part 4: site
Introduction
Post-structuralism emerged in France during the 1960s and payed a significant role in examine the power and voice of the arts. Theorists such as Barthes, Jacques Derrida, Michel Foucault, and Julia Kristeva, amongst others, began to be critical of their own structuralist project that studied the underlying structures inherent in cultural production. As you saw in part two, the concept of ‘self’ as a singular and coherent entity was challenged. It was argued that it was a construction that itself had to be examined, both as an author and reader. Subsequently, the meaning the author intends for the work is secondary to the meaning that the reader perceives. Meaning is not authoritative and stable, but as fragmented, contradictory, and multifaceted as the readers that analyse the work. Post-structuralism also rejected the scientific scrutiny of structures and became interested in disparate philosophies that Michel Foucault later labelled ‘subjugated knowledges’.
These thinkers acknowledged that the assumptions of Western philosophy and culture as the norm had to be critiqued. This meant that when examining the underlying structures of culture you had to be aware of the prejudices and biases that you bring to this process. In order to understand an object, it is necessary to study both the object itself and the systems of knowledge that produce it. Post-structuralists sought to examine how knowledge is produced.
Yet, ironically many of these thinkers have now themselves become a kind of institution. According to the theorist Gavin Butt, deconstruction, post-structuralism and psychoanalysis have in fact become accepted within the Western Humanities as authoritative. In the last decades, this academic canon has been challenged in order for new forms of critical engagement to emerge. In this part, you will explore some of these possible modes of critical address undertaking more independent research in relation to the work of other artists and your own work.
For Assignment three you will be asked to create a work in the studio and reflect on the discussions covered in relation to it in 500 words. Remember to continue to think about how the artworks and ideas introduced here could feed into your Parallel Project and to update your glossary.
Post-structuralism emerged in France during the 1960s and payed a significant role in examine the power and voice of the arts. Theorists such as Barthes, Jacques Derrida, Michel Foucault, and Julia Kristeva, amongst others, began to be critical of their own structuralist project that studied the underlying structures inherent in cultural production. As you saw in part two, the concept of ‘self’ as a singular and coherent entity was challenged. It was argued that it was a construction that itself had to be examined, both as an author and reader. Subsequently, the meaning the author intends for the work is secondary to the meaning that the reader perceives. Meaning is not authoritative and stable, but as fragmented, contradictory, and multifaceted as the readers that analyse the work. Post-structuralism also rejected the scientific scrutiny of structures and became interested in disparate philosophies that Michel Foucault later labelled ‘subjugated knowledges’.
These thinkers acknowledged that the assumptions of Western philosophy and culture as the norm had to be critiqued. This meant that when examining the underlying structures of culture you had to be aware of the prejudices and biases that you bring to this process. In order to understand an object, it is necessary to study both the object itself and the systems of knowledge that produce it. Post-structuralists sought to examine how knowledge is produced.
Yet, ironically many of these thinkers have now themselves become a kind of institution. According to the theorist Gavin Butt, deconstruction, post-structuralism and psychoanalysis have in fact become accepted within the Western Humanities as authoritative. In the last decades, this academic canon has been challenged in order for new forms of critical engagement to emerge. In this part, you will explore some of these possible modes of critical address undertaking more independent research in relation to the work of other artists and your own work.
For Assignment three you will be asked to create a work in the studio and reflect on the discussions covered in relation to it in 500 words. Remember to continue to think about how the artworks and ideas introduced here could feed into your Parallel Project and to update your glossary.
Topic 1: Experience and authenticity
Identity
Much of the work emerging from the British Art scene of the 1980’s was preoccupied with issues around identity and the politics of identity and was influenced by cultural studies and in particular the writings of Stuart Hall, Homi Bhabha and Gayatri Chakravorty Spivak. Meanwhile, artists such as Jo Spence were making work that addressed issues of class, gender and inequality. Whilst much has changed since this time, the concern with identity seems to have re-emerged globally as culturally pertinent. The debates at the time around authenticity, appropriation and authority that Love raises in her essay ‘The Experience of Art as a Living through of language’ are equally relevant today.
Much of the work emerging from the British Art scene of the 1980’s was preoccupied with issues around identity and the politics of identity and was influenced by cultural studies and in particular the writings of Stuart Hall, Homi Bhabha and Gayatri Chakravorty Spivak. Meanwhile, artists such as Jo Spence were making work that addressed issues of class, gender and inequality. Whilst much has changed since this time, the concern with identity seems to have re-emerged globally as culturally pertinent. The debates at the time around authenticity, appropriation and authority that Love raises in her essay ‘The Experience of Art as a Living through of language’ are equally relevant today.
