of painting
Large-scale paintings
Quietness (contrasted with the loud/attention seeking movement)
Architectural elements of physicality - how columns get smaller at the top in Greek architecture eg
How to get people to move around the work
Worked with archaeologists - experienced the landscape - Institute of Archaeology
Circular narrative
Romans brought straight lines
Found it difficult to make paintings outside so he turned to photography
Put his photos of the land in draws — each draw moves across the land in a large photo
changes to horizontal line - relevant to digging deeper - going further back in time in archeology
Material landscape and time
Sculptural work called Trench Tent - Poured plaster to grab material of surface - stood the pieces up - landscape as material
Residency - Research with archaeologist in commercial world
Cicularity - paintings as a physical experience - thought about colour
Sat and Drew the excavated pits - relationship between time and material
Red works - called them Pit Paintings
Wanted to open up the works - have interior spaces
Materiality of painting - using wood
Painting having body and landscape as a body which has been excavated - the viewer has a body which they feel through as well as see through
Returned to flatness - rectangles you can see through on the side - evaporates weight of the work
colour
Layers of vertical forms forming a rectangle - making lines with canvas, sewing - like drawing - painting in a new way - Called Wall spines. He made some with paper - softness and sharpness. Putting colour together - weight. Thinking on how paintings can be robust.
North Wales excavation - listen to conversations around the trenches
Made paintings in the place he was working in - landscape. Colour work. Feel and cut holes where he could feel things under the canvas - register the fact the painting was made in a place - not about showing what the place looked like
Went into the urban environment with students and marked what he felt on the street eg cracks. Made stepped wall spine
Spent time in Italy - history of painting - respect it - learnt about Renaissance. Made work in Italy - holes on ground. Dyed with red iron oxide. Softened canvases in the river - changed its physical quality. Wall spines. Deeper holes - can see interior more. Sturas - name of the river. Allow a painting to accumulate. Start producing material and allow the painting to find its own form. Use smaller bits left to use for other small works.
Colour as a material. Waled with Tawny Wilker ? Tony Walker? Yellow exhibition - be free with forms. Other artist calls himself a painter but worked with wood. Interior.
Inspired by excavating - could start with rectangle then accumulate and develop into something different - same thing happens w his work.
Making work in contact with landscape
Iron oxide pigment - softness to canvas and pigment comes off a bit when you touch it - called Red Mantel
Got rougher in his works - holes you can see through to the wall
Iron based and Mars based pigments
open side work with covering that sits over it
You can make things and the rest is all potential material for work - openness to process
How to tell if a works successful - see how people react with it - the experience of it - if they walk around it. What is different to the experience of painting to other things ?
Work itself is like a relic from the making experience - like finding an artieact excavating
Looking at painting - seeing the knowledge rather than reading it
Colour of earth can be amazing
Colour as a medium and a material
Pigment is earth, it’s metal, it’s burnt wood
Objective - ask the fundamental questions - why do archaeologist want to dig a hole? - why do I want to watch them and listen - misinterpretation is allowed as an artist and should be valued
The visions of the self - Gavin Edmonds
Rorschach test and other other psychological things
Children’s cartoon’s - screen shots
cartoon Donald Duck - leaving home and parents are dead
Reason why you pick an image which would seem different when you look back 50 years later
Pathos images
Warburg - autobiographical reflex
Complex Trauma
Warburg - we project onto images
Oppenheimer - his father owned the painting Wheatfield at Sunrise by Van Gogh
Oppenheimer atomic test 16 July 1945 “brighter than a thousand suns”
We can link the painting and bomb
Recognising yourself in things
Things coming alive that aren’t alive
Freud and the uncanny
Free Association
Dream Analysis
People giving context for what you’re doing
Beth Cavener
Animals
seeing yourself in animals?
