Summative Post: Contextualisation

5 Key Points – Contextualisation

1. John Piper: An Experience of Place. John Piper’s work “The Rocky Valley, North Wales” was the starting point to my subject work. Romantic Artist’s such as John Piper and Graham Sutherland saw an importance in Nature. They wanted to create an experience of a place and a connection with it. I started working with these ideas and under the influence of these artist’s progressed to exploring the relationship art and nature could have.

BLOG POST LINK: https://gemmaschiebefineart2.wordpress.com/2014/10/19/romanticism-john-piper-and-graham-sutherland/

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2. Anselm Kiefer Exhibition: Works incorporating Natural Materials with Paint. Viewing the Anselm Kiefer Exhibition in the Royal Academy really inspired my ideas. I hadn’t realised that he incorporated natural materials into the paints he uses and onto the surface of the canvas. Experimenting with ways of incorporating nature into art, I decided to explore mixing nature into paint myself which turned out to be unsuccessful as it wasn’t creating a deep enough connection but pushed me to develop my work and encouraged me to think about ways of integrating nature without art materials like man-made paint and aided my progression.

BLOG POST LINK: https://gemmaschiebefineart2.wordpress.com/2014/11/07/anselm-kiefer-the-use-of-nature-in-his-work/

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3.Stuart Cairns: Artist Tool Making The Drawing as experience field module introduced me to Stuart Cairns. He makes drawing tools out of found objects, sometimes natural materials other times not. I am highly influenced by his work and it encouraged me to explore making my own natural tools to paint and draw with which have turned out to be integrated into my final and most recent work. Exploring the marks that each tool makes and considering them as art objects themselves I have discovered a connection to nature by making marks with it.

BLOG POST LINK: https://gemmaschiebefineart2.wordpress.com/2015/03/08/stuart-cairns-influential-tool-making/

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4. Andy Goldsworthy: Realising the Potential in Nature. Andy Goldworthy gives me confidence in the fact that presenting art and nature together can emit a connection to a more natural environment. His work demonstrates the potential of nature and displays a connection with it. Even though he works out in the surrounding, his work is very inspiring to me and pushed me to use natural materials for Art Making.

Blog Post Link: https://gemmaschiebefineart2.wordpress.com/2015/03/09/andy-goldsworthy-natural-materials/

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5.Richard Long: Mud Paintings. Richard Long’s work relates to my work and ideas in a variety of ways. He experiences Nature, collaborated with it, brings it into the gallery space as well as producing land art, but the most influential area of his practice for me were his mud paintings. His work inspired me to explore making my own paint’s from nature and more deeply investigate the possibilities that nature has to offer to my art.

BLOG POST LINK: https://gemmaschiebefineart2.wordpress.com/2015/03/15/richard-long-versatility-in-natural-materials-and-ways-of-working/

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Cave Paintings: Art/Paint Originating from Nature

Art actually originated from nature which is highly relevant to my project. Cave paintings were the first medium based art dating back to around 18,000 years ago. People used natural materials to grind to make pigments to paint with. Cave painting paints usually consisted of pigments such as earth/soil, clay and charcoals mixed with a binder such as spit or animal fat. It is interesting that painting itself was developed out of nature and created using products from the natural world.

I am exploring a connection between art and nature within my work and attempting to incorporate the natural world and natural materials into my art making in a variety of ways. Grinding my own pigments would definitely make my work more deeply connected to nature because nature itself would be the components of my paints.


“Thin Place” Exhibition – Oriel Myrddin: Christine Mackey, Jonathan Anderson and Adam Buick

My tutor made me aware of an exhibition in Camarthen at Oriel Myrddin incorporating artists that work with natural materials and that are working with ideas that could be relevant and inspiring to my work. I thought some of the works were incredibly interesting and gave me an insight into how other artists are merging art and nature. I was particularly captured by the work of Christine Mackey, Jonathan Anderson and Adam Buick.

Adam Buick

This artist uses clay, a material from nature and puts it back into the environment in the form of bio-degradable ceramic pots. The pots are photographed when they are in situe and then left to degrade back into the natural world. I like the idea of art being made from nature and then being put back into it. This isn’t something I am particularly interested in doing in my work but it is always beneficial to contextualise my work with artists working with nature in some way giving me new angles and ideas.

