The category containing all posts for part 2.
27th January. On the morning before completing exercise 4.0, I encountered two real world liminals or transitions. The first at the vet’s where I was making a routine appointment for my cat’s boosters, and the second a little later along … Continue reading Option 4, Ex 4.0.2, liminality, unknowing
26th January 2022. I was at a bit of a loss with this to begin with, but I know my own history and it quite often favours horizontals whether these are tide lines up a river bank or the strands … Continue reading Option 4; liminality, ex 4.0 states of unknowing
The first task in this option is one of close reading, a technique that requires conscious attention to a tract of text in its context, the linguistics of it, the rhythms, and the meanings. We have for examination Pippa Gatty’s artist statement from her site in August 2020 (provided in the course materials) and we’re looking for words indicating liminality (edges or borders), and unknowing. For me, this was an exercise in identifying probes – where would I want to ask the meaning of something, for instance? – along with words that suggest containments or areas of leakage through a … Continue reading Option 4: unknowing, research task, & essay
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
For reasons discussed elsewhere, upright flat surfaces and film are my primary expressions of artistic enterprise rather than anything requiring manipulation. With that in mind, I have still produced work that has surprised me, and found techniques that I know … Continue reading Assignment evaluation Part 2
This requires a reflection on previous work involving space and three dimensions. Without rehearsing the problems I’ve had with close compliance with those tasks, I’m taking a slightly different path, at least in this experimental phase, and using whatever the … Continue reading Assignment 2
Exercise 1.5 requires the construction of a number of large objects based on items from the initial table arrangement. These will need to remain in place and will be physically painted. I have to give this a miss for practical … Continue reading Part 2, project 6 – painting in the round
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
This project is about using found objects and making a piece of work by attaching them to a support. The advice is to do this on the flat and to use a support strong enough to allow for stapling, puncturing, … Continue reading Part 2, project 5 – the combine
RP2 Explore early cubist works of Picasso and Braque. What were the influences on Cubism, how did Cubism represent the 3D quality of objects, what similarities are there in this to non-western approaches? About a year ago, I did a … Continue reading Part 2: research point 2 and Reading 3
Strayfish Arts 