Conrad Jon Godly -impasto
Frank Auerbach
Helen Frankenthaler
Tracy Emin - Hunter’s Moon - scream heard in gallery from film which links all works and the sculptures - film of her sitting on the peer screaming - Edvard Munch - autobiographical - using herself in ‘The Scream’ by Monk
Materials and how they will interact
Inside the Freud Museums: History, Memory and Site-responsive Art
The Ancestral Temple: memory and mourning in the work of Song Dong - The Art Life
Memory box
Painting and materials to tell a story
Anselm Kiefer - weighing down on you - smell of paint - alchemy in gold and change in corn sheaths
Visions of The Self/ Jenny Saville on Rembrandt
“There are moments in a painting and on certain moments you turn up the volume”
Bacon uses a limited ground with impastoed paint and that comes directly from Velasquez(/ Velasqueth?) and Rembrandt.
Unit 2
Painter’s Forum: Weak Painting - Alex Bacon in conversation with Prof Daniel Sturgis
Nina Camell - gum that melts over duration of the exhibition
Pamela Rosencranz - exhibitions that stimulate the senses - room with Evian water and drugs
‘Weak’ painting - critical and political values
Weakness - mutual, minimal, dematerialising - point of work - embraces our alienation from labour ….
Flatness of painting - Michael E Smith and Robert Rauschenberg - use flattening our and 3 D objects - front of painting monochrome then back has objects which are provocative
Rauschenberg - uses whole 3D eagle
Michael E SMith - within page
Rauschenberg dirt painting
Warhol - Oxidation painting
Yoko Ono - step on painting
Steven Parrino - explores necrophilia in sculptural works - pioneering element of weakness in work. monochrome.
Josh Smith - whatever made in the rectangle reads as a painting
Materiality
Daniel Buren - ready made into painted object - stripes - 60s and 70s - can show lack of meaning in painting or sad show of loss of it
Robert Smithson - send you out of the gallery into the world
Weakness in painting as a challenge to the system - ‘slacker’ art
None of the artists in this lecture are painters - painting format
Weakness not being a critical term - philosophical or aesthetic way
What painting can do is limited
What is the new positivity?
The weakness of signs as a condition in Modernity
The signal of the monochrome feeling differently from different artists
Why do artist’s feel the need to return to certain languages - the semiotic seems relevant
History eg abstraction - doing something different at different times
Josh Smith - approach in ironic way but doing something different in the end
Ad Reinhart - shades of black
Generational shift - what these signs can mean
Charles Meek - lots of things to say and different ways of saying it
Black square - language of painting - weakening of signs - world condition is difficult - how to make something out of it - the challenge - more to say and do when it’s more challenging - provocation to work harder and do more
Queer subjectivity - monochrome
Memorialising
Often artists can throw out histories in provocative ways
Gillian Carnegie - TATE
Black and Black
Keith Coventry
Jane Harris
Ad Reindhart
Joan Snyders
Wayne Binitie
Iceland trip
Drilled into ice
What do fragments of ice tell us about the Earth?
Geothermal Heat
Photographic Series
Way of documenting
Glass with consistency of sugar - hung them up and photographed them - looked like ice
Oldest ice in the world taken to Cambridge
Ice core
H worked with an archive and photographed the ice
Bubbles of air in ice - air trapped in the Earth
Vapour Series
Vapour sculpture
Form of collapsed air bubble floating on middle of lagoon in Venice - would have sound in the middle - this was a pitched idea but he didn’t get it
Liquid Series
Unclear whether it is a photograph or painting
Photographic series - has glass on the surface
Hot reds to darker colours
Ice melts because of magnetic storms
Lines and glass in works
Pollen in glaciers trapped in ice
pollen used in his works
Lines of longitude and latitude
Watermelon Snow - fungi grows on the ice - makes ice melt faster because of plumes
Violence in the way we let ice melt - violence in mark-making with palette knife
Light bounces of polar plumes in Iceland - atmosphere pure so people think they’re hallucinating
Recorded sounds of ice melting and made painting evoking it
Gave friend of block of ice and made used his hair to paint on window with water from ice
Solid Series
Made solid ice-looking sculptures
Volcanic ash melted into glass
fragility - you cut your fingers carving them or they look cosmetic if carved
Blown glass vessels - The bacteria glowed at night - from the Indian Ocean
Heat controlled room - can interact with antarctic material in a room - Antarctic ice cut out and put in middle of room - can understand climate change
One side of room with ice melting away and other side antarctic air in glass. Sound inside. Some people relaxed to the sound. Materiality of climate change etc.