Christine Mackey

Christine Mackey uses the chromatography process to create dyes from natural elements like flowers. This work is highly inspiring to my project. I would like to make my own paints from nature and field has encouraged me to start experimenting with making tools to paint with but I was wondering how I would put across that pieces I produced were made with these items. Here, Christine has not displayed artworks she has produced using the dyes, she has displayed the dyes themselves in test tubes. This makes me think about the fact that the paints I make and tools I produce are artworks in themselves and could be displayed along side artworks I produce or as artworks in their own right.

Jonathan Anderson

Jonathan Anderson’s Pylon totems is a very powerful piece of artwork in my opinion. For me it addresses environmental issues and highlights our environment becoming more urbanised and man-made. The structures are made out of twigs and earth, using natural materials to make man=made structures. Urbanisation and environmentalism is something I have been thinking about,particularly in my dissertation. This work creates a connection between art and nature but also art and environmental issues.


CONSTELLATION: Contemporary Art Lecture: POST-FEMINISM by Jon Clarkson

POST-FEMINISM

Modernism and Feminism

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Alexander Rodchenko, Make way for the women 1935 – Geometry symbolising fairness and rationality. There is a socialist/realist element within the work. Making a statement about men and women but from a mans perspective. Male photographer, positive image, portraying a solution to womens equality, but the women are still kind of objects for the men to look at, being seen through the male gaze. Womens action is at the centre of the image. Propogandistic intention.

If the photographer was a women, the image would be viewed really differently and there would be no thought of the women being objectified.

Questions of Identity

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Marc Quinn – Alison Lapper, Pregnant 2005 – It is a sculpture of a working class disabled single mother produced by a middle class able bodied man. Which of these facts is most important? He chose her as an image to sculpt. There is a valued place for women in the world. The sculpture has a heroic element. Bringing equality of women, people with disabilities and single mothers etc. Using language of classical sculpture to comment on the place of people with disabilities in society.

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Sarah Lucas – Get hold of this 1994-5

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Sarah Lucas – Where does it all end? 1995
What are the signs of masculine and feminine in these images? Feminine – Pink, red, lipstick, the opposition between white teeth and red lips. Look like womens arms. Masculine – Snarl, gritting teeth on a cigarette. Takes offensive elements of male culture and asks how poerful it is if a woman does it.

Post-feminism as a term, often comes up in the 1990s.

Feminism and Post-Feminism

Katy Deepwell – 3 popular mis-conceptions about feminism-

That Feminism = Women + Power
That Feminism = Bra burning lesbian separatism
That Feminism = is only a question of gender.
(These are only half truths)

Julia Kristeva outlines the 3 moments of Feminism-

Feminism = Equal Rights
Feminism = Advocacy of a separate women’s culture
Feminism = Total re-evaluation of Ideas of Masculine and Feminine

Equal Rights

One strand of feminist art avoided images of the sexualised female body because in the past these images have been objectified and exploited.

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Mel Ramas – Miss Corn Flakes 1964

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Barbara Kruger – What are you looking at 1994
In small print it says “This is not a mirror”. Targeting the women that look at fashion magazines, saying that you are not looking at what you should aspire to become, it is just another woman.

Another strand produced generalised images of the sexualised female body.

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Judy Chicago – The Dinner Party 1974 – 9
Strong Statement of the cultural status of women. All of the crockery in this piece is stylized female genitals. Falic symbols are normalised in culture, female ones are not as normalized and so she is putting them out there. The idea that Biology is destiny is hindering on Women. A lot of art uses imagery of the female genitalia within it. Is that all that women have in common then? They all have vaginas? Virginia Wolf is one of the women at the table here, aren’t her books and achievements more important than her vagina?

In the 1990s, many artists started using highly sexualised imagery again.

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Helen Chadwick -Vanity 1986
Tracey Emin – Self Portrait 2001
These images can be contrasted with imagery of the Page 3 model.

Pipilotti Rist – I’m not the girl who misses much 1986

She is using the language of titilation, but using video technology to prevent that happening. Wants to deflate through humour. Slowing and speeding up time up to get a state of conciousness. Pipilotto Rist is interested in an innocent sexual experience, a bodily experience. Her work doesn’t talk a page three language, more like a dream state.

