Friday, 29 April 2016
Friday, 15 April 2016
Russell Moreton Found Objects : Archaeological Photogram/Layered Landscapes
When you make photograms, without the use of a camera, you can indeed call that abstract photography, as the lens and the corresponding registration medium are lacking. No longer do you have pictures of reality or objects; you only have their shadows. It is a bit like Plato’s cave, where one could only imagine reality; the objects themselves were not visible.
—Thomas Ruff
Layered Landscape
"Thus we cover the universe with drawings we have lived. These need only to be tonalized on the mode of our inner space."
Gaston Bachelard.
The Poetics of Space.
Thursday, 14 April 2016
Russell Moreton Sublime Components 001 : Field Networks (Bramdean)
We are living through a protracted epidemic of confusion about the difference between artworks and documents. A border is being blurred.
The convergence of Minimalism and the Bechers had given documentary images a secure place in the world of art.
Cruel and tender
Carter Ratcliff
1 June 2003
Monday, 11 April 2016
Sunday, 10 April 2016
Thursday, 7 April 2016
Russell Moreton VITRINES : Art Spaces/interiors/interventions. 3
Anselm Kiefer :
In the Annenberg Courtyard 2014.
Velimir Khlebnikov: Fates of Nations: The New Theory of War
Anselm Kiefer often dedicates his works to intriguing figures of the past, be they poets or philosophers. This piece is one of a number of works emerging from Kiefer’s ongoing exploration of the Russian Futurist avant-garde writer, theorist and absurdist Velimir Khlebnikov (1885-1922).
After years of study, Khlebnikov concluded that a major sea battle took place every 317 years, or multiples thereof. Kiefer celebrates this heroic and ludicrous activity with a work that is both monument and anti-monument. Measuring almost 17 metres in total and consisting of two large glass vitrines, Kiefer creates a transparent, reflective sea-scape in three dimensions that calls to mind the Romantic sublime of painters from JMW Turner to Caspar David Friedrich. Kiefer uses the frames of the vitrines to stage a mysterious drama, in which viewers, seeing each other and their own reflections, become participants.
https://www.royalacademy.org.uk/article/kiefer-and-chipperfield-talk-space
In the Annenberg Courtyard 2014.
Velimir Khlebnikov: Fates of Nations: The New Theory of War
Anselm Kiefer often dedicates his works to intriguing figures of the past, be they poets or philosophers. This piece is one of a number of works emerging from Kiefer’s ongoing exploration of the Russian Futurist avant-garde writer, theorist and absurdist Velimir Khlebnikov (1885-1922).
After years of study, Khlebnikov concluded that a major sea battle took place every 317 years, or multiples thereof. Kiefer celebrates this heroic and ludicrous activity with a work that is both monument and anti-monument. Measuring almost 17 metres in total and consisting of two large glass vitrines, Kiefer creates a transparent, reflective sea-scape in three dimensions that calls to mind the Romantic sublime of painters from JMW Turner to Caspar David Friedrich. Kiefer uses the frames of the vitrines to stage a mysterious drama, in which viewers, seeing each other and their own reflections, become participants.
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