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Last Entry
Submission MOD006924
08.32am
Friday 25/09/20
S.Harvey FA / PT
Final Project
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Sketchbook ~ video showcasing 1/6 books looking at fine line, explorations shapes and abstract. Working in monochromatic and focusing on the intermix of textures and dematerialisation.
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A journey of time, video to showcase the representation of imagery and intermix of materials. Ref, to work in progress and experimentation ~ linked in with “expressionist painters. He was known for his series of abstract paintings and prints which touched on political, philosophical and literary themes, such as the Elegies to the Spanish Republic”
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An example of work in progress and speed up processes of problem solving, layout composition and flat lay.
This documents well, leaving the audience with a sense of disorder.
An area explained for the Final project was moving imagery, no text abd no sound.
Display of dismantle ~ black and white intermix of different subjects and pieces
“Mark Lewis is another artist creating gallery-based installation work which engages with the codes and conventions of mainstream cinema. In Upside Down Touch of Evil Lewis re-shoots Orson Welles’ legendary opening shot upside down in the contemporary location of Vancouver using ‘the full commercial cinematic apparatus’. This strategy draws attention to the aesthetic complexities of montage freed from the demands of the narrative”
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An array of imagery and outcomes ~ home installation and exhibition.
You’ll find smaller pieces of collage together (to be installed as a larger set of 1000)
Held and contrasted against the realisation of two larger monochromatic canvases (these are seen installed with the ladder)
“The work set in the canvases are effective and there is a sense of purpose and position ~ physically and theoretically. Each room captures a different moment of this rich journey, from Rauschenberg’s early response to abstract expressionism to his final works saturated in images and colour. Seen together they show how Rauschenberg rethought the possibilities for art in our time”
Investigating into the how art work can be installed like a time line, series of collective outcomes and the significance of them.
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An expanse representation of layering, texture and pushing those physically materials.
Allowing for the work to transcend into a state of abstract e oressiinism. Where does one draw the line?
Outcomes juxtapositions ~ pieces being placed close together. A feeling of intense constructing of black & white and boundaries broken.
The fragility of the collages set against the big bold brush strokes, encasing the context of the imagery and type.
“150 variants of black forms on white backgrounds. “Painting is a medium in which the mind can actualize itself; it is a medium of thought,” he once reflected. “Thus painting, like music, tends to become its own content.”
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The importance of audience engagement and participation has always been something / an area that has sparked interest.
The Widewalls talk is an excellent example of how she pushing and changes the boundaries of performance art and conceptualise.
“Marina Abramović has been pushing past perceived limits of the body and mind, and exploring the complex relationship between artist and audience, through performances that challenge both herself and, in many instances, participants emotionally, intellectually, and physically. The concepts inspiring her works are key, as is the use of her own body to convey her ideas”
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Bill Viola, “In his immersive video and sound environments, Viola aims to externalize the internal realm of the unconscious, providing space for the contemplation of what he sees as the universal, mystical truths that ground many Easte” EXPLORING the unconventional ways of evidence OMG artwork, exploring and experimenting with practical elements of my work.
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“Elizabeth Neel is a contemporary American painter. Her paintings explore the relationship between architecture, the body, nurture and nature. Her lexicon of marks, produced with brushes, rollers, and the force of gravity are a collective imprint of her experience and action in relationship to shared cultural signifiers and designations. Her abstract works have drawn comparison to Willem de Kooning. She activates the narrative potential of Abstraction using similes that belong as much to the viewer’s world as they do to her own. “Every painting I make is a reference to every painting made before”, the artist has said of her work. Neel was born in Stowe, VT in 1975, she received a Bachelor of Arts from Brown University, Providence, in 1997; a Diploma from the School of Museum of FineArts, Boston, in 2002; and a Master of Fine Arts from Columbia University, New York, in 2007. Neel has had solo and group shows at galleries and museums around the world, including the Sculpture Center, Long Island City; Neuberger Museum of Art, Purchase; Saatchi Gallery, London, and was included in the Prague Biennial 5 in 2011. The artist currently lives and works in New York.” http://www.artnet.com/artists/elizabeth-neel/ FMP understanding and contextualising on the relationship of self and abstract. YOU are looking at notes, photography of my journal with analysis and critical review of the artists and problem solving of art specialisms and exhibition space. Importance of audience engagement and specific parameters of understanding art pieces. “Often monumental in scale, their works are at times intense, spontaneous and deeply expressive. At others they are more contemplative, presenting large fields of colour that border on the sublime. These radical creations redefined the nature of painting, and were intended not simply to be admired from a distance but as two-way encounters between artist and viewer”
https://www.royalacademy.org.uk/exhibition/abstract-expressionism
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https://rastudios.co.uk/project/simon-woolham/
Intrigued to investigate Simon Woolham and his multi disciplinary relationship he has with paper and his outcomes he produces.
“My ongoing research In Search Of The Shortcuts is a social and creative, collaborative exploration, a bodily and psychological experience, defined as both a physical residency and a residency of the mind. Alongside being a time-traveller, I’m a multi-disciplinary visual artist, performer and curator. My on-going research, specifically around expanded drawing and the concept of creating a physical, virtual and psychological artistic residency, encouraging non-linear narrative associated with a multitude of spaces and times”
Looking at the Art of Assemblage ~ Seitz’s works of curration.
John Berger ~ Ways of Seeing
How is art seen now? The funds take of mid century artwork, creative movements and how we as artists can relate.
youtube
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Please see evidences here examples of my journal for research, contextualisation, note taking and theory planning.
Looking closely at;
Exhibition space
Curating
Art firm
Audience specifics
Audience endgagement
The staged space as interpretation
“Having worked with staged exhibition spaces in cultural history exhibitions for years, it has always appeared in the company of, and shared its communicative role with, written exhibition texts. The research project in question here was a welcome opportunity to zoom in on ‘the narrative capacities of the exhibition space’ standing on its own feet, so to say.4 The project has sprung from the broad question:
What can a strategic and ambitious use of spatial shaping and staging have to offer as a communicative tool in exhibitions?
And further:
What possibilities, strengths and weaknesses may be ascribed to such an approach? Not least in comparison with interpretation based on language” By Maja Gro Gundersen and Christina Back
Gaynor Bagnall, Performance and performativity at heritage sites, Museum and Society, 1(2), 2003, pp. 87-103.
Sandra Dudley, Encountering a Chinese Horse: Engaging with the thingness of things, in Museum Objects: Experiencing the Properties of Things, Oxon, 2012, pp. 1- 15.
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Dave Beech “Artistic labour was exemplary for Utopian Socialist theories of 'attractive labour', and Marxist theories of 'nonalienated labour', but the rise of the anti-work movement and current theories of 'fully”
Looking at various artists and theorists in relation to my Final project.
El Seed
Robert Longo
Eva Rothschild
Mark Bradford
G Williams
Dave Beech
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Canvas outcomes for FMP ~ working with large boundaries and ruffled fabrics I began to build up and layer the two pieces. They act as back drops for my collages along with adding two main features in the exhibition.
They work well together in a juxtaposition.
Events are fragmented and raw with area left with no mark or trace of me.
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Exploring and e Petrie ring with typeface / typography and continual line illustrations.
Representing of ones self and apparell.
The large imagery and characters act as a compositional dialogue between each Marco.
Mono with a slight introductory of colour, work well.
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