Re-evaluation of Masculine and Feminine?

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Jenny Saville, Passage 2004-5
Collier Schort, untitled 2011

Is it possible to transcend ideas of gender in art?
Maybe in these images, the intention is that they are not labelled as a particular gender – equalizing man and woman?

Post-Feminism

This label remains problematic, it suggests that it comes after feminism and can be used in several ways:
– It comes after feminism because feminism has been successful
– It comes after feminism because feminism has failed
– It comes after feminism because it is the antidote to feminism
– It comes after feminism because it is the opposite of feminism
– It comes after feminism because it is the continuation of feminism
There is no definite answer and so the label Post-feminsim is still difficult to determine.

Nan one month after being battered 1984 by Nan Goldin born 1953

Nan Goldin – Nan one month after being battered 1984

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Sarah Lucas – Two fried eggs and a kebab – The male and the female rediced to sexual symbols.
Sarah Lucas – NUDS 2010 – Bodily experience

Girlie

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John Carran – The Wizard 1994
Lisa Yuskovage – Day 1999-2000
Does knowing the gender of the artist change the significance of the painting?

Lucy Lippard in Deepwell p.157
Does the fact that a woman paints a woman neutralise the pornographic source or is it still pornography?

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Lisa Yuskavage – Half Family 2003
This isn’t an image directed at men. It gives off a feelnig that is significant only to women. About the feeling of having a body, not what it looks like.

Masculine and Feminine

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Helen Chadwick – Piss Flowers 1991-2
They peed in the snow and cast the imprint. Some represent the male and some represent the female. The longer, more falic like stamens actually represent the females, this is because there is less movement in the female pee stream. Stereotypically we would think that the more falic sculptures represented the male so this piece is clever and interesting.

Images from the Bad Girls Exhibition 1993

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Helen Chadwick Glossolalia 1992
Contrast of Hard and Soft. Small Falic Symbols, Making a falic symbol in the middle. An image like this would be picked for an exhibition called “Bad Girls” because there is an appeal to the body, Tongues and fur. The togetherness of hair and tongue is often quite repulsive. We reject it without thinking about it. Unconcious Reaction.

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Before this lecture, I had never really considered issues of gender very deeply before. I certainly had not discussed whether the gender of the artist changes the way that the art work is viewed. I have been encouraged to think about certain connotations that certain materials and imagery has in terms of masculine and feminine and been shown how art can cause a divide in opinion. To me, it doesn’t matter whether the artist or subject n an art work is a man or a woman, I would consider the art work itself and the concepts behind it. It is always interesting to learn how art is used to convey messages or comment on a life situation. Within this lecture, we talked about whether Jenny Saville’s Passage piece equalizes the rights of a man and a woman, I can see the evidence for this opinion, but for me it highlighted the fact that individuals are scrutinised for being different in some way and that she was making difference accepted and depicting it in a aesthetically pleasing way, Similar ideas were running in Marc Quinns sculpture of Alison. Feminism has been portrayed in art for many years and it was interesting to learn how it has changed.


An Introduction to Painting Performance: Lecture by Andre Stitt

This purpose of this lecture was to give us an insight and introduction into painting performance and performance art as a whole.

Paul Hurley – “I fall to pieces” – Experimentica, Cardiff Nov 2014

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Human form with some sort of substance on the body. Creating a context. Many contain a narrative. The material is paint. What do all these signifiers mean? Interested in abstract movement. We are drawn to what happens to the material on the body. Personal experience of grief. There is sound. Many things are being put togetether in a live situation that we would not get from looking at a photograph. The music playing Is Patsy Klein. Is it a strange abstract dance? It is not rehersed and it is taking place in actual time. His eyes are closed, so he cannot see the viewers. Inspired by the loss of a friend, past lossed and future ones.

In this module, we are looking at a history of engagement between material substances and the human body. A kind of painting performance.

What is painting?

The practice of applying colour to a surface. The use of this activity in combination with drawing. Used to represent, document and express.

