Monday, February 27, 2012

Reconstructed Research







Picture via

Costume made by Travilla for Marilyn Monroe in the 1952-3 film "Gentlemen Prefer Blondes"

First Link

Second link

All rediscovered with "this room is closed in 15 minutes so you need to finish what you are doing." that and blogger crashing as the version of IE on the college computers "no longer supports Blogger"

It's now 9.32 pm and I have to be back there [after walking dogs and making strides in artistic contemplation by 10.30 am tomorrow. So bed and drawing for me.







It's now 9.32 pm and I have to be back there [after walking dogs and making strides in artistic contemplation by 10.30 am tomorrow. So bed and drawing for me.


what a shitty day




Got a bill incl £120 for over usage of broadband

VP didn't happen,

Research folder has vanished.

link to one thing I've managed to refind

http://www.telegraph.co.uk/culture/8881495/Marilyn-Monroe-Eight-page-letter-up-for-auction.html

2.40 pm

Martin Westwood




Benjamin and Technology

Andrew Chesher

Feb 27th

4.30pm

Lecture Theatre

In his essay ‘The Work of Art in the Age of Mechanical Reproduction’, written in the 1930s, Benjamin gives an analysis of how the technical reproduction of Art affects the status and experience of the original. On the one hand reproduction dilutes the presence of the original and hence depletes its power, and on the other it makes the reproduced image available more widely, especially true in our present age of digital reproduction. Using Benjamin's analyses and concepts as its starting point and touchstones, this lecture explores subsequent theories about technology, and practices that utilise it, whose basic premises Benjamin anticipated.

Key text: Walter Benjamin (2007), ‘The Work of Art in the Age of Mechanical Reproduction’, Illuminations, New York: Schocken Books

Saturday, February 25, 2012

a lecture on 'ugliness'

"Artist and writer, Mark Hutchinson, will be giving a lecture on 'ugliness' today, Thursday 23 February, at 2pm in the Lecture Theatre"

I was under house arrest that day, shame as my work has often been described as 'ugly.'

No way of seeing "ways of seeing"


Yet again the internet gives and takes away. This programme can't be listened to again.

Edit - 7 days to listen from today 



No plans to make Jonhn Berger's  television series aviliable on dvd or re-broadcast. The book sold 20,000 copies the first year of publication. it's been in print ever since1972.



"The Lucien Freud A Painted Life" via BBC iPlayer cut out on me halfway through on the last hour of viewing and tickets for the NPG show are selling faster than Da Vinci or Coldplay


Episode 1 part 1
 

Episode 1 part 2



Episode 1 part 3



Episode 1 part 4

Friday, February 24, 2012

Dallas Wiens

1973


To coincide with the beatification Birmingham Museum and Art Gallery is playing host to an exhibition of ”rarely seen items from the life of Cardinal John Henry Newman”. Amongst the exhibits are many not generally on public view. Most items are loaned from Birmingham Oratory’s own collection and were in Newman's rooms at the Oratory. Below are photographs of the exhibits.

Cardinal's robes, hat and shoes @ 1879. Newman reputedly complained that it was very expensive to be fitted out as a cardinal!

Kris Knight

Kris Knight

Fedor Emelianenko


Xavier Le Roy

Xavier Le Roy

"maybe have a life where it's not so clear pleasure  work
to describe my work
I would say in the first place experimental that is what I am interested in that is making a performance that are experiment with he spectators
let's start with the easiest one that is the 'sacre de printemps'
the conductor is doing
I have no education in music so that is really help to have this perspective
and I have the feeling that is more reacting on the music than producing the music than - in something
this balance between this very confused moment when you don't know the cause and what is effect
out this observation could be an interesting thing to work on this kind of movement as being  dance movement on the music
working for the body for to dance  is a very difficult kind of difficulty and it appear that some of my body was not well construct for this and what happen is I struggle a lot  but what helped me is that because I could not do what I was supposed to as a dancer then I had to develop and do other things which afterwards was interesting because this was a way to develop something interesting
It is difficult to do experimental work with a lot of people because experimental work by definition and it's a pity and it's like this doesn't invite a big audience if you don't invite a big audience you will not get a lot of means
so if you don't get a lot of means you can't work with a lot of people or you have to work with them without paying  which is out of question 
so you know this after plays a big role in why and how you do solo work so after now I can get some support for my work and subsidies and things like this I alternate very much between work that I do with people and work that I do solo"



http://www.xavierleroy.com/

Thursday, February 23, 2012

Stuart Brisley


Sweating The Hole from Stuart Brisley on Vimeo.

