SENSORY STORIES: The Importance of Sensory Stimulation

We all live sensory, rich lives. Some disabled people have a limited access to sensory experiences and stimulation. They have sensory or physical impairments who live in a restricted environment, who actively avoid stimulation. “Sensory stimulation is necessary for cognitive development” its literally how our brains our wired. “it is essential to the maintenance of our capacities”.

A certain amount of impairment in disabilities is due to a lack of sensory experience. Multi-sensory rooms can be used as a vital part of aiding disability. People have even been stimulated to develop further and maintain brain function and experience.

Sensory Stimulation supports memory. The context of a room is the sounds and smells within it etc. Context supports memory. An example of this is when you leave a room and forget what you were doing and then return to it and remember what you were doing, this obviously links in with sensory stimulation helping dementia. With Dementia, sensory memory still exists even if knowledge and physical memory doesn’t. Sensory tools can make places feel familiar to them etc.

Sensory stimulation promotes engagement with life. It can aid people with depression. Disability can mean for example you hear something but you can’t turn your head to see or cannot reach out and touch something to see how it feels. Many disabled children give up trying and sensory stimulation can help. Sensory stimulation aids concentration and therefore learning. Giving someone something to focus on. It is easier to concentrate when more senses are engaged.

Sensory stimulation is important for everyday. Particularly people with autism, PMLD, Sensory impairments, learning disabilities, infants and the elderly, dementia, depression, sensory processing disorder.

Sensory Processing is the information you get from your senses so that you are able to respond  to the situation appropriately. If you have a low neurological threshold  – everyday experiences are too much/too many senses etc. If you have a high neurological threshold – everyday sensory experience is not enough. Some use an active behaviour strategy and block out the sensory world. High thresholds use active behaviour strategy to seek out the sensory experiences. Others are very passive in their behaviour and are distracted/uncomfortable or bored. For individuals with sensory processing difficulties sensory stories offer the opportunity to encounter new stimuli in a safe setting, build a tolerance of stimuli and rehearse reactions to stimuli. Also, in stories we are braver and able to do and cope with things better.

Sensory stories are stories read with sensory experiences that echo the words of the stories – they look to address the sense. 

Advertisements

FIELD: Drawing as Experience: Introduction to Key Ideas and Lecture

Within this field module, I will be introduced to a diverse number of approaches to drawing experiences. It will focus around three key elements: Drawing, Creative Strategies and ways in which ideas develop. The location of this first introductory session, was Craft in the Bay, Situated in Cardiff Bay.

Why Craft in the Bay?

We are working in Craft in the Bay because of the interest and links a current exhibition called “The Sensory Object” has with Drawing experience. Sensorial Objects are similar to drawing experience in that they both arise the questions: How can we sensate the world? How can we crystallize a sensation in an artwork? They deal with the language of expression and the translation from inanimate object to the emotional/sensorial realm.

Perception is active. Active engagement with artwork is key to people becoming emotionally and sensorially engaged with your work. If you want them to feel something, you need to think about how they engage with the art.

The Sensory Object: Drawing Experience

Sensory connects with emotionally. Emotions and senses  are housed in the same place. For example, you see something soft and you feel comfort. From browsing this exhibition and undertaking this field option I should learn different ways of capturing sensory and emotional values in artworks and drawings and explore what to do with that knowledge.

Synaesthesia – A fusion of the Senses

Merlau Ponty explores relevant themes in his 1962 book – “The phenomenology of Perception”. It highlights your bodily presence in the world and how you experience the world around you. For example, you do not understand texture by looking at it, only when you touch it do you fully comprehend it.

Jac Saorsa 2014 – Drawing Women’s Cancer

Jac Saorsa

Jac Saorsa uses the vocabulary of drawing to speak to people about their illnesses, in a human way. She helps people understand what is happening to them and encourages them and supports them through it through her art. “In this space, Practice itself becomes the voice of suffering”. The work is visually successful in my opinion, but also houses a deeper purpose and a powerful aid to sufferers. It is incredibly interesting to think about how pieces of art heighten certain senses or speak to people or help them through things. Expression in drawing can be very powerful. Fragility in quality of line etc echoes dealing with a sense of life.