Painting as evidence – a document of the performance of painting

Painting as Process – event, performance

The focus shifts from the self contained and autonomous art towards emphasis on process and motion in art, the inclusion of the environment, as part of the artwork. Thought becomes form.

Post WWII – Painting becomes action

Jackson Pollock – 1912 -1955

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When we look at pollock, we are drawn to the act of painting. The press document with photographs and reviews. A shift from painting as an object to a spectacle. Before, paintings had tended to conceal the fact that their works were the result of process. In the 1940s and 50s, it shifted to portraying a piece that embodies themselves into the work. It becomes about process more than the outcome.

Performance Art – An action, designed and executed by an artist that takes place in time and space with or without an audience.

Kristine Stiles, American academic – “Artists who began to use their bodies as material of visual art repreatedly expressed their goal to bring art practice closer to life”. “Process over product” – Experiencing the work immmediately in the moment, presenting the work in real time. “They sought to reengage the artist and spectator by reconnecting art to social and political events”

Ideas came out of action art and performance – Fluxus, Dadaism, Futurism etc.

The Gutai Group – Japan 1955

Holes 1954 by Shozo Shimamoto born 1928 PP5 PP6

Expressed aim: To create a new type of painting.

Saburo Murakami – Work being painted by throwing a ball dipped in paint – Draws out attention to process – using paint as a material.

Shozo Shimamoto – Throw painting 1958

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Kazou Shiraga – Feet painting 1956

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Using their body, testing the limits of the body. Painting is all about test and control. Here the body is being tested and controlled.

Georges Mathieu – demonstrating action painting in a department store. It is interesting to think about the locations that action art can be made. What does it mean to make art outside the gallery? Different spaces change the context.

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William Green – deomonstrating “action” painting at the royal college of art in 1958.

There was a humour around gestural painting, William Green, A british man had only 5 minutes of fame. His work was documented by the media. Challenging what art can be and what it means to make art.

Tony Hancock – The rebel 1961 – almost becomes a parody in the press. Mocking what action painting represents. Tony Hancock was a major comedian at this time. Action painting under ridicule but becoming entertainment for others to look at those “silly artists”.

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Afrons Schilling – Paris 1961 – What is original in performance art? Has it all been done? What can a material on the body actually mean? Nowadays. Damien hirst has done similar. These early works had as much to do with style as it does with embodiment.

Yves Klein – Anthropometry 1960 – Living Paintbrushes

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This performance could be looked at as containing the objectification of naked women. It involved a male participant controlling the body of a naked woman and using her as a paint brush to paint with Klein Blue paint. Here, paint possibly has a relationship with bodily fluids.

Lee Wen – Anthropometry revision 2008

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He is talking about skin, notion of paint as skin. Links between chinese and british, colonialism. Looking at chinese identity in singapore. How you display a metaphor for something without painting an image of it.

Carolee Schneeman – puts her body where her thoughts are. Woman working in the 1960s, questioning the notion of the female body. A relation to feminine fluids and objectification. Based on the male gaze, not female gaze. The master painter points at the female and controls how he wants to see her. She reacts against this.

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Gustav Metzger – auto–destructive art action – london 1961

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“a desperate last minute submersive political weapon” – an attack on a capatist system – “performance as anti-comodification” – I am making the work, it is not for sale, it is made and that is it. Idea of destruction within it.

Nikki Saint Phalle – Shoot paintings – paris 1961

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Filled things within an assemblage with paint in pots and shoot them to make the paint drip and create the final outcome. Slightly ephemeral – early feminist artist.

Anish Kapoor – shooting in the corner London 2009

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Performative installation, canon like weapon shotting peletts of paint. In relation to the present day, this is far more accepted.

Shigeko Kubota – Vagina painting – Flux Fest

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Paint brush is loosely related to a male falice. It looks like the brush is inserted into the vagina and then being used to paint with.

Action Art – “It is rather, far more, the desire to delve deeper into the enigma of painting in order to experience it ever more richly”

How do you use paint , a material substance as a metaphor?

Gunter Brus 1964 – Viennese Aktionist – Artist placed in a vulnerable position and drawing attention to that.

Herman Nitsch – Painting installation – Jerusalem 1995 – conflict, relations to blood

Stuart Brisley – Performance, Poland 1975 – After the performance, he created a more traditional painting illustrating elements of the process. All of the rags used to clean the body are painted realistically.