Also went to the Bisley Gallery this week, very heartening.

Chris Burden

Chris Burden

WANNA SEE . . . .


Hayward Gallery. South Bank.  22 February - 13 May 2012


 
Song Dong : Waste Not " The activity of saving and re-using things is in keeping with the Chinese adage wu jin qi yong – ‘waste not’ – a prerequisite for survival during periods of social and political turmoil. . . . . Waste Not speaks of the strong bonds between family members and the power of objects to tell stories and shape our lives."


 The Curve. Barbican. 15 February 2012 - 12 June 2012

Tuesday, February 21, 2012

Ken Wilder

Artist Talk

Wednesday 22nd February – 1pm. Lecture Theatre

Ken Wilder – Projective Space

Ken Wilder makes site-responsive sculptural installations, often including video projection. “My research focuses on the phenomenological experience of art, particularly in terms of how artworks structure an often problematic relation with the beholder...

...My research also attempts to define the phenomenological experience of video art when it shifts from the cinema to the space of the gallery.”





Going by dates - has he moved to Camberwell ? Didn't know there was a Chelsea youtube channel !

UPDATE:

I've only found this pdf

'Why we have corners'


the represented, the representation, the reproduction


Monday, February 20, 2012

Fanon, Subjectivity and Race


Bernice Donszelmann

Feb 20th
4.30pm
Lecture Theatre

Frantz Fanon’s essay ‘The Fact of Blackness’ (1952) explores how subjectivity is experienced as a crisis for the colonized subject within the context of colonial domination. Fanon’s thinking has been very influential within post-colonial theory and the lecture will introduce some of the key ideas presented in this text.

Key text: Frantz Fanon (2008), ‘The Fact of Blackness’, Black Skin, White Masks, London: Pluto Press, 82-108


Friday, February 17, 2012

This again . . . .

Apparently I'm a natural . . . .


Expanding Performance_UAL Chelsea_2011 from Ellie Kyungran on Vimeo.

Relics go on tour











Marilyn Monroe’s green dress auctioned off for half a million dollars


2012 - what a difference the austere setting of a white minimal space gives to an object exhausted by time.

1989 - my first brush with showbusiness - washing glasses in the Balcony Bar.

next on my list . . . .




Ben Lewis

Exchange value . . . . .

FACTORS AFFECTING VALUE
The problem of valuing antiques and collectables is a never-ending one, and one which we cinstantly address in producing Miller's Antiques and Collectables handbooks and price guides. A proce can be affected by many factors, for example:
CONDITION
This is always an important factor and the best way to learn about a 'perfect' piece should look like is to visit a museum. This is especially useful if one is looking to buy an expensive item of furniture, as you will see fine examples of wood, colour and patination. Perfect examples will, obviously cost more. Damage and restoration is always to be regretted and the price of that piece must reflect this.
DESIRABILITY AND RARITY
Although a piece may be extremely rare, unless it is also desirable, it will not necessarily command a high price. When a piece is extremely rare and desirable its condition is not of prime importance.
SIZE
In general, smaller pieces of furniture are favoured by the majority of buyers, with particular attention being paid to usability rather than to mere decoration. Thus small bookcases, tables and desks can fetch higher prices than a rarer but larger object that would not comfortably fit in the modern home. Although the opposite can be true when looking at porcelain and glass: larger pieces are more difficult to make and hence can be more desirable and expensive. Larger pieces of silver will also tend to be more expensive due to the weight of the material.
BUYER'S POWER
One can often be suprised at an auction by a piece selling for many times its estimated value. There can be several reasons for this. Perhaps the estimated proce was incorrect. It is also possible that two or more people bid against each other until the sale price was well above the true value of the object.
INVESTMENT VALUE
another interesting point to bear in mind when buying items for the home (furniture being a prime example) is that, once a new itme has left the shop, its value decreases dramtically. An antique should hold its value and in some cases the value of the piece will increase over time even though it is in use.
PUBLIC APPEAL
The fact that items or collections have been given exposre on television or in a specialist publication will arouse public interest, and substantially increase demand.
LOCATION
As a large percentage of sales take place from dealer to dealer, it is obvious that prices vary. It is also possible to pay more at a provincial auction than in a specialist shop in London or New york.
learn as much as you can about your subject and beware something that looks too good to be true - it probably is !

