I shall try hard from now on to build up solid bricks of tolerance and patience so that eventually I might be able to paint even in the most adverse circumstances. So that I will be able to paint even through blaring music.
My next painting is going to be very inventive. There is a creativity working in me like worms in sand. A cool still-life in the foreground; a chaotic activity in the background.
I am not lazy. I am desperate to paint.
— Celia Paul, Self-Portrait (Jonathan Cape, November 7, 2019)
Following Your Dreams
Being detached mentally, physically and etherically has clouded all judgement and left progress stagnant for some time. Seeing past any illusions that has been suppressing our best higher self is imperative at this time to be in tune with our intuition and divine life path. Embracing and taming the wild, shadow side should be the main focus to see past any disillusions one may be experiencing. Acknowledge the shadow for what it is and the battles it has brought us through and move on. Survivor energy is now running abundant, what will we make of it? The battles we have overcome will help shape and break through for a new foundation and start for us once we get past the disharmonies we have endured. Emotionally broken but still physically needing to finish this spiritual warfare that goes on internally. Self love and care is what we need to implement in the very near future. Focusing on oneself. Pouring our emotions, time and energy into self. Get past past trauma and not harbor up any present or future trauma by not starting from the source of the trauma(s). Get in tune and reintroduced to SELF. Mentally exhaustion is real and it can lead to unstableness emotionally that eventually leads to total instability as a whole. Cleanse the blockages that may be hindering from reaching the fullest potential. Regain control and know that ; everything desired CAN BE MANIFESTED, IS BEING MANIFESTED! The stability sought can be achieved with proper knowledge acquired, love given, time invested, energy and efforts towards the goals. Advice is to not walk before learning how to crawl. Be strategic and calculate all goals and dreams. Formulate and make them tangible. Give thanks for all clarity and insight the universe and Divine Source(s) provide to help propel the journey. It is time to heal oneself and to acknowledge the broken pieces that have been bandaged together but never fully recovered. Those scars we try to hide; the ones we even try to disguise from ourselves. Those have to be healed to move on. It is time to no longer let this serve as a block. Awareness of how to move on and heal will come and higher conscious levels will open to help ascend to the position we need to be to operate as our higher selves. Finding a balance that leads to the best allocation of time, energy, career, family, self, spiritual energy so that there is not a feeling of burning out or overwhelmed with responsibilities. IT is time to be honest with SELF, it is time to rededicate to self. Start from the bottom and work our way up the ladder step by step, breaking down everything that will need to be planned and calculated to achieve the dreams and goals that are set in our heart; the ones that make us feel healed and whole again. A person that is not downtrodden and over stretched, you know, the wounded warriors out there.
In the 1960s, artists in the United States, Europe, and Latin America began experimenting with art that emphasised ideas (or concepts) over a finished art object. In 1967, artist Sol LeWitt gave this new art a name in his essay “Paragraphs on Conceptual Art.” He wrote, “The idea itself, even if it is not made visual, is as much of a work of art as any finished product.”
An early precursor to the Conceptual art movement is Fountain by Dada artist, Marcel Duchamp.
A Wall Divided Vertically into Fifteen Equal Parts, Each with a Different Line Direction and Colour, and All Combinations by Sol LeWitt, 1970. Graphite on wall.
- LeWitt’s wall drawings are executed by assistants from the artist’s instructions.
- In this work, the lines are all equally spaced and drawn in coloured pencil. Each colour corresponds to a different type of line: yellow for horizontal, black for vertical, red for diagonal from left to right, and blue for diagonal from right to left. The lines are drawn in all possible combinations in fifteen rectangles, becoming denser from left to right. Through this layering, new colours and complex patterns emerge from LeWitt’s simple set of rules.
Installation View of A Wall Divided Vertically into Fifteen Equal Parts, Each with a Different Line Direction and Colour, and All Combinations by Sol LeWitt
Conceptual artists used their work to question the notion of what art is, and often rejected museums and galleries as defining authorities. The work of Conceptual artists helped to put photographs, musical scores, architectural drawings, and performance art on an equal footing with painting and sculpture.
Language and Art
Language was an important tool for Conceptual artists. Many used language in place of more traditional materials like brushes and canvas, and words played a primary role in their emphasis on ideas over visual forms. Sol LeWitt’s instruction-based artworks are a good example of this.
I Will Not Make Any More Boring Art by John Baldessari, 1971. Lithograph.
- This print was made by John Baldessari’s students, based on an installation created at Nova Scotia College of Art and Design.
- Baldessari said about the work, “As there wasn’t enough money for me to travel to Nova Scotia, I proposed that the students voluntarily write ‘I Will Not Make Any More Boring Art’ on the walls of the gallery, like punishment. To my surprise they covered the walls.”
- This work raises questions of authorship and the role of the artist, as Baldessari gave limited instructions from miles away, and was not present to supervise the creation of the work.