Harry Ally – Painting and Process

Harry Ally

Harry Ally’s work contains an incompleteness that suggests rather than illustrates. Suggestion brings context and meaning. I am very inspired by this work and I feel that it allows the viewer to delve into their imagination and visualise the suggested in their own way. This work contains physical depth in the layering of materials on top of one another which can relate to emotional depth.

What can be felt through quality of Line?

What can a drawn mark do? Can it Scar or cut? Time is embedded within it. Can drawing enable us to explore experiences? Can our drawing enable others to explore experience?

Drawing can take someone on a journey, through a connection from Line to sensation to emotion. Drawing can be used as a tool that can heighten your experience of the world as a means to explore and examine. It can also be used to heighten the experience of others. Children perceive the world without thinking about it, children are curious, all senses are live.

The Ideas of John Berger 2002

John Berger maintains that you can make beautiful drawings, that speak of virtuosity and ability. The act of drawing and process can get you to look at things with such focus and consideration that it allows your mind to think differently about it. The drawing can speak to you, you impose certain values on that piece of paper. When drawing observationally, another reality could arise from it – imagination. Drawing can allow fictitious themes to slip in. Drawing can slow things down.

Why do we draw? Why do we create?

We create things that weren’t there before, but link in to the inspirations and experiences of the world.

I can already see how this option will be beneficial to my practice and current subject work. I want to portray my own experience of my local landscape and a connection to the place but I also want others to gain experience from it and feel a connection to the landscape and the natural objects within it. I feel like this option will encourage me to consider how the marks made and materials used can evoke emotional and sensory experiences. I also think it will open my eyes to linking my work to place and experience in a wider variety of ways. It is important that my work could send someone on a journey or encourage thinking and I am looking forward to putting this into practice through drawing and applying what I learn into my artistic practice and subject work.


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

PP

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

PP3 PP2

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

PP7

Kazou Shiraga – Feet painting 1956

PP8

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.

PP9

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”.

PP10

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

PP11 PP12 PP13

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

PP14 PP15 PP16

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.

PP21

Gustav Metzger – auto–destructive art action – london 1961

PP22

“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

PP20 PP19

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

PP23

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

PP18

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

PP24

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

Richard Jackson – from a series of 100 drawings 1978

PP25

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?

PP26

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

PP17

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.

PP28

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

PP29

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.

PP33

PP32

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

PP34 PP35

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

PP36 PP37

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.

pp38

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.


CONSTELLATION: Post- Colonialism, Multi-Culturalism and Globalisation

GLOBILISATION

Art Basel, Miami Beach 2012
Globalisation is primarily business driven. In the art world, there’s international art shows and fairs. Art is now on a global scale.

Should art look like the place that it comes from? Should Welsh art look welsh? Should chinese art look chinese?

Is international art becoming bigger, making it freer for artists to express themselves or is it taking work away from it’s heritage?

MULTICULTURALISM

Multi-Culturalism is the idea of looking for art that might reflect different experiences of members of society without prioritising one over the other.

Jungen1

Brian Jungen – Prototype for new understanding #16 and #21

Native american masks made out of Nike Trainers – Doesn’t judge Nike and is in favour of local comprimise.

POST COLONIALISM

Same Perspective but from people outside Europe

Shigeyuki Kihara – Culture for sale 2012

Cultureforsale

Brings a relationship between the west and the non-west into the subject matter of the art. Often, an acceptance of Loss is present in post colonial art.

Diaspere – people moving across the globe, leaving their culture behind. People have more than one identity. The thought of “Where do I belong?”

Identity is at the heart of all three of these elements.

To what extent is a person’s ethnic identity a matter of choice? When do you decide to call yourself an ethicity? Is it heritage? Where you live? Has It been highlighted because you moved from your birth country or family country?

piper

Adrian Piper – Self-Portrait – Exaggerating my Negroid Features 1981 – untruthful in a sense. It is her, but it also isn’t.

Jimmie Durham – My Blood 1991 – Interested in notions of authenticity and what is means to make native american art. The question of where people belong is often a subject matter of their art.

Jitish Kallat – Humilation Tax 2004-5, Pain, Pleasure, Pause, Proceed 2002. Rickhawpolis 2006-7.

jitish_kallat_eclipse5

This artist finds an artistic expression for the city of mumbai as a whole. In his eclipse pieces – He depicts street children and each of them carry the city depicted as their hair. Some people are uneasy about the smiling children – Bartoleme Esteban Murillo – Peasant boy resting on a sill 1670-80. These painting were made to show the rich who bought the paintings that the poor were alright. People have related this to Kallat’s work as mostly a criticism.