- Judith Miller's Guide to Antiques

Thursday, February 16, 2012

The obective is



still the object ?

TLDR

Specific Objects

Donald Judd



Half or more of the best new work in the last few years has been neither painting nor
sculpture. Usually it has been related, closely or distantly, to one or the other. The work is
diverse, and much in it that is not in painting and sculpture is also diverse. But there are
some things that occur nearly in common.

The new three-dimensional work doesn't constitute a movement, school or style. The
common aspects are too general and too little common to define a movement. The
differences are greater than the similarities. The similarities are selected from the work;
they aren't a movement's first principles or delimiting rules. Three-dimensionality is not as
near being simply a container as painting and sculpture have seemed to be, but it tends
to that. But now painting and sculpture are less neutral, less containers, more defined,
not undeniable and unavoidable. They are particular forms circumscribed after all,
producing fairly definite qualities. Much of the motivation in the new work is to get clear of
these forms. The use of three dimensions is an obvious alternative. It opens to anything.
Many of the reasons for this use are negative, points against painting and sculpture, and
since both are common sources, the negative reasons are those nearest commonage.
"The motive to change is always some uneasiness: nothing setting us upon the change
of state, or upon any new action, but some uneasiness." The positive reasons are more
particular. Another reason for listing the insufficiencies of painting and sculpture first is
that both are familiar and their elements and qualities more easily located.

The objections to painting and sculpture are going to sound more intolerant than they are.
There are qualifications. The disinterest in painting and sculpture is a disinterest in doing
it again, not in it as it is being done by those who developed the last advanced versions.
New work always involves objections to the old, but these objections are really relevant
only to the new. They are part of it. If the earlier work is first-rate it is complete. New
inconsistencies and limitations aren't retroactive; they concern only work that is being
developed. Obviously, three-dimensional work will not cleanly succeed painting and
sculpture. It's not like a movement; anyway, movements no longer work; also, linear
history has unraveled somewhat. The new work exceeds painting in plain power, but
power isn't the only consideration, though the difference between it and expression can't
be too great either. There are other ways than power and form in which one kind of art
can be more or less than another. Finally, a flat and rectangular surface is too handy to
give up. Some things can be done only on a flat surface. Lichtenstein's representation of
a representation is a good instance. But this work which is neither painting nor sculpture
challenges both. It will have to be taken into account by new artists. It will probably
change painting and sculpture.

The main thing wrong with painting is that it is a rectangular plane placed flat against the
wall. A rectangle is a shape itself; it is obviously the whole shape; it determines and limits
the arrangement of whatever is on or inside of it. In work before 1946 the edges of the
rectangle are a boundary, the end of the picture. The composition must react to the
edges and the rectangle must be unified, but the shape of the rectangle is not stressed;
the parts are more important, and the relationships of color and form occur among them.
In the paintings of Pollock, Rothko, Still and Newman, and more recently of Reinhardt
and Noland, the rectangle is emphasized. The elements inside the rectangle are broad
and simple and correspond closely to the rectangle. The shapes and surface are only
those which can occur plausibly within and on a rectangular plane. The parts are few and
so subordinate to the unity as not to be parts in an ordinary sense. A painting is nearly an
entity, one thing, and not the indefinable sum of a group of entities and references. The
one thing overpowers the earlier painting. It also establishes the rectangle as a definite
form; it is no longer a fairly neutral limit. A form can be used only in so many ways. The
rectangular plane is given a life span. The simplicity required to emphasize the rectangle
limits the arrangements possible within it. The sense of singleness also has a duration,
but it is only beginning and has a better future outside of painting. Its occurrence in
painting now looks like a beginning, in which new forms are often made from earlier
schemes and materials.

The plane is also emphasized and nearly single. It is clearly a plane one or two inches in
front of another plane, the wall, and parallel to it. The relationship of the two planes is
specific; it is a form. Everything on or slightly in the plane of the painting must be
arranged laterally.

