Drawings and mapping strategies created whilst participating in "Space for Peace in Winchester Cathedral 2011". Cyanotype process on paper, amongst this document there remains evidence of both human occupation and the surrounding architecture that framed the event.
Saturday, 26 May 2012
Friday, 25 May 2012
Thursday, 24 May 2012
In Defence of Sensuality : John Cowper Powys 1930.
The author feels that perhaps some explanation is due to the reader for the rather unusual employment of the word "Sensuality" which serves as the title of this work. The advantage given to the author by the use of this particular expression is that it enables him to proceed from rock-bottom upwards as far as he likes. A more refined title would have cut him off, in his method of developing his idea, from the physical roots of existence; for while it is easy to indicate the overtones and undertones of Sensuality it would be hard to bring a gentle, vague word, like the word "sensuousness" down to the bare, stark, stoically-stripped Life-Sensation which is the subject of this book.
Dedicated to the memory of that great
and much-abused man
Wednesday, 23 May 2012
Francesca Woodman Untitled, New York, 1979–80 Chromogenic print, 8.6 x 8.9 cm Courtesy George and Betty Woodman
Retrospective of Francesca Woodman on View at the Guggenheim in Spring 2012
First Comprehensive Examination of Woodman’s Brief Career Assembles Over 120 Works
Including Newly Released Photographs, Artist Books, and Videos
Exhibition: Francesca Woodman
Venue: Solomon R. Guggenheim Museum, 1071 Fifth Avenue, New York
Location: Annex Level 4
Dates: March 16–June 13, 2012
Media Preview: Thursday, March 15, 10am-noon
Francesca Woodman, the most comprehensive exhibition of the artist’s work since Woodman’s untimely death in 1981 at the age of 22, will be on view at the Guggenheim Museum from March 16 through June 13, 2012. Spanning the breadth of her production, the exhibition includes more than 120 vintage photographs, artist books, and a selection of recently discovered and rarely seen short videos, presenting a historical reconsideration of Woodman’s brief but extraordinary career.
Francesca Woodman is organized by the San Francisco Museum of Modern Art (SFMOMA). The exhibition has been curated by Corey Keller, Associate Curator of Photography, SFMOMA, where it opened in November 2011. The New York presentation of Francesca Woodman is organized by Jennifer Blessing, Senior Curator, Photography, Solomon R. Guggenheim Museum.
The Leadership Committee for 2012 Exhibitions of Photography is gratefully acknowledged.
Woodman’s oeuvre represents a remarkably rich and singular exploration of the human body in space and of the genre of self-portraiture in particular. Her interest in female subjectivity, seriality, Conceptualist practice, and photography’s relationship to both literature and performance are also the hallmarks of the heady moment in American photography during which she came of age. This retrospective offers an occasion to examine more closely the maturation and expression of a highly subjective and coherent artistic vision. It also presents an important and timely opportunity to reassess the critical developments that took place in the 1970s in American photography.
Born in 1958 into a family of artists, Woodman began photographing at the age of thirteen. By the time she enrolled at the Rhode Island School of Design (RISD) in 1975, she was already an accomplished artist with a remarkably mature and focused approach to her work. During her time at RISD, she spent a year in Rome, a place she had visited as a child, and which proved to be a fertile source of inspiration. After completing her degree, she moved to New York, where she continued to photograph. While making several large-scale personal projects, she also experimented with fashion photography, engaging in the age-old artist’s struggle to reconcile making art and making a living. In 1981, at the age of twenty-two, she committed suicide. Woodman’s tragic death is underscored by the startlingly compelling, complex, and artistically resolved body of work she produced during her short lifetime.
Woodman’s favorite subject was herself. From the very first time she picked up a camera, she used it to thoroughly plumb the genre of self-portraiture. Using a square-format camera, Woodman photographed her body in a variety of spaces. She had an affinity for decaying and decrepit interiors, particularly the richly layered surfaces of walls covered with graffiti or peeling wallpaper. In these settings the body is evanescent, appearing and disappearing behind objects, pressed into cupboards and cabinets, camouflaged against walls, or dissolving into a blur of movement. She frequently included objects within the frame—gloves, eels, mirrors—thereby investing them with a symbolic charge, and often making deliberate allusions to tropes from the Surrealist and gothic fiction she admired.
