Outpost 241122
https://www.flickr.com/photos/russellmoreton/
Elective Affinities.
Tate, Liverpool.
Penelope Curtis.
The Liveliness of Materials.
The nature of our involvement is crucial as we begin to select our meanings, as we have to also begin to exercise personal choice.
The starting point for this exhibition was to find art which involved the spectator, an spectator immediately and which makes the body the bridge between the art and the spectator.
Using works that elicit a reaction from us based on physical recognition.
Engendering affinities both psychological and philosophical, much of the meaning in our world relates either actually or metaphorically to the body.
Creating art works that set up a network of psychological allusion.
Drawings, maps, lists, doodles, photographs, paintings, collages,scribblings and drafts, which are the secret and unformed property of the artist. These are not to be seen as artworks so much as the wild-eyed and compulsive superstructure that bears the song or book or script along. They are a support system of manic tangential information.
What you see in this book lives in the intricate world constructed around the songs, and which the songs inhabit. To me these pieces have a different creative energy to the formed works, they are raw and immediate, but no less compelling.
Stranger Than Kindness.
Nick Cave.
Properties do not reside in objects, they are between objects.
Objects are such only with respect to other objects, they are nodes where bridges meet.
Intimate Everyday Notations.
A Book Of Days.
Patti Smith.
The 'works' evoke a physical affinity that sets up a complicity in which the viewer is implicated in the work.
The possibility of identification with the 'works' is frequently assured by their liveliness.
Fundamental to this art is the fact that its viewers stand in front of it and physical experience is highlighted or becomes part of its conceptual framework.
A photographic skin neither dead or alive, it is the blemished surface which gives the work a fragility.
Ultimately it is the ambiguity of this photographic flesh, its skin of visual tenderness that is most unsettling.
This phantasmal world of quanta is our world.
Speculative Experiential Formwork.
The Nature of Matter/Liveliness of Materials.
The Primal Level of Physical Being.
The Order Of Time.
Helgoland.
Carlo Rovelli.
Cyanotype Process and Concepts of Practice.
Technically the work is more in line with that of the photogram. It is used to record light and shadow from a specific site, through the use of intermediaries, stencils and their movements across the duration of daylight.
Conceptually the use of the cyanotype process historically references architectural blueprints and the proofing of early photographic procedures.
Outpost 241121
The Artist's Reality
Philosophies of Art
Mark Rothko, 1940-41.
Without question the work I found as incomplete and in places, frustratingly obscure, but it was a book, and a substantial one. It was clearly written as a volume, its contents speaking to a public rather than constituting an artist's private musings
Christopher Rothko, 2004.
The Artist's Dilemma
Art as a Natural Biological Function
Art as a Form of Action
The Integrity of the Plastic Process
Art, Reality, and Sensuality
Particularization and Generalization
Genalization since the Renaissance
Emotional and Dramatic Impressionism
Objective Impressionism
Plasticity
Space
Beauty
Naturalism
Subject and Subject Matter
The Myth
The Attempted Myth of Today
Primitive Civilizations Influence on Modern Art
Modern Art
Primitivism
Indigenous Art
Rembrandt discovered that his patrons were not interested in his plastic preoccupations with light when he painted The Night Watch, and that they preferred the obvious illustrative gifts of his contemporaries and followers. Monet and Cezanne discovered the same, watching Sargent and the exhibitors at the academy sell far inferior goods, succeeding because they adopted the French masters' method in its superficial aspects, while including enough familiarity so that the spectator revelled in the familiar while he was talking about the unfamiliar.
Things and Bodies/Shifting Signs
The haptic image/indexical/involuntary markings and the present instant, a body at the limit of its moment when it is most definitely intensely alive and in the present.
Beyond the body's blurred contours and indexical markers, to see through, to see sense challenged.
Time is persistently liminal, a suspended, extended present.
Mattering/Mutability,Accident, Flux
Experience/Existence/Presence
Life Drawing/Staging Oneself/Others
Body in Space/Resilience,Endures
Organism-Person-Environment
Haptic slippages/propositions between subject and object, human and non human, between what is alive and what is animate.
Drawing/Anamorphic Perceptions, apprehended and felt, more than seen.
Drawing is not the form; it is the way of seeing the form.
Edgar Degas.
The human figure, like any animated object is alive. Even when in a seemingly static position- whether sitting or lying- it is actually in constant motion. To capture this fundamental fact, which makes the body profoundly different from a statue or a mannequin, one must learn to see both its physical structure and its actions in space.
Daniela Brambilla.
Between seeing and drawing, what is felt, hidden, made rendering visible.
Blindness, searching, instants marking the barely known phenomena between organism, person and environment.
The searching and reflexive nature of drawing, a questioning through the performative social body, and its perceptual spatial agency and with materials, environments and others.
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Human Figure Drawing
Drawing Gestures, Postures and Movements.
Daniela Brambilla, 2014.
With a series of curved lines drawn quickly, without lifting the pencil from the paper, in a loose way and almost without looking away from the subject, identify the lines that make up not the outside, the external contour or the details, but the morphological whole of the figure at that precise moment- in a certain sense the internal engine, a synthesis between intentions and actions, between mind and body.
To achieve this result draw around the form's centre and at the same time beyond it, without defining volumes with closed lines.
Gesture
Seeing Contours
Superposition
Interior and Exterior
Proportions
Modelling
What It Isn't
Memory
Balance
Techniques
Light and Shadow
Chiaroscuro
Viewpoint
What to Say?
Movements of the Soul
The Forms of Age
The Sketchbook
Imagination
If you have learnt to write, you will also learn how to draw. The manual skill is the same; you are just changing your way of seeing and feeling. To understand the meaning of this statement, ask yourself:
“Where am I when I am drawing?”
Thinking Bodies : Deleuze and Guattari's becoming-woman
Nicole Dawson, 2008.
Deleuze and Guattari have argued that we cannot reach outside of a dualistic conceptualization of human bodies simply by seeking to transcend or bypass it. They contend: “The only way to get outside the dualism is to be-between, to pass between, the intermezzo”. We do not get past or move beyond the dualism. This is not a successive stage of progression. The dualism is a conceptual event whose historical and contemporary activity gives rise to consequences that cannot be invalidated or ignored, thus, the situation is not such that we put the dualism behind us, move on or forward as if unaffected. The only place to go, to move, if we are to get outside the dualism is between: “one must pass ...through binaries, not in order to reproduce them but to find terms and modes that befuddle their operations, connections that demonstrate the impossibility of their binarization, terms, relations, and practices that link the binarily opposed terms”.
A Thousand Plateaus : Capitalism and Schizophrenia, Deleuze and Guattari.
Volatile Bodies : Towards a Corporeal Feminism, Elizabeth Grosz.
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