Almost all paintings are spatial in one way or another. Yves Klein's blue paintings are the
only ones that are unspatial, and there is little that is nearly unspatial, mainly Stella's
work. It's possible that not much can be done with both an upright rectangular plane and
an absence of space. Anything on a surface has space behind it. Two colors on the same
surface almost always lie on different depths. An even color, especially in oil paint,
covering all or much of a painting is almost always both flat and infinitely spatial. The
space is shallow in all of the work in which the rectangular plane is stressed. Rothko's
space is shallow and the soft rectangles are parallel to the plane, but the space is almost
traditionally illusionistic. In Reinhardt's paintings, just back from the plane of the canvas,
there is a flat plane and this seems in turn indefinitely deep. Pollock's paint is obviously
on the canvas, and the space is mainly that made by any marks on a surface, so that it is
not very descriptive and illusionistic. Noland's concentric bands are not as specifically
paint-on-a-surface as Pollock's paint, but the bands flatten the literal space more. As flat
and unillusionistic as Noland's paintings are, the bands do advance and recede. Even a
single circle will warp the surface to it, will have a little space behind it.

Except for a complete and unvaried field of color or marks, anything spaced in a
rectangle and on a plane suggests something in and on something else, something in its
surround, which suggests an object or figure in its space, in which these are clearer
instances of a similar world - that's the main purpose of painting. The recent paintings
aren't completely single. There are a few dominant areas, Rothko's rectangles or
Noland's circles, and there is the area around them. There is a gap between the main
forms, the most expressive parts, and the rest of the canvas, the plane and the rectangle.
The central forms still occur in a wider and indefinite context, although the singleness of
the paintings abridges the general and solipsistic quality of earlier work. Fields are also
usually not limited, and they give the appearance of sections cut from something
indefinitely larger.

Oil paint and canvas aren't as strong as commercial paints and as the colors and
surfaces of materials, especially if the materials are used in three dimensions. Oil and
canvas are familiar and, like the rectangular plane, have a certain quality and have limits.
The quality is especially identified with art.

The new work obviously resembles sculpture more than it does painting, but it is nearer
to painting. Most sculpture is like the painting which preceded Pollock, Rothko, Still and
Newman. The newest thing about it is its broad scale. Its materials are somewhat more
emphasized than before. The imagery involves a couple of salient resemblances to other
visible things and a number of more oblique references, everything generalized to
compatibility. The parts and the space are allusive, descriptive and somewhat
naturalistic. Higgins' sculpture is an example, and, dissimilary, Di Suvero's. Higgins'
sculpture mainly suggests machines and truncated bodies. Its combination of plaster and
metal is more specific. Di Suvero uses beams as if they were brush strokes, imitating
movement, as Kline did. The material never has its own movement. A beam thrusts, a
piece of iron follows a gesture; together they form a naturalistic and anthropomorphic
image. The space corresponds.

Most sculpture is made part by part, by addition, composed. The main parts remain fairly
discrete. They and the small parts are a collection of variations, slight through great.
There are hierarchies of clarity and strength and of proximity to one or two main ideas.
Wood and metal are the usual materials, either alone or together, and if together it is
without much of a contrast. There is seldom any color. The middling contrast and the
natural monochrome are general and help to unify the parts.

There is little of any of this in the new three-dimensional work. So far the most obvious
difference within this diverse work is between that which is something of an object, a
single thing, and that which is open and extended, more or less environmental. There
isn't as great a difference in their nature as in their appearance, though. Oldenburg and
others have done both. There are precedents for some of the characteristics of the new
work. The parts are usually subordinate and not separate as in Arp's sculpture and often
in Brancusi's. Duchamp's ready-mades and other Dada objects are also seen at once
and not part by part. Cornell's boxes have too many parts to seem at first to be
structured.

Part-by-part structure can't be too simple or too complicated. It has to seem orderly. The
degree of Arp's abstraction, the moderate extent of his reference to the human body,
neither imitative nor very oblique, is unlike the imagery of most of the new threedimensional
work. Duchamp's bottle-drying rack is close to some of it. The work of Johns
and Rauschenberg and assemblage and low-relief generally, Ortman's reliefs for
example, are preliminaries. Johns's few cast objects and a few of Rauschenberg's works,
such as the goat with the tire, are beginnings.