- Baldessari described his conceptual works as “what I thought art should be, not what somebody else would think art would be.”
One and Three Chairs by Joseph Kosuth, 1965. Wood folding chair, mounted photograph of a chair, and mounted photographic enlargement of the dictionary definition of “chair.”
- In this work, Joseph Kosuth represents one chair three ways: as a manufactured chair, as a photograph, and as a copy of a dictionary entry for the word “chair.” The installation is thus composed of an object, an image, and words.
- Kosuth didn’t make the chair, take the photograph, or write the definition; he selected and assembled them together. But is this art? And which representation of the chair is most “accurate”? These open-ended questions are exactly what Kosuth wanted us to think about when he said that “art is making meaning.”
- By assembling these three alternative representations, Kosuth turns a simple wooden chair into an object of debate, a platform for exploring new meanings.
What Is Painting by John Baldessari, 1968. Synthetic polymer paint on canvas.
- To create this piece, John Baldessari had someone else stretch the canvas and hired a professional sign-painter to hand-letter the text, which the artist took from a book about art appreciation. Baldessari conceived the idea for What Is Painting, while others realised it.
- For Baldessari, “the wonderful irony about this piece is that it’s text. But in fact it is a painting, because it’s done with paint on canvas. So I’m really being very slyly ironic here in saying, ‘Well, this is what painting is.’”
To Lift by Richard Serra, 1967. Vulcanised rubber.
- In the mid-1960s, Richard Serra began experimenting with non-traditional art materials like neon and rubber, and also with the language involved in the physical process of making sculpture.
- The result was a list of action verbs – among them “to roll, to crease, to curve” – that Serra compiled, wrote on paper, and then enacted on the materials he had collected in his studio.
- This work, made from discarded rubber recovered from a warehouse in lower Manhattan, is a result of the rubber’s unique response to the artist’s enacting of the action verb “to lift.” As Serra later explained, “It struck me that instead of thinking what a sculpture is going to be and how you’re going to do it compositionally, what if you just enacted those verbs in relation to a material, and didn’t worry about the results?
Drawing Exercise: Words and Images
Everyone has a different, though often related, visual association with a word or concept, even when we share a common language.
Draw three pictures of three nouns (chair, house, dog etc.)
Draw three pictures of three verbs (run, think, fly etc.)
Finally, draw three pictures of three concepts (peace, freedom, community etc.)
Which pictures were the easiest to draw?
Discuss the results.
The Materials of Conceptual Art
Conceptual art can be – and can look like – almost anything. This is because, unlike a painter or sculptor who will think about how best they can express their idea using paint or sculptural materials and techniques, a conceptual artist uses whatever materials and whatever form is most appropriate to putting their idea across. This could be anything from a performance to a written description.
I Like America and America Likes Me by Joseph Beuys, 1974. Performance.
- In 1974, the German artist Joseph Beuys flew to New York, where he was picked up by an ambulance and covered in felt. He was then transported to a room in the Rene Block Gallery. The room was also occupied by a wild coyote, and for a period of 8 hours a day for the next three days, Beuys spent his time with the coyote in the small room, with little more than a felt blanket and a pile of straw.
- At the end of the three days, the coyote, who had become quite tolerant of Beuys, allowed a hug from the artist, who was transported back to the airport via ambulance. He never set foot on outside American soil nor saw anything of America other than the coyote and the inside of the gallery.
- The work was an expression of his anti-Vietnam War stance, and also reflected his beliefs about the damage done to the American continent and its native cultures by European settlers.
I Like America and America Likes Me by Joseph Beuys, 1974. Performance.
Bingo by Gordon Matta-Clark, 1974. Building fragments: painted wood, metal, plaster, and glass.
- Gordon Matta-Clark used his training in architecture to dismantle buildings and transform them into works of art.
- With a small team of workers, he would cut houses into sections and reassemble them in new configurations.
- By inserting pieces of the outside world into an art museum, Matta-Clark hoped to draw attention to the troubled state of a real world place and its affected residents.
A Line Made by Walking by Richard Long, 1967. Photograph, gelatin silver print on paper and graphite on board.
- To make this work, the artist walked backwards and forwards in a field until the flattened turf caught the sunlight and became visible as a line. He photographed the work, as a means of recording this physical intervention within the landscape.
I was wrong
enjoying the tranquility this candle is bringing me✨
I’m really sorry, ok? I’m sorry that I can’t sit still ok? I’m sorry that I’m tapping my feet, that I’m humming, but you said to stop drawing and pay attention. I was paying attention ma’am you just didn’t realize it. Ok? I am trying so hard to get what you are saying, I am, the drawing helps me to think, but you said no, so I did I tried to focus just on you, but I couldn’t ok? I can’t focus on your words when you say something Interesting, and now you expect me to listen to my own death? I’m sorry I can’t be the ducking quiet perfect student but I fucking can’t ok? Doing nothing brings me physical pain, so let me be.
Study snack and coffee