Author: Suzanne Conboy-Hill

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Part 3, project 2, becoming an image

Suzanne Conboy-Hill

Research point 2: Boo Ritson, Rachel Russell. Boo Ritson: my first feeling about these images (and what are they? sculptures, paintings, paintings of sculptures?) is a slight revulsion. They look dead but they also look strange and it occurs to me that they fall into that uncanny valley whereby something purportedly a human proxy, is too real to be a proxy but just misses being real. The idea that Ritson uses the sitter – body, hair, clothing – in her work gives me the creeps. Boo Ritson | Artnet Rachel Russell: is this her in the – what is it, … Continue reading Part 3, project 2, becoming an image

Research & Reflection4 Comments

Critical review, option 1 – communication

Suzanne Conboy-Hill

Group think in art – is this a fundamental problem for the critique? Summary Creative arts are, by their very nature, subjectively received and evaluated. Reviewers and critics, on the basis of education and experience, are arguably the ones who draw lines for the rest of us between the populist and the critically acclaimed. But use of language is itself an art; influencing others and persuading them of value and merit. I will argue here for raised awareness of the power of language to influence the setting of subjective criteria, introducing researched techniques that place opinion under scrutiny and avoid … Continue reading Critical review, option 1 – communication

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Part 2, contextual focus point

Suzanne Conboy-Hill

This relates to Michael Fried’s 1967 essay published in Art Forum in response to Donald Judd’s earlier essay ‘Specific Objects’ and Robert Morris’s ‘Notes on Sculpture’, both circa 1965 and possibly from an interview with Bruce Glaser(1) I struggled to make sense of this, possibly because of the absence of context (the earlier essays) but also because of the introduction of numerous terms for movements/ideas/groups/ways of working with which I am not familiar. There was no anchor. It also exists in a specific time – somewhere in the mid 1960s – where pop and op art were flying high and … Continue reading Part 2, contextual focus point

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Part 2; research point 5 + reading points

Suzanne Conboy-Hill

Let’s Do It Together – Tate Etc | Tate – “Even the term neo-dada, sometimes applied to his early work, does not do justice to Rauschenberg’s attempts to distance himself from traditional art-making practices and goals. The dadaists had, indeed, used non-art media and approaches, and more recently Jean Dubuffet had employed mundane materials. Maybe it makes sense to look elsewhere for rauschenberg’s signal innovation; in particular, to the artist himself. In the way he presented himself, his hair and clothing styles, his ever-ready smile in photographs, in his eagerness to collaborate, to subsume himself into collective art-making complexes, he … Continue reading Part 2; research point 5 + reading points