Some European paintings are related to objects, Klein's for instance, and Castellani's,
which have unvaried fields of low-relief elements. Arman and a few others work in three
dimensions. Dick Smith did some large pieces in London with canvas stretched over
cockeyed parallelepiped frames and with the surfaces painted as if the pieces were
paintings. Philip King, also in London, seems to be making objects. Some of the work on
the West Coast seems to be along this line, that of Larry Bell, Kenneth Price, Tony Delap,
Sven Lukin, Bruce Conner, Kienholz of course, and others. Some of the work in New
York having some or most of the characteristics is that by George Brecht, Ronald Bladen,
John Willenbecher, Ralph Ortiz, Anne Truitt, Paul Harris, Barry McDowell, John
Chamberlain, Robert Tanner, Aaron Kuriloff, Robert Morris, Nathan Raisen, Tony Smith,
Richard Navin, Claes Oldenburg, Robert Watts, Yoshimura, John Anderson, Harry
Soviak, Yayoi Kusama, Frank Stella, Salvatore Scarpitta, Neil Williams, George Segal,
Michael Snow, Richard Artschwager, Arakawa, Lucas Samaras, Lee Bontecou, Dan
Flavin and Robert Whitman. H. C. Westermann works in Connecticut. Some of these
artists do both three-dimensional work and paintings. A small amount of the work of
others, Warhol and Rosenquist for instance, is three-dimensional.

The composition and imagery of Chamberlain's work is primarily the same as that of
earlier painting, but these are secondary to an appearance of disorder and are at first
concealed by the material. The crumpled tin tends to stay that way. It is neutral at first,
not artistic, and later seems objective. When the structure and imagery become apparent,
there seems to be too much tin and space, more chance and casualness than order. The
aspects of neutrality, redundancy and form and imagery could not be coextensive without
three dimensions and without the particular material. The color is also both natural and
sensitive and, unlike oil colors, has a wide range. Most color that is integral, other than in
painting, has been used in three-dimensional work. Color is never unimportant, as it
usually is in sculpture.

Stella's shaped paintings involve several important characteristics of three-dimensional
work. The periphery of a piece and the lines inside correspond. The stripes are nowhere
near being discrete parts. The surface is farther from the wall than usual, though it
remains parallel to it. Since the surface is exceptionally unified and involves little or no
space, the parallel plane is unusually distinct. The order is not rationalistic and underlying
but is simply order, like that of continuity, one thing after another. A painting isn't an
image. The shapes, the unity, projection, order and color are specific, aggressive and
powerful.

Painting and sculpture have become set forms. A fair amount of their meaning isn't
credible. The use of three dimensions isn't the use of a given form. There hasn't been
enough time and work to see limits. So far, considered most widely, three dimensions are
mostly a space to move into. The characteristics of three dimensions are those of only a
small amount of work, little compared to painting and sculpture. A few of the more
general aspects may persist, such as the work's being like an object or being specific, but
other characteristics are bound to develop. Since its range is so wide, three-dimensional
work will probably divide into a number of forms. At any rate, it will be larger than painting
and much larger than sculpture, which, compared to painting, is fairly particular, much
nearer to what is usually called a form, having a certain kind of form. Because the nature
of three dimensions isn't set, given beforehand, something credible can be made, almost
anything. Of course something can be done within a given form, such as painting, but
with some narrowness and less strength and variation. Since sculpture isn't so general a
form, it can probably be only what it is now-which means that if it changes a great deal it
will be something else; so it is finished.

Three dimensions are real space. That gets rid of the problem of illusionism and of literal
space, space in and around marks and colors - which is riddance of one of the salient
and most objectionable relics of European art. The several limits of painting are no longer
present. A work can be as powerful as it can be thought to be. Actual space is intrinsically
more powerful and specific than paint on a flat surface. Obviously, anything in three
dimensions can be any shape, regular or irregular, and can have any relation to the wall,
floor, ceiling, room, rooms or exterior or none at all. Any material can be used, as is or
painted.

A work needs only to be interesting. Most works finally have one quality. In earlier art the
complexity was displayed and built the quality. In recent painting the complexity was in
the format and the few main shapes, which had been made according to various interests
and problems. A painting by Newman is finally no simpler than one by Cezanne. In the
three-dimensional work the whole thing is made according to complex purposes, and
these are not scattered but asserted by one form. It isn't necessary for a work to have a
lot of things to look at, to compare, to analyze one by one, to contemplate. The thing as a
whole, its quality as a whole, is what is interesting. The main things are alone and are
more intense, clear and powerful. They are not diluted by an inherited format, variations
of a form, mild contrasts and connecting parts and areas. European art had to represent
a space and its contents as well as have sufficient unity and aesthetic interest. Abstract
painting before 1946 and most subsequent painting kept the representational
subordination of the whole to its parts. Sculpture still does. In the new work the shape,
image, color and surface are single and not partial and scattered. There aren't any
neutral or moderate areas or parts, any connections or transitional areas. The difference
between the new work and earlier painting and present sculpture is like that between one
of Brunelleschi's windows in the Badia di Fiesole and the fa9ade of the Palazzo Rucellai,
which is only an undeveloped rectangle as a whole and is mainly a collection of highly
ordered parts.