Paint as a substance that becomes a mediator to channel ideas and concepts.

Robert Smithson – Asphalt ran down, Italy 1969 – work is more spectacular in the process to create it. It is about environmental issues.

Ian Mckeever – Painting for a hole in the ground

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The gestures and marks on the painting have a correlation with the landscape.

Richard Jackson – from a series of 100 drawings 1978

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Imagery of a clock spreading paint, and windscreen wipers spreading paintbrushes. In 2003, he drove a moped through paint on canvas

Paul McCarthy – Face Painting – Floor White Line. Architectural Surfaces and the human changing the space. Whipping a wall and a window with paint 1972. People would just happen upon this piece. How do you control a blanket. Is it about human control or not being able to control it?

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Paul McCarthy – Red Penis Painting 1972 – If we didn’t know It was painted with a penis, would it be as interesting?

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Paul McCarthy – Painter (Film) – reference to William Dekuning – What does it mean to make art? Is it an illusion? Can it be both serious and humourous?

Janine Antoni – “Loving Care” 1992-96 – strong relation to hair dye. Using her hair to paint with. A context with women’s cosmetics.

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Keith Boadwee – Inserting paint into his anus an squirting it out. Paint Enema’s. Making asshole abstractions.

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Performance artist – John Court 2006 – Had buckets of paint poured on him and lay there still until it dried. It took 8 hours to performance. Text as gesture is evident here, it is about communication. He is incredibly dyslexic. Writing Art forwards and backwards. Writing with left hand. Making the work more difficult to make. Disability/Inhability to communicate, so he is doing it through action. In terms of documentation, he creates time lapses, condensing a six hour performance into 10 mins.

There is a relationship between performance and contemporary drawing. 

Painting Performance – Belfast 1977 – Andre Stitt Himself put black plastic down and flung paint around, for him it was about anger and using paint to embody the anger at civil war. He didn’t have a knowledge of a history of performance, he just thought about the relationship between the body and paintings.

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Andre Stitt – Burning Paintings Performance 1978. It is important for us to think about why we make art.

MODERNISM – intervention in art.  With its avant garde advances, and the development of gesture as a performative intervention in art, in the form of an autonomous construct – achieved.

Making a performance is a precious thing. Freedom, Childs play, imancipation, being in a moment. An awareness that we will break the idea of self-conciousness creating performance painting.

 Cy Twombley: Untitled No.10 – textural mark making 2004

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Anastasia Ax – Paint Performance, Oslo 2010 – Space, Architectural concerns, self contained worlds in which we as observers experience the live act and the material artefact, whats left.

Alexis Harding – paint falling off the canvas onto the floor – pulmonary 2006

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How do Artists use materials to create contemporary performance and bring it into the art world?

Performance > Interaction > Painterly Mobility

Painting Performance Key Words – Surface, Tension, Skin, Pigment, Viscera, Fluid, Emotional Expulsion, Pushing/Pulling, Dipping, Dripping, Spilling, Flinging, Layering, Coating, Spraying, Dragging and Sloshing

These are all ways of experimenting that could be applied to any practice, whether it is painting or sculpture or performance etc.

Many Ideas about performance art have arisen to me from this Lecture. I gained Ideas from both the tutors own work and the work of other artists.

I have learnt about:
The Gravity of the body and How the Body Works
The use of unconventional materials
Getting art made quickly and the speed of documenting performance
Photography capturing action, paint in mid air etc
Using your experience in performance to create art on canvas
When to make work, the time of day
Weather conditions controlling outdoor performance
To think about how a performance can portray concepts and people can make their own interpretation to the work just as they would when viewing a painting.

Lynda Benglis: Studio, New York 1968
Concerned with conceptualism
Painters started thinking of new ways to apply paint and incorporated unconventional materials.

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There are many interesting ideas as work in performance art and paint performance – to unpack thinking about the human body, materiality, paint as a material, how the paint is applied, movement, etc.