Polar Zero film - sound and vision
Questions
PHD question was about what does solid mean ?
Covid happened - looking at secondary sources
Delphi - breath air in from the ground and have visions - priestess says your future
What’s scary is the speed in which the world has changed - make it poetic, not boring, engaging
Breath of visitor sublimed - became part of the ice in his exhibition
Ice photographed in place that housed the ice - British Antarctic scientific labs - clinical - extractors
Interested in sound of Carbon monoxide being released - wanted ice to melt and photographed it
Uses glass fritte - looks like sugar
Wolfgang - scent that makes the work
You can’t think through one Modality alone … think through all the senses
Come to a dead end — this point takes you somewhere
Found his subject in Iceland
Showing work at Cop - politicians - power - Art reminded politicians about what is special
Michelangelo and Da Vinci didn’t separate art and science
Reading Group/ Hito Steyerl - The Wretched of the Screen
· My Answers to Questions
Broadly what is the essay they chose from discussing overall?
A Thing Like You and Me:
The rise and fall of The Hero
The Hero as a subject and an object
Subjectivity and objectivity
History
Fetishisation of a thing
Image
Contemporary society favouring the thing over the subject? Aesthetics over content?
· What are the key ideas explored in their chosen section of the essay?
Bowie as the contemporary hero in 1977
Bowie as fetishised object/ image
Bowie as a product - a ‘post gender’, ‘post-human’ image which can be reproduced countless times
‘an image and nothing but an image’
The immortality of a hero but through its image which can be reproduced, re-used and remade - he had lots of reincarnations of different characters or personas but this essay focusses on more of his aesthetic heroism
Images can be destructed and damaged - pixels etc but his ‘substance’ will remain the same thing - hero
He will remain immortal as he will be remembered after death through images - Greek heroes from antiquity typically had a tragic or triumphant death where they died with honour and their memory became immortal but the death of the actual character and burying of their body is essential in this formula. They were then remembered through word of mouth - their story being passed on and their legacy. Also their son taking on their name, for example.
· How do these ideas relate to each student's perspective/research (make connections, bring out your own reactions, comparisons and insight)
My practice is very much concerned with the image and beauty and the thing (usually a tree). I would say my paintings are often more concerned with the object rather than subject - perhaps my trees are fetishised like Bowie - they become beautiful spectacles. In a time where we are in the midst of an eco crises, my paintings perhaps catalogue natural beauty which might someday be destroyed prematurely. I have recently been imagining the destruction of Earth due to an eco crisis and how images recording its beauty could be taken to space to preserve their memory in a space ship. I am interested in androgyny and rock stars and trees also hold an androgyny. In the bands I follow image undoubtedly holds an appeal and often a sexiness. I like the empowerment of pure aesthetics in this essay - an image being allowed to be an image and put on a pedestal for it rather than for its academic or historical context as a subject. Although I take many ‘immortal’ photos in my practice and paintings of trees perhaps immortalise them, I am usually depicting a sense of my own mortality in comparison to the tree. When I think about it I am constantly repeating things through photographing them. Yet I feel I often try to avoid repetition in my practice - I don’t make 2 copies of the same painting as I’d find it boring. When I paint the trees image is often altered through the human hand and materials; I like using materials I can loose some control with an have ‘happy accidents with’ - this balance of control and lack of control is central to my practice.
· Consider some contextual analysis: how does this essay relate to its context (e.g. political, cultural, technological, other art, gender/feminist, philosophical or other)
Political movements changing - heroes changing - ideas of the image - subject/object changing - ends on a note of contemporary society favouring the thing over the subject? Aesthetics over content?
New genders emerging constantly - Bowie represented ‘post-gender’ and ‘post-human’
We are in a rise of images with things like Instagram - image reproduction and use of spreading the contemporary hero, or celebrities is seen daily. Old pixelated images and old photographs alongside new photographs are now held by most people. Now you can edit images further on photo shop etc.
This essay mentioned the feminist drive for women to become subjects rather than objects. I feel women or celebrities are now feeling empowered on social media by objectifying and fetishising themselves through images on social media. Is this a new wave of feminism?.