The use of three dimensions makes it possible to use all sorts of materials and colors.
Most of the work involves new materials, either recent inventions or things not used
before in art. Little was done until lately with the wide range of industrial products. Almost
nothing has been done with industrial techniques and, because of the cost, probably
won't be for some time. Art could be mass-produced, and possibilities otherwise
unavailable, such as stamping, could be used. Dan Flavin, who uses fluorescent lights,
has appropriated the results of industrial production. Materials vary greatly and are simply
materials—formica, aluminum, cold-rolled steel, plexiglas, red and common brass, and so
forth. They are specific. If they are used directly, they are more specific. Also, they are
usually aggressive. There is an objectivity to the obdurate identity of a material. Also, of
course, the qualities of materials—hard mass, soft mass, thickness of 1/32,1/16,1/8 inch,
pliability, slickness, translucency, dullness—have unobjective uses. The vinyl of
Oldenburg's soft objects looks the same as ever, slick, flaccid and a little disagreeable,
and is objective, but it is pliable and can be sewn and stuffed with air and kapok and
hung or set down, sagging or collapsing. Most of the new materials are not as accessible
as oil on canvas and are hard to relate to one another. They aren't obviously art. The
form of a work and its materials are closely related. In earlier work the structure and the
imagery were executed in some neutral and homogeneous material. Since not many
things are lumps, there are problems in combining the different surfaces and colors and
in relating the parts so as not to weaken the

Three-dimensional work usually doesn't involve ordinary anthropomorphic imagery. If
there is a reference it is single and explicit. In any case the chief interests are obvious.
Each of Bontecou's reliefs is an image. The image, all of the parts and the whole shape
are coextensive. The parts are either part of the hole or part of the mound which forms
the hole. The hole and the mound are only two things, which, after all, are the same
thing. The parts and divisions are either radial or concentric in regard to the hole, leading
in and out and enclosing. The radial and concentric parts meet more or less at right
angles and in detail are structure in the old sense, but collectively are subordinate to the
single form.

Most of the new work has no structure in the usual sense, especially the work of
Oldenburg and Stella. Chamberlain's work does involve composition. The nature of
Bontecou's single image is not so different from that of images which occurred in a small
way in semiabstract painting. The image is primarily a single emotive one, which alone
wouldn't resemble the old imagery so much, but to which internal and external
references, such as violence and war, have been added. The additions are somewhat
pictorial, but the image is essentially new and surprising; an image has never before
been the whole work, been so large, been so explicit and aggressive. The abatised orifice
is like a strange and dangerous object. The quality is intense and narrow and obsessive.
The boat and the furniture that Kusama covered with white protuberances have a related
intensity and obsessiveness and are also strange objects. Kusama is interested in
obsessive repetition, which is a single interest. Yves Klein's blue paintings are also
narrow and intense.

 The trees, figures, food or furniture in a painting have a shape or contain shapes that are
emotive. Oldenburg has taken this anthropomorphism to an extreme and made the
emotive form, with him basic and biopsychological, the same as the shape of an object,
and by blatancy subverted the idea of the natural presence of human qualities in all
things. And further, Oldenburg avoids trees and people. All of Oldenburg's grossly
anthropomorphized objects are manmade - which right away is an empirical matter.
Someone or many made these things and incorporated their preferences. As practical as
an ice-cream cone is, a lot of people made a choice, and more agreed, as to its
appearance and existence. This interest shows more in the recent appliances and
fixtures from the home and especially in the bedroom suite, where the choice is flagrant.
Oldenburg exaggerates the accepted or chosen form and turns it into one of his own.