Amrit Singh and Robindra Singh – Nyrmla’s Wedding II 1985-6. Born in London but brought up in a Sikh household. Highlighting the issues of multi-Culturalism. For example, one twin is painting Hena on the brides hand and the other is recording on a western digital device. All hands on deck 1997 – within it, a man whering a man united shirt and a turban. Draws on serious issues.

rob

Robindra Singh – Some like it hot (Burning Desire) 2003 – The twins don’t have a very high critical reputation and it is claimed they are not serious enough. Theme of bringing western culture into sikh tradition but also bringing co-existence to light and doing it in a humourous way.

paisley-pattern

The pattern paisley – Traditionally is both a scottish and indian pattern

There is also an official singh tartan – a connection between the sikh and the scottish culture

Imran quereshi – Blessings upon the Land of my Love, 2011

An enclosure full of blood stains. A way of memorialising the dead in pakistan.

Roof Garden Commision – Metropolitan Museum of Art – Something horrific and beautiful at the same time. You can only understand the horror if you can comprehend the beauty of what has been lost.

afrodizzia-chris-ofili-1346775179_org

Chris Offili – Afrodizzia (2nd Version) 1996 – Abstract decorative pattern routed by elephant dung. Real depth within the piece. He also made works called shithead and shit sale pondering what to do with elephant dung. He came up with the idea of varnishing them, making them into a decorative object and making them functional by using them to hold paintings up off the floor. He tries to make people laugh and is happy to offend and exploit white stereotypes of black people.

chris_ofili_blue_riders_2006 (1)

Chris Offili – Blue Rider’s, 2007

Kandinsky and others published a journal called Blue rider that didn’t distinguish between anything. European and non european for example. In the artworld or not. Intimidating – thinking about the white viewer in the gallery and putting us in a position that other cultures have been in for centuries.

yinka

Yinka Shonibare MBE – Double Dutch 1994

They are minimalist in layout, size, but not In colour or ethnicity. They are paintings of african textiles that are self-conciously exotic. Victiorian Couple 1999 – reproduces european tailoring with material significant of africa. “His work tricks the mind, by first making it comfortable with its own contradiction, innocence and ignorance and then by quickly deflating these sentiments”. Big Boy 2002 – as well as african/european, he mixes up male and female and his newer work is more flamboyant. The richness of Britain is built on the exploitation of other colonies. These works bring this to light.

neshat-thumbnail

Sharin Neshat – Women of Allah: Rebellious Silence 1994. Speechless 1996 – Looking at western ideas of muslim women. Covering up and secrecy. Some of her works are herself. Offered eyes 1993 – The writing and photography do not fit. The poem isn’t about eyes or sight, it is about a garden and articulates the space between. Turbulent 1998 – Two Screens on either end of the wall – facing each other when in the space. Non-hemoginisation. Heightening tension between the man and the woman. Each Video is a direct contrast to the other. The woman’s body is talking rather than a mans mind. Camera still on man, moving on woman. Making us aware of the space between them.

Mona Hatoum – The negotiating table – 3 hour performance – 1983

Contrasted with Yinka Shonibare’s scramble for africa. Mona Hatoum’s piece – Present Tense has cultural significance. It is made up of Lumps of Soap with beads pressed into it. These materials are both characteristically palestine. It shows a map of occupied terrotories in Israel. Left in the air in palestine, it would deteriorate and when the soap disappears, the beads no longer follow the lines. Signifying liberation to a better future.

measures_of_distance_pic_350x280

Mona Hatoum – Measures of Distance – 15 mins 1988

Full of Indexical Signs. Things that could only be made by a particular person. When we miss someone, we turn to indexical signs.

PDP

This lecture has given me an insight into the relationship between cultures. It has also showed me how powerful art can be in getting a message across about the contrast between cultures. The visual allows us to understand the lives other members of society with different ethnicities and the things that they face.


ROMANTIC LANDSCAPES: A lecture by Jon Clarkson

What is my place in the world?

Do I belong there?