Bibliography
Steyerl, H. (2012) 'A Thing Like You and Me', The Wretched of The Screen, pp. 46-57. Available at: https://ual-moodle-sitedata.s3.eu-west-2.amazonaws.com/43/14/43140b9981f2bbfbc2a790f04f3a26b07d8f3239?response-content-disposition=inline%3B%20filename%3D%22e-flux_Hito%20Steyerl_15.pdf%22&response-content-type=application%2Fpdf&X-Amz-Content-Sha256=UNSIGNED-PAYLOAD&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIA2PCH3OG65JHUZNKL%2F20240211%2Feu-west-2%2Fs3%2Faws4_request&X-Amz-Date=20240211T210459Z&X-Amz-SignedHeaders=host&X-Amz-Expires=21541&X-Amz-Signature=c0c25c25ab252925c1ef051728ba52b5148dc7c19662e0fb9a4528f512f0bfb4 (Accessed 11 February 2024).
Reading Group - Hito Steyerl 'The Wretched of The Screen'
Loiuse Borgeouis
Andy Goldsworthy wall in forest
Solaris
Root system/ fungi communication underground with trees
Trees and perspective
Images of work could be taken to next section
Gavin Edmonds Eva Hesse
Eva Hesse reflects on what she makes and what she says
Contradictions in her art
She’s still got something to work out, she doesn’t know what the answer is
Learning to let go
‘a really big nothing’
Hesse and Leonardo
art and psychoanalysis Maria Walsh
Edmonds backs up ideas with research
Edmonds - dreams are like newspapers of what’s going on in your body
Art work is acting out what has happened in your life
Give sources to tutors - things you’re interested in
Stream of consciousness writing
Eva Hesse rope piece
Maria Bartuszová
Vampire 1895 Edvard Munch
Delcy Morelos
On Paint, Materiality and Meaning by Geraint Evans
Michael Stubbs: A portrait of the Artist
Painting on floor
Varnish
vinyl stencil
pour paint onto stencil
Embodied painting
embodied painting in relation to digital disembodied computer screen
explosion / chaos
Interested in American abstraction and Pop art : Andy Warhol and silk screen printing 60s
Collision between abstraction and Pop
Optical depths / multiple narratives
opaque / transparent planes
Surface materiality
surface merges seeing and touching
alchemy
sensual object
physical process
phenomenological ideas
perception
Isabelle Graw
Paint mark is like an autograph - charge - points to the author that’s present as a ghost
liveliness - life and labour of artist and their life
Hands ability to leave a record
Francis Bacon
Intense sensation in marks - Deleurs
Francis B - difficult to know how some marks go straight through the nervous system and others tell a narrative
Paintings live on their own
Malleable - not knowing - paint itself has a sense of agency
Deleurs - a violence of reaction and expressions
James Elkins
Analogy between alchemy and painting - transformation - pigments and oils into something of cultural value
Self- portrait of Rembrandt - Skin as paint paint as skin - self-portrait of painter but also a portrait of paint - (Sensual description of the paint)
Kazimir Malevich
Primal act of paintings
Gerhard Richter
Scale of work
blurred
paintings from widely-used photographs
Francis Bacon
Photographs to paint from
Refused to paint from life - needed absence to feel the person - paint freely
Michael Staniak
Digital age
The screen is a normal part of his life like having breakfast
Ken Okiishi
screens used to paint on - greasy ginger - like marks of paint
Dan Hays
systematic paintings
stills from cameras
Sources them as found internet images
paintings laborious - look like pixels
Laura Owens
Painterly gestures
impasto paints
layers
screen-printed aspects
Simon Callery
Materiality
Physicality of process
Canvas as a mere support
Paintings and canvas as a physical material
Sam Gilliam
Bevelled edge paintings
stained w acrylic paint
creases - structure
chance - left to dry on studio floor
occupy space - physical encounter with works - Drape paintings - adapt to each exhibition space
References to his African-American heritage in titles
Frank Bowling
References identity
different identity beyond American abstract expressionists
Self-made wooded contraction - tip/tilt/twist whilst paint poured onto it from heights up to 2 metres
taped canvas to board
painted alone
agility and movement in making
Oscar Murillo
Canvas important to meaning of work
Politics of migration
world is something that’s upside down
birds - migration
Michael Armitage
Lubugo - bark cloth before its primed
Rejection of cotton / linen
African Heritage show through materiality
The Grand Robe made by an artist from a Central Plains tribe - made on buffalo skin
John Mulwurndjul
Natural materials like earth pigments and bark, wood, fibre string
Chris Ofili
Dots
colour
elephant dung
Anselm Kiefer
materiality
scale
image
encrusted surface
ruin
desolation
scale
experienced in bodily sense
Jean Fautrier
post-war
starting again
building materials
Frank Auerbach
Frankenthler poured on floor on unmprimed canvas
Yves Klein
Work presented as if sitting there - found like in art material store
Ontological step where all that exists is the materials
Anish Kapoor
materials there like pigment rawly
Wolfgang Laib
laboriously collected pollen and laid on floor
he sprinkled it on the floor
Jackson Pollock
movement of arm and shoulder
first to work on floor ?