 Nothing made is completely objective, purely practical or merely present. Oldenburg gets
along very well without anything that would ordinarily be called structure. The ball and
cone of the large ice-cream cone are enough. The whole thing is a profound form, such
as sometimes occurs in primitive art. Three fat layers with a small one on top are enough.
So is a flaccid, flamingo switch draped from two points. Simple form and one or two
colors are considered less by old standards. If changes in art are compared backwards,
there always seems to be a reduction, since only old attributes
are counted and these are always fewer. But obviously new things are more, such as
Oldenburg's techniques and materials. Oldenburg needs three dimensions in order to
simulate and enlarge a real object and to equate it and an emotive form. If a hamburger
were painted it would retain something of the traditional anthropomorphism. George
Brecht and Robert Morris use real objects and depend on the viewer's knowledge of
these objects.

Source: Thomas Kellein, Donald Judd: Early Work, 1955-1968, New York: D.A.P., 2002.
Originally published in Arts Yearbook 8, 1965.

Wednesday, February 15, 2012

Tuesday, February 14, 2012

golden triangle


  1. The Tech Game - Xbox Live Conection?

    www.thetechgame.com/Forums/p=19629932.html
    4 posts - 3 authors - 17 Jan
    Is it me or is it Xbox live down. I'm with virgin tho Anayone help me. You're a virgin and need help? That's why we have corners buddy.
  2. La Casa de Towanda: Christmas tree update

    lacasadetowanda.blogspot.com/2008/12/christmas-tree-update.html
    10 Dec 2008 – I figure a natural tree is why we have corners in our houses! But I can't fairly comment - I do own an artificial tree that comes completely lit.
  3. Enter: Abkhazia

    www.badeagle.com/2008/08/11/enter-abkhazia/
    11 Aug 2008 – St. Paul said that's why we have corners–to make us objective, to “haply” discover or realize that there is a CREATOR of us all. Acts 17:27,27.
  4. Siege Editor | Gas Powered Garage

    garage.gaspowered.com › ... › dungeon siegemodding faq
    1 post - 15 Jun 2005
    That's why we have corners. For both outdoor walls and dungeon walls, there are corner nodes whose doors are *meant* to connect walls in a ...
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If you like, you can repeat the search with the omitted results included.

original art

mass production of oil paintings - at last night's lecture it was stated there are estimated to be 6,000,000 oil paintings from the golden age of dutch painting Vermeer etc.


Get real

WTF,

assessment fri

group show tues

I have no material work

been reading about dematerialisation since christmas

had all mad ideas last night

this painting

that sculpture

floor wall etc

had to face it last night

I am working under so many retrictions

spatial restrictions

financial restrictions

technical restrictions

time restrictions

art histirical restrictions

syntactical restrictions

confidence restrictions

aesthetic retsictions

personnel restrictions

matrial restrictions

conceptual restrictions

unknown restrictions

psychological retsrictions

sociological restrictions

philosophical restrictions

WTF

Monday, February 13, 2012

Rupert Norfolk

Rupert Norfolk

Mon, Feb 13, 2012  Artist Talk



Wednesday 15 February
1-2pm

Lecture Theatre
Rupert Norfolk’s work involves subtle investigations of the perceptual and conceptual possibilities of concrete and depicted things. He studied Fine Art at Chelsea School of Art and Design, London, and has been associate lecturer in Drawing at Camberwell College of Art since 2007. He lives and works in London.

His work is currently included in The Curator’s Egg, Altera Pars, at Anthony Reynolds Gallery, London, Painting Show, Eastside Projects, Birmingham and Secret Societies - To Know, To Dare, To Will, To Keep Silence, CAPC - Museum of Contemporary Art Bordeaux, touring from Schirn Kunsthalle, Frankfurt.

Recent exhibitions include: Lustwarande - 2011, Fundament Foundation, Park de Oude Warande, Tilburg, Big Minis, CAPC - Museum of Contemporary Art, Bordeaux, Boom, Hotel, London, Newspeak – British Art Now, Saatchi Gallery, London, Altogether Elsewhere, Rodeo Gallery, Istanbul, M25 Around London, CCA Andratx, Mallorca and Counterfacture, Luhring Augustine, New York.

note to self

i need to tag all my own work with that to make findign it easier for myself - and others . . .

Night of a thousand executive toys . . .

Kinetica 2012

Well it was scrum, a mixture of visitors and exhibitors. Why are they showing, why are we visiting?

I ask because is this kinetic art ?Was this a kinetic art exhibition, it certainly didn't feel like a gallery.

Perhaps it's a place to network, something I always forget to allow for, as well as do.

Those there must be to an extent self selected, and as I still know very little about the subject, it was difficult to draw any conclusions and if there are any gaps, that could just be an absence this year, or maybe the last as I went last year too.