The presentation at the Guggenheim will comprise approximately 120 vintage photographs, including Woodman’s earliest student experiments at RISD, work from her time spent studying in Rome, her forays into fashion photography upon moving to New York, and the late, large-scale blueprint studies of caryatid-like figures for the ambitious Temple project (1980). The exhibition will include two of her artist books—diaristic collages of her own photographs and writings—which were an important form of expression, particularly at the end of her career. Woodman also experimented with moving images; six recently discovered and rarely seen short videos will be presented in the exhibition.
The exhibition will be accompanied by a fully illustrated catalogue. In addition to beautifully reproduced plates including images never before published, this 224-page book includes an introduction and essay by Corey Keller, which contextualizes Woodman’s photography within the emergence of a new photographic avant-garde in the 1970s and offers a compelling argument for why a consideration of her work is urgent today. A contribution by Julia Bryan-Wilson, associate professor of art history at the University of California, Berkeley, puts Woodman and her initial reception by feminist scholars—in particular, Abigail Solomon-Godeau and Rosalind Krauss—in perspective. An essay by Jennifer Blessing focuses on Woodman’s videos and explores the relationship between the still and moving image in her body of work. The hardcover catalogue is $49.95 and will soon be available at guggenheimstore.org.
Education and Public Programs
Details on the public programs presented in conjunction with Francesca Woodman will be posted on guggenheim.org/publicprograms. Highlights include:
Free with museum admission.
Curator’s Eye: Led by exhibition curators Friday, March 30, 2 pm – Jennifer Blessing Friday, April 13, 2 pm – Jennifer Blessing Friday, April 27, 2 pm – Susan Thompson
Conservator’s Eye: Led by museum conservators Friday, May 11, 2 pm – Jeffrey Warda
Art in the 1970s, Through the Lens of Francesca Woodman
Friday, May 18, 4pm This program examines the relationship between the still and moving image in Woodman and other artists’ production during the 1970s, particularly as associated with Post-Minimalism, performance, and video. Organized by Jennifer Blessing, Senior Curator, Photography. Reception follows. $10, $7 members, free for students with RSVP. For tickets visit guggenheim.org/publicprograms or call the Box Office at 212 423 3587.
About the Solomon R. Guggenheim Foundation
Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. Currently the Solomon R. Guggenheim Foundation owns and operates the Guggenheim Museum on Fifth Avenue in New York and the Peggy Guggenheim Collection on the Grand Canal in Venice, and provides programming and management for the Guggenheim Museum Bilbao. The Deutsche Guggenheim in Berlin is the result of a collaboration, begun in 1997, between the Guggenheim Foundation and Deutsche Bank. The Guggenheim Abu Dhabi, a museum of modern and contemporary art designed by Frank Gehry on Saadiyat Island, adjacent to the main island of Abu Dhabi city, the capital of the United Arab Emirates, is currently in progress. More information about the foundation can be found at guggenheim.org.
Position the cursor on the images to view captions, click on images to enlarge them.
Posizionare il cursore sulle immagini per leggere le didascalie; cliccare sulle immagini per ingrandirle.
- FRANCESCA WOODMAN – VICTORIA MIRO GALLERY | LONDON
- FIRST RETROSPECTIVE OF MAURIZIO CATTELAN – SOLOMON R. GUGGENHEIM MUSEUM | NY
- ANISH KAPOOR, MUSEO GUGGENHEIM | BILBAO
- THE VORTICISTS: REBEL ARTISTS IN LONDON AND NEW YORK, 1914–1918 – PEGGY GUGGENHEIM | VENICE
- GUGGENHEIM FOUNDATION ANNOUNCES APPOINTMENTS FOR THE ABU DHABI PROJECTText By 1F mediaproject
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Detail from life drawn trace of a human form. Exploration into creative practices and aesthetics of materials and mapping structures.
