Part 4, project 2, research task

To quote the course materials, this exercise is to “gain experience in working with very different source material and gain confidence in working with e-journals” and to gain a deeper understanding of “how artists ‘know’ their subject and how they use that knowledge.” The two references are: Donachie, Kaye. 2016. Behind her eyelids she sees something […]. J Contemporary Painting, 2, 1, pp11-20. Intellect. Morley, Simon. 2016. A ‘shimmering thing at the edge of analysis’: figure/ground and the paintings of Agnes Martin. J Contemporary Painting. 2, 1, pp 39-56. Intellect. The links in the course materials are not active but … Continue reading Part 4, project 2, research task

Option 1, exercise 1.3 research point

Meret Oppenheim 1913-1985 https://www.huffingtonpost.co.uk/entry/meret-oppenheim_n_5031039 Meret Oppenheim: Mon Exposition / Retrospective at Kunstmuseum Bern This is a retrospective with no dialogue or captions but that clearly shows Oppenheim’s astonishing range of styles. Some of the paintings/sculptures/assemblages crop up in discussions or … Continue reading Option 1, exercise 1.3 research point

Research point Option 1 – Gordon Cheung (1975-)

Unfortunately, the link to a text in the course materials, this one titled Colart Loved By: Gordon Cheung, is dead but the video article is not and so I am relying on that and articles found in a search for Colart. This is from Elephant which seems to be a magazine: “London-based artist Gordon Cheung discusses his tools of choice: a computer, spray gun and paint. You can find out more about Colart’s Loved By campaign, which launches this weekend [January 2018] at Creative World in Frankfurt.” https://elephant.art/colart-loved-by-gordon-cheung/ In the video, Cheung talks about substituting other materials for paint – … Continue reading Research point Option 1 – Gordon Cheung (1975-)

Project 2: replaced in this series by Project 1, Option 2.

This would be assemblage but I am not best equipped for manipulating objects and so I am swapping it out for Project 1 of Option 2: narrative and appropriation. And while there is in theory an element of appropriation, the core theme is the use of a meaningful pre-existing story. This plays directly into my submission goal; a series of paintings embodying key elements of a pre-existing short story and, the task being to produce around 10 paintings for the linked exercise, it can serve as preparation and exploration for that. First, there is the research to underpin the theme, … Continue reading Project 2: replaced in this series by Project 1, Option 2.

Part 5, research point

Brief: look at three of the artists listed in the course materials. Before I began this task, I listed all the artists provided in the course materials and located websites with information and images. I did this over time, only at this final point eliminating the ones I had found least engaging, thereby leaving me with these three. At this point, I realised that all of them are mixed media, they all take discarded or found objects of some kind as their subject matter, and they all project a profound sense of meaning even if they are not always forthcoming … Continue reading Part 5, research point

Part 2, Research point – collections and materials

Tabitha Moses: http://www.tabithamoses.co.uk/page36.htm The web page above, the artist’s own, has been somewhat unreliable as a source; quite often failing to load. Other sources are variable but the overriding message is that she is focused on fertility and uses a great deal of stitch work in her art. Some pieces are satin limbs dotted with sequins or pins and representing the discomfort of eczema or other skin diseases. It is very emotive work that seems driven by Moses’s own experiences. This is from an exhibition/talk in 2019: Tabitha Moses practices at the intersection of art, health and wellbeing; drawing on … Continue reading Part 2, Research point – collections and materials

Part 2, Research point – unusual materials

I have steered round the materials I find uncomfortable; food items for instance which seems profligate and irresponsible at a time people are having to rely on food banks, and in fact when many of us experienced food insecurity for the first time in our lives as shops emptied, supermarkets had no delivery slots, and staples like flour disappeared for months. I’ve also skipped materials that give off fumes because, however interesting they might be, I am unlikely to use those products. This meant going on a search of my own for artists who use unusual materials to make their … Continue reading Part 2, Research point – unusual materials

Part 4, project 6 – research point #2

Historic and contemporary self portraits. I chose Rembrandt and van Gogh as my historic examples (then read that they were recommended) because of their very different approaches. I particularly liked Rembrandt’s honesty with regard to his image when he was older; the unvarnished truth of it and the lack of glamour. His style is very much about realism, these were the instagrams of the day, the selfies, and many of his clients paying for commissions were likely to require a very positive image of themselves and their surroundings. Van Gogh, an insular man with some enormous troubles, painted fractured images … Continue reading Part 4, project 6 – research point #2

Part 4, project 6 – research point #1

Contemporary and historic artists working in different ways on the head. See in particular Graham Little and Elizabeth Peyton. Extraordinarily, Little has no Wikipedia entry and doesn’t appear in any of the books I have to hand. An internet search brings up gallery reports, blogs, and news items, with The Guardian in 2010 introducing his Artist of the Week slot thus: The women in Graham Little’s virtuoso drawings inhabit a world of sumptuous beauty. Realised in a muted¬†Merchant Ivory¬†palette, these long-limbed belles recline gracefully in designer interiors. This is an 80s world of midnight-blue suits and earth-coloured bed sheets, of … Continue reading Part 4, project 6 – research point #1

Part 4, project 2, research point, foreshortening

The first image featuring significant foreshortening that came to mind was this one, a 1914 advertisement by Alfred Leete repurposed for the war effort: Those eyes and that hand and finger pointing directly off the paper into the face of the observer must have felt like an absolute imperative. Such a powerful image with nothing fancy in the text – a statement, a command, and a patriotic rationale aimed at people with the lowest literacy and appealing to their sense of duty. Other instances, at least of clever rendering of perspective, include anything on a ceiling meant to be viewed … Continue reading Part 4, project 2, research point, foreshortening