Reading point
Love, K. (2005) ‘The Experience of Art as a Living Through of Language’ In: Butt, G. (ed.) After Criticism, New Responses to Art and Performance. Oxford & New Malden: Blackwell Publishing. pp. 156-175 (provided in resources)
Notes from reading:
- The author writes about how we 'experience' art
- On the one hand they explore how the creator of the art may not have the 'authority' (or capability) to properly convey their experience.
- On the other hand the viewer of the art may not be able to 'experience' it as they lack the 'authority ' to understand it or experience it truthfully
- what makes an experience true is that you have gone through it
- only you can ever truly access your experience as it is unique to you, this means the audience will not 'experience' it in the same way, as they may not be able to have that experience (For example a man reading a woman's account of childbirth)
- art students are encouraged to 'find their own voice' and stick to their own experience. But there is the danger of the student not stepping out from this to experience something different
- questions arise on whether works that are too personal and related to the artist's life experience could still be considered art.
- as experience is too subjective, it may loose authority (but how will you know until it is shared?)
- if we take out experience we return to formalism
- there is a distinction to be made between the experience of art and the personal experience in art
- there is a distinction between knowing and understanding something.
- art has the potential language to convey experience, but there continues to be a subjectivity to this
Reflection
I can say from my own experience in learning art, that there can be a push in finding your identity as an artist and presenting this in your work. This can be challenging at times as people evolve and change and this may require changing your work. In terms of simply exploring notions of identity, I think there is great value in this and don't believe it only has to be about your own identity. If a work is about creating an awareness to a viewer or getting them to question their thinking for example, the creator themselves may not necessarily need to have experienced it first had. For example, if I want to create a series of photographs that represent the older population in a particular city to show how they are often forgotten and neglected, I would not myself have experienced it. I am not old or neglected myself. But I may be experiencing such an emotional response to seeing how they are treated, that I want to share that with others. A work like this will for example still touch on ideas of identity, as the creator and viewer will be faced with questioning their own position in society; why are these people neglected? where are there families? am I a part of this problem? is this my future?
Thinking about the example I have given above, I do believe that an artist can represent experience with a authority and still showing truth. If we go back to what we learned about mimesis, we know that it claims that art can only be a reproduction. So even if we are creating something from a personal experience it will become a replication, once it it viewed, it is replicated again. Now as when we make a copy of a copy of a copy, it can tend to loose its 'vibrancy'. So the 'experience' piece will always be second-hand. The more important question, is whether it matters if the experience is second-hand. If I put myself in the audience's position for a moment, watching a film, listening to a song or observing a sculpture, my experience will be a be second-hand in the sense that I will experience what the creator may have intended during the creation. However my experience can also be authentic, as I apply my own emotions, memory and reasoning to what I observe. Some conclusions that can be formed; art is subjective, art has to be experienced, art has the potential to convey truth (either from the creator's intent, or from the viewer's interpretation). It is worth noting that these claims are contingent on having a creator and a viewer with a reasonable sense for visual language (which I suppose is what Agamben was arguing about in his writings)
Notes from reading:
- The author writes about how we 'experience' art
- On the one hand they explore how the creator of the art may not have the 'authority' (or capability) to properly convey their experience.
- On the other hand the viewer of the art may not be able to 'experience' it as they lack the 'authority ' to understand it or experience it truthfully
- what makes an experience true is that you have gone through it
- only you can ever truly access your experience as it is unique to you, this means the audience will not 'experience' it in the same way, as they may not be able to have that experience (For example a man reading a woman's account of childbirth)
- art students are encouraged to 'find their own voice' and stick to their own experience. But there is the danger of the student not stepping out from this to experience something different
- questions arise on whether works that are too personal and related to the artist's life experience could still be considered art.
- as experience is too subjective, it may loose authority (but how will you know until it is shared?)
- if we take out experience we return to formalism
- there is a distinction to be made between the experience of art and the personal experience in art
- there is a distinction between knowing and understanding something.