Friedrich1808

Caspar David Friedrich – Monk by the Sea

white monk

Comparing it to a classical Landscape – Richard Wilson, The White Monk 1760-65

Caspar David Friedrich – Morning in the Sudeten Mountains 1810-11

morning-in-the-sudeten-mountains

How does Friedrich’s painting differ from wilsons? Colour palette, mood.

How do the painters think about religion?

Wilson seems more distant from religion than Friedrich. Friedrich is thinking of religion organising our relationship with the natural world.

In Caspar David Friedrich – Monk by the Sea – What time of day is it?

Written about as a lightless dawn. For the monk, the dawn isn’t important as it is for the pair on the mountain in the other piece.

Do you think that this place is real or imaginary?

It is a culmination of experience . Long flat horizon. Empty paintings.

Jan Van Goyen – View of Harlem 1646

vangoyen_haarlem

Alternating pattern of light and dark, Colours lighter in the distance, more full of colour in the foreground. There is more cloud perspective than in friedrichs work. Friedrich’s is much flatter. Distance becomes flatter and more immense because there are no markers in it.

rothko

Mark Rothko 1969 – Is there still distance in this picture? Does it look like a place to you? There are similarities to Friedrich’s work. It is stark and there is a fluctuation between flatness and deep space.

There is a lot of fine detail in Friedrich’s Monk by the sea. It makes it look more like a portrait of the place. When you notice a painting has fine detail, you walk in closer to it. Having an intimate relationship with the work. The artist must be thinking about where he wants the spectator to be. The monk isn’t entirely resolved in himself.

What is the relationship between these figures and their surroundings?

the-wanderer-above-the-sea-of-fog

Caspar David Friedrich – The wanderer above the sea of mist

The figure is taking possession of a view, dominating the landscape. He wants to be there and he is in control.

Caspar David Friedrich Chasseur in the Forest

The Chasseur in the Forest 1814

The landscape is dominating the figure here, he has no horse, he is lost and not in control. He’s french, the forest is german. Friedrich is a nationalist. German land rising up against the french invaders. Vulnerable.

Romantic Woodland circa 1824-5 by Francis Danby 1793-1861

Francis Danby – Romantic Woodland landscape 1824-5

Will nature accept us? Romantics think of nature in a more psychological way than an ecological way.

Kiefer_Varus1

Anselm Kiefer, Varus 1976 – For Kiefer, Germany begins with Slaughter in the forest.

maria

Marina Neudecker – Things can change in a day 2009

Models in vitrines suspended in liquid. Does the vitrine intensify the situation or distance you from it? Like a cinema screen, they encourage you to project yourself into the scene.

How does a group rather than a solitary figure alter the confrontation with nature?

Caspar_David_Friedrich's_Chalk_Cliffs_on_Rügen

Caspar David Friedrich – Chalk Cliffs at Rugen 1818 – less vulnerable, more people – However, not a strong sense of communication.


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?

CL

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.

CL2

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.

CL3

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

CL4

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

CL5

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

166_1934_CC

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

CL8
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.

CL9

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.

CL11

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?

CL10

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

CL12

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


Art in Context: Working Away – A lecture by Sue Hunt

 An exploration of working as an artist in an international community context

Mothers of Africa is a Charity Organisation that aims to lower the amount of Mothers dying in Child birth and the amount of babies losing their lives in Africa. Sue Hunt went out to Zambia to create artwork with a community that supported the work of the charity organisation. She went to explore ways of making visual work with local artists and villagers, maybe giving them a voice, empowering them and helping them to express their needs visually.

Within this Lecture, we were shown images of what resources in Zambia are like. We thought about how community artwork can be hampered by social context. For example, they has no art materials and had to source them for projects. Art can be used in this sense to bring communities together and get people conversing that usually would not interact with one another.

s-hunt-400px

Art was not often taught in schools in Zambia and so it was welcomed with open arms. Sue Hunt and a team of people ran workshops for the Zambian adults and children like Cyanotype, photography projects and they all made murals together. Works were then framed and displayed in the hospital where the mothers of africa charity comes into play. They were there for all to view, to lift spirits and make the bear walls more appealing. They also got villagers to write down messages of what was wanted and needed within the village and hospital to produce work from.

Screen-shot-2014-02-20-at-11_46_22-400x299

This lecture was a prime example of the role of the artist bringing communities together achieveing the lifting of spirits and encouraging change. This has inspired me to think about how I could maybe work with communities in the future and work on art based projects.