Kinetic implies an engagement with movement - with a technological element. The earliest mechanical technology includes cogs gears and levers etc, all the movement circular in some way. of course we now have the digital, which includes everything of everyperiod, as well as this blog. There did seem to be a divide between the overtley mechanical, and things that ran off laptops as well work that conbined the two, both clearly and the not so clearly.

I remember from last year there seemd to be a lto from those training or trained in engineering, I've no idea how accurate that iompression is. this year I noticed 'Goldsmiths a few times including the phrase 'Computing and the arts' mentioned in the caption for a "Gestalt Circle." I did ask for a catalogue, but the hard copies are 'lost in africa.'

I ask this, as my one experience of trying to produce a kinetic piece was miserable. Months of work, and only to find the thing just managed to function on the night because of a tiny inaccuracy in construction - impossible to avoid in a college studio geared to clay sculpture plaster joinery casting etc, but not precision engineering. Seems to me kinetic art is just for those studying or experienced in engineering.

This seemed to me to lead to work that was clearly decorative or designed to starkly expose scientific principles or to show a geeky love of the mechanical. That's probably not fair, but it was just too packed and noisey to talk to the exhibitors.

I LOVED this. I thought it was beautiful in everyway. the delicacy of the copper wires, gave the whole thing the sense of a three dimensional drawing. I suppose I should have taken a video, but it was so packed [did I emntion that before ?] I didn't want to hog the space.

It's construction is completely open to view. [My piece wasn't - and I was continually asked to turn it off and show people how it worked.]



 WuXiaoFei is currently in his final year of BA (Hons) Fine Art for Design at Batley School of Art, exploring kinetic sculptures that interact with the audience. 

Nothing on the net but his entry on the exhibitors list. I did snap a video screen with a web address in his space, but it doesn't seem to lead to a website after all.

Another view of the same exhibitors space. I have seen this identical mechanism used for flying elephants, part of the limitations of these mechanism perhaps.

Paul

By Patrick Tresset.

"Paul is a robotic entity that autonomously draws members of the public in a style inspired by Patrick tresset's own drawing manner. Pail utilises some of the technologies and ideas developed in the context of Aikon - II, a research project that investigates the observational sketcjing activity through computational modelling and robotics. Aikon -II is hosted at Goldsmiths' College computing department and is funded in part by a Leverhulme Trust's 3.5 year reseacrh grant [fucking dyslexia !]

 www.aikon-gold.com





There was some relationship between the camera on the right and the drawing arm on the left. there was some work nearby where the connection between drawing and algorithms was more overt, but apart from seeing it draw and the leads that went down to a black box on the floor - I've no idea how this works - or what point was being made other than portrait service that was eagerly being taken up at [I think] £20 a go. I have thought of doing a survey of Leicester Square street portraitists.

Of course drawing machines are nothing new. I found the one below via google. Clearly the mechanism is intentionally hidden in a doll [Anthropomorphic], the drawing made via a pre-determined template, not as above a recognisable portrait of a completely unknown subject. In the one below there is an intention to diguise the mechanism





“Zoe” the Drawing Automaton

 Oh dear I have caught font change ! end of post . . .  

 

 These seem the epitome of an executive toy, beautifully crafted to isolate the purity of egars, there was a sign saying gearmobiles, and a sale had just been made, but googling and the exhibitor list tell em nothing.

Give up . . . . .

I'm putting this here cos they keep deleting stuff off blackboard . . .

STAGE ONE Theory Lecture: Freud and the Everyday

Paul O'Kane

Lecture Theatre

4.30pm Feb 13th

In this lecture we will consider the importance of apparently banal occurrences and phenomena to artists of modern and postmodern times. With particular reference to two Freud essays, ‘Parapraxes’ (on ‘slips of the tongue’ and other revealing errors) and ‘The Uncanny’, we will see how Freud’s ideas have special relevance to an age of urban, bourgeois life, and to art influenced by mechanised images – photography and film.

We will also refer to the 2005 film Hidden (Caché) by Michael Haneke (please watch) and the essay ‘Judgment Day’ by Giorgio Agamben. Sigmund Freud (2002), ‘Parapraxes’, in Ben Highmore (ed.), The Everyday Life Reader, London : Routledge


Can't find the source of  'Judgement Day' by Girogio Agamben is it part of the Sigmund Freud (20020 reference ?