- art has the potential language to convey experience, but there continues to be a subjectivity to this
Reflection
I can say from my own experience in learning art, that there can be a push in finding your identity as an artist and presenting this in your work. This can be challenging at times as people evolve and change and this may require changing your work. In terms of simply exploring notions of identity, I think there is great value in this and don't believe it only has to be about your own identity. If a work is about creating an awareness to a viewer or getting them to question their thinking for example, the creator themselves may not necessarily need to have experienced it first had. For example, if I want to create a series of photographs that represent the older population in a particular city to show how they are often forgotten and neglected, I would not myself have experienced it. I am not old or neglected myself. But I may be experiencing such an emotional response to seeing how they are treated, that I want to share that with others. A work like this will for example still touch on ideas of identity, as the creator and viewer will be faced with questioning their own position in society; why are these people neglected? where are there families? am I a part of this problem? is this my future?
Thinking about the example I have given above, I do believe that an artist can represent experience with a authority and still showing truth. If we go back to what we learned about mimesis, we know that it claims that art can only be a reproduction. So even if we are creating something from a personal experience it will become a replication, once it it viewed, it is replicated again. Now as when we make a copy of a copy of a copy, it can tend to loose its 'vibrancy'. So the 'experience' piece will always be second-hand. The more important question, is whether it matters if the experience is second-hand. If I put myself in the audience's position for a moment, watching a film, listening to a song or observing a sculpture, my experience will be a be second-hand in the sense that I will experience what the creator may have intended during the creation. However my experience can also be authentic, as I apply my own emotions, memory and reasoning to what I observe. Some conclusions that can be formed; art is subjective, art has to be experienced, art has the potential to convey truth (either from the creator's intent, or from the viewer's interpretation). It is worth noting that these claims are contingent on having a creator and a viewer with a reasonable sense for visual language (which I suppose is what Agamben was arguing about in his writings)
Exercise 3: Theory and practice
Thinking about Kate Love’s assertion that there exists a theory/practice binary operating in art schools, does theory relate to your studio practice in terms of influencing your ideas, processes or the way that you reflect on/develop the work you have made? Write a paragraph in your learning log describing your experience so far.
When I first started painting I simply jumped onto the canvas. I went out to get some oils and watercolours and went with my gut instinct. I thought some of the pieces were quite good, considering I had no training and was simply trying stuff out. When I started studying art and learning more about the history of movements and theoretical aspects involved it certainly changed the way I approached the work. Interestingly as your studies take you through the different eras and movements in art, I can always see how the information has impacted my work. While looking into Classical arts and search for idealism, I crated pieces with those characteristic. When learning about realism, especially in the still life genre, I tried to create images that are true to their appearance. In fact much of the work I produced in the start of my courses were limited by me being too stuck on representing exactly what I saw. Later as I moved in to the expressive art, modern art and conceptual art, there was a definite shift in how I approached work. Taking the lead from expressive or abstract artists, I became looser with my use of paints and my depictions of what I see. I certainly think that theory plays an important part in developing as an artist, as it often leads you to question your own work. It is form of reflection that allows you to question your practice and its purpose. For me, this is an ongoing process, as I am still learning and studying and that will likely always be the case, as it should be.
When I first started painting I simply jumped onto the canvas. I went out to get some oils and watercolours and went with my gut instinct. I thought some of the pieces were quite good, considering I had no training and was simply trying stuff out. When I started studying art and learning more about the history of movements and theoretical aspects involved it certainly changed the way I approached the work. Interestingly as your studies take you through the different eras and movements in art, I can always see how the information has impacted my work. While looking into Classical arts and search for idealism, I crated pieces with those characteristic. When learning about realism, especially in the still life genre, I tried to create images that are true to their appearance. In fact much of the work I produced in the start of my courses were limited by me being too stuck on representing exactly what I saw. Later as I moved in to the expressive art, modern art and conceptual art, there was a definite shift in how I approached work. Taking the lead from expressive or abstract artists, I became looser with my use of paints and my depictions of what I see. I certainly think that theory plays an important part in developing as an artist, as it often leads you to question your own work. It is form of reflection that allows you to question your practice and its purpose. For me, this is an ongoing process, as I am still learning and studying and that will likely always be the case, as it should be.
The authority of experience
If you say that you had a traumatic childhood experience which informs your work, what would it mean for the artwork and the viewer’s response to it? Is it possible to guarantee the truth of someone’s experience? If it can be guaranteed, does that mean that it is authoritative and must be taken as truth? Kate Love argues that there are a number of problems with the assumption that experience equates truth and subsequently cannot be questioned. Love begins with Giorgio Agamben’s book Infancy and History: Essays on the Destruction of Experience, in which he proposes that it is not possible to claim the truth of an experience in the modern age.