Anya Gallacio: The Use of Organic Matter

As I am using organic matter within my work, I feel it is appropriate to research artist’s that do the same. Anya Gallacio is a British Artist. Much of her work uses organic materials, with fruit, vegetables, flowers, leaves, branches and trees all featuring in her work. Sometimes these materials undergo a change during the course their being exhibited.

anya gallacio anya gallacio.jpg2 anya gallacio.jpg3 anya gallacio.jpg5 anya gallacio.jpg6 preserve 'beauty' 1991-2003 by Anya Gallaccio born 1963 Anya+Gallaccio+Works+Anya+Gallaccio+Andy+Goldsworthy+rlld4NwOYLDl

Even though she is a sculpture and installation artist, her work is still relevant to mine as it has made me more aware of the fact that some forms of nature that I may use within my work may die and change the appearance of the work.

In some of Anya Gallacio’s works the natural course of transformation is stopped. Sprouting potatoes and broad bean pods, branches and whole tree trunks are reproduced in bronze, their lives prolonged indefinitely. This makes me think about how the sticks and leaves that I have found on the ground have been given a new lease of life and purpose being part of my artwork.

Referring to her work as inspiration for my own, I will continue to incorporate natural matter into my artwork. Her work is so confident and colossal that it makes me worry less about the outcome and think more about process and the organic matter than I am sticking onto the surface or mixing into my paint.


CLASSICAL LANDSCAPE: A Lecture by Jon Clarkson

Is the Visible World enough?

Classical Landscape is a name given to a type of painting – developed in the 17th century. Related to History Painting. Some have narratives and some don’t. Mood and atmosphere is conveyed within the paintings

Is the artists job simply to record the appearance of the world, or to transform it?

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Nicolas Poussin – Landscape with a Calm 1650-1. Based in Rome. Peaceful/neutral. More movement in the sky, contrasted with a static lake and a still and calm foreground. The people are small and insignificant in comparison to nature. A vision of an ordered, harmonious society.

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Nicolas Poussin – Landscape with St.John on Patmas 1640
Is the relation betweeen humans and nature the same as in the Landscape with a calm? How is history represented?
It is more like land left behind. Have humans taken advantage? Have they moved on? Even though, John is sitting, he is not really entwined into the work like the people in the other piece.

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Nicolas Poussin – Landscape with the body of Phocion – carried out of Athens 1648. This has a narrative. Alternatiing bands of dark and light. Neverending path it seems. The city is close enough to be important in the painting, but far enough away that we stop being able to see how we could get there. There is a complicated visual access to the city

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Nicolas Poussin – A Roman road. An announcement of technological Power. Political, This kind of depth, perspective is highly technologically advanced for the 17th Century

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Charles Sheeler – Classic Landscape 1931
Where is the nature in this Landscape?
It has gone, However: there is natural organisation in the pile of earth and sand

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Charles Sheerler – American Landscape 1930
Is he being ironic calling this a landscape? Even though there is no nature within the picture, it is a man-made landscape. Does he want us to find these scenes beautiful or ugly? Brighter lighting, reflections, some bright colours, making it look more appealing but very geometric.

Scenes from the Passion: Late 2002 by George Shaw born 1966

George Shaw – Scenes from a Passion: 2002: Paints areas where he grew up. A question is posed about the conventions we use to describe reality

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George Shaw – The blocked Drain – 2010
(not a version of Poussins roman road) but does our knowledge of it affect how we view this?
The first road seems new and innovative. George Shaws seems barren and disregarded.

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Gregory Crewdsen, The madison 2007
Takes still photos, but like a hollywood movie. The road is always the same road continuing. Imagining the thoughts of the landscape from the figures perspective.

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Gregory Crewdsen, untitled (Beneath the roses) 2007
What is the relation between nature and culture here?
Organic elements separate from man made, degraded nature. The nature is not lush greenery, it is weeds. Could be hopeful after destruction, is nature reclaiming it?

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Gregory Crewdsen – Beneath the roses 2006
Beneath the surface, looking deeper, a metaphor?
Relationship between the two people – could they be lovers? Could be an attacker and she is a victim. Soothing or disturbing? Degraded nature again and disturbing elements.
Nicolas Poussin – Echo and harcissus 1630

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Eduardo Manet – Le dejuner sur (l’herbe 1863)
Do these paintings change the way that we look at Crewdsen’s photographs? In what way?