Gerhard Richter
Squeegy paintings
bodily gestures
pop art
inspired by Andy Warhol
Andy Warhol
Jason Martin
Zebedee Jones
dragging paint
he was deaf
sense of distancing
Park Seo-Bo
nature
spiritualism
Ha Chong- Hyun
meditive
sense of things being reduced
The Back-pressure method
Nobuo Sekine
rejecting traditional views of representation
engaging with world as it is
Showing natural properties
Lee Ufan
Paint lines
cobalt blue pigment
discipline
raw mineral
Alexis Harding
grids
paint sliding
active material
Peasant paintings
mushroom pigment
egg tempera
Sigrid Holmwood
pigments from selected plants and painted with them
bio-social history
Damien Meade
The physical
Glenn Brown
Karel Appel
Bram Bogart
Painting from human ashes
Critical Reflection in Unit 2 and Beyond/ From Testing Beyond Subject to Making Public with Anna Bunting-Branch
Te Palandjian
Grounding - walking barefoot
Moves in sand - makes casts from the mould of the shape
Actors practicing lines - weaving net at same time
Dead cactus plants
Carry on making/researching over the summer
Residency - Campbell Hector
Types of research
The archive (Kew Gardens)
Letting yourself wonder
Critical Reflection
Unit 3 short essay
Crit session or methods meeting on interests - mind maps
Expand your network
Make connections between your studio practice and another discipline - try looking at your work through this lens
Do an interview with a researcher or collaborator - writing the questions and responding to the answers are two important forms of critical reflection. Can use Teams and record it - gets a transcription. Can use phone.
Visit a site and write about your experience - site writing: Jane Rendel - responding to a place or landscape
Engage creatively
Try using different forms of writing (you do not need to write an essay)
Experiment with audio recording, video editing or image and text collaged together - like a zine
Consider how you might use performance to embody your research
Group task: Kew words
Types of Research
Experiential - experience a site in nature - document in photos, videos, text
Movements of the body - primary and secondary sources - people and film
Narrative - situation - Narrative already made - screenshot from film - ambiguity to the audience
Private views
Colour schemes - liquids can represent environment, experience
Materiality
Perspective
Site-specific
Forms of critical reflection
Site-specific
Audio recording
Video
Note taking
Documenting an experiment
When are we doing critical Reflection
Gathering of fragments - the clarity comes from bringing it all together - make and introduction and conclusion around this
Collaboration - group reflection
Exhibition reviews and writing from “I” when it comes to subjects of Identity
Review landscape she is looking at - history of it, perceiving it currently - can be sectioned into parts. Landscape document - photos.
What is it to review work of another artist/space - use the “I” when describing what it is to you. Later can build in context. It can develop at different times.
When does work become public - group activity
Social media - finished work or progress pieces before the final piece
Exhibition
Archive/ document - show in person - exhibition
Finished in studio
Critical Reflection - group activity
Throughout in head
Notes doing experiment
Reflect on Final piece
In Crits
Things that could help my Critical Reflection
Once a month - find threads that are relevant - summarise and pull put key points