Russellmoreton's Blog | Russell Moreton: Spatial Practices and experimental drawing and alternative photography.
P1213401red photogram., a photo by Russell Moreton on Flickr.
Pinhole camera image and photogram both made on site during the performative public arts event held at the Theatre Royal Winchester. Part of 10 Days across the City 2011.
Posted in Uncategorized | Tagged "russell moreton", alternative photography, architecture, performativity, photograms, pinhole Photography, site based art inquiry, speculative practice,
Tuesday, 22 May 2012
Reclaimed images from inside a camera obscura ( Kilquhanity 2011) via the cyanotype process.
Monday, 21 May 2012
Sunday, 20 May 2012
Cyanotype process used to record both the structure of a leaded window and a sublime value of transparency. Original stained glass panel created in 1991 reflecting on global issues at the time. This subsequent work on paper reflects the generative nature of the creative process.
Reflective journal and artist's book, a place to collage interests and findings whilst they wait to be discovered. This ongoing chronicle of explorations reflects the sense of "nowness" within the creative process. Most things lay dormant and waiting, their they remain encapsulated within the books fertile beauty.
Saturday, 19 May 2012
Camera Obscura : Kilquhanity 2011. #1
Dark Session's : Shadowy speculations in the pottery. Kilquhanity 2011
Silver gelatin prints from a "room obscura" set up at Kilquhanity, Scotland 2011 as part of "Back to Free school, Drawing out the Archive".
Friday, 18 May 2012
Enmeshed space, working drawing with handwritten notes 2010, a photo by Russell Moreton on Flickr.
Wednesday, 16 May 2012
Part of a series of speculative drawings with objects, interested in bringing these elements into architectural forms and surfaces, maybe textures. Recent reading of "Natural History" which documents the exhibition "Archaeology of the mind " which centres around the architectural practice of Herzog and de Meuron has prompted me to reflect on their comment
"Our models and experiments with material are not works of art, but rather a kind of accumulated waste"
Tuesday, 15 May 2012
A simple tented shelter of canvas is secure under the cathedral like canopy of this gridshell construction.
Gridshell at the Weald and Downland Open Air Museum, Singleton, West Sussex.
Monday, 14 May 2012
Public intimacies, personal dialogues in social spaces.
"Blocking in" of a private studio space of creative inquiry into the public realm as a permeable intervention.
Main reception area,UCA Canterbury 2010.
Russell Moreton, Spatial Practices.
Sunday, 13 May 2012
Outline, human trace with raw materials gathered from a Jurassic coastline. ., a photo by Russell Moreton on Flickr.
Artists studio exhibition 2007.Trace and indexical drawings with artists books., a photo by Russell Moreton on Flickr.
Drawings executed using field chalk and rust residues from obsolete iron car parts. Human form traced and referenced directly from life with a continuous drawn line. Working methods reflect an inquiry into the origins of painting through the myth, The Daughter of Butades.
Saturday, 12 May 2012
Amongst lightness and the reverberation of material., a photo by Russell Moreton on Flickr.
" The history of myth is the history of humanity; our stories and beliefs, our curiosity and attempts to understand the world, link us to our ancestors and each other."
Drawing frame as used in archaeological practices as an aid to reference found objects. Abstract painting with thread, lead weight and pierced forms. Collage including text "non spaces, Marc Auge" image (on the roof of the Bargate, Southampton) of on-site drawing event. Photograph taken whilst in a studio space occupied for the purposes of ceramic experimentation and manufacture.
Assemblage made from section of picture frame painted with red iron oxide. Silver gelatin photogram from a camera obscura. Lead clips and horseshoe nails.
Collage and photogram derived from creative inquiry. Constructed to facilitate the exploration of the intersections of Art, Fashion/Culture and Architecture.