One of the problems Love identifies with conflating experience with truth is that it means that if you have not ‘experienced’ something you are unable to make work about it or to say anything valid about it. Additionally, in particular, if the subject is considered ‘marginal’ that is, from a minority group, there is a risk of fixing or reifying this experience as something ‘different’ and ‘other’.
If you say that you had a traumatic childhood experience which informs your work, what would it mean for the artwork and the viewer’s response to it? Is it possible to guarantee the truth of someone’s experience? If it can be guaranteed, does that mean that it is authoritative and must be taken as truth? Kate Love argues that there are a number of problems with the assumption that experience equates truth and subsequently cannot be questioned. Love begins with Giorgio Agamben’s book Infancy and History: Essays on the Destruction of Experience, in which he proposes that it is not possible to claim the truth of an experience in the modern age.
One of the problems Love identifies with conflating experience with truth is that it means that if you have not ‘experienced’ something you are unable to make work about it or to say anything valid about it. Additionally, in particular, if the subject is considered ‘marginal’ that is, from a minority group, there is a risk of fixing or reifying this experience as something ‘different’ and ‘other’.
Research Point 1
Research the following works: Richard Mosse, Incoming, 2017 and Helen Cammock, Changing Room, 2015. Describe the two works and compare them in terms of what you think their strengths and shortcomings are. Does everyone have the same right to tell a story and to respond to it? Are some voices more or less valid and for whom? Record your analysis in your learning log.
Cammock, H (2017) ‘Changing Room’ In: Youtube.com 05.01.17 [online] At:
https://www.youtube.com/channel/UCDmNiRDSOdwYSQ7HZo3MX8w (Accessed on 07.06.18)
Cammock, H (2017) ‘Changing Room’ In: Youtube.com 05.01.17 [online] At:
https://www.youtube.com/channel/UCDmNiRDSOdwYSQ7HZo3MX8w (Accessed on 07.06.18)
Richard Mosse
He is an Irish conceptual photographer who especially documents the destruction of war. He manipulates his camera to create a type of surreal impression that evokes a psychological and immersive experience (Artnet, 2020). His film, Incoming (2016) is a documentary that shows the effect of the current refugee crisis in Europe and charts the difficulties they face in their journey. In order to film it he used a military grade camera which picks up heat, as opposed to light and shows the starkness of the situation in monochrome (Moss, 2017).
He is an Irish conceptual photographer who especially documents the destruction of war. He manipulates his camera to create a type of surreal impression that evokes a psychological and immersive experience (Artnet, 2020). His film, Incoming (2016) is a documentary that shows the effect of the current refugee crisis in Europe and charts the difficulties they face in their journey. In order to film it he used a military grade camera which picks up heat, as opposed to light and shows the starkness of the situation in monochrome (Moss, 2017).
As the camera detects heat, it creates a powerful metaphor about the refugees situation. Many of the face harsh weather conditions and often die of hypothermia during their journey and the thermal camera depicts the importance of heat. There is also additional irony, as the camera used is a military grade piece of equipment often used to patrol borders. The stark black and white contrast does not reveal the exact identity of the refugees, but rather presents them in a way that appears ghostly. There is this conflict between the images being intimate or invasive. Many of the shots are quite close as Mosse wants the audience to understand how taxing and emotional this situation is, and he states, "I hope the audience will feel an uneasy sense of complicity ... I believe artists have an important role in society to speak about things that the rest of us have difficulty confronting and to confront the viewer in ways that unsettle the audience (Moss, 2017)
Though I have not been able to see the full instillation myself, I watched the artist talking about his experience in filming it. He talks about one night when they witness a boat breaking apart and the refugees falling in the water. He talks about how rescuers were scrambling to help them and get heat back into their bodies, as he speaks, you see the images of rescuers rubbing their hands over the blankets. Mosse notes how the use of the thermal camera allows you to see the hand prints on the blankets. At this moment in the film, I started to cry as I considered the severity of the situation and the importance of human touch in providing comfort (and heat). Now I can only speak for myself, but this to me proves that the artist was able to evoke a real empathy from me on the situation. I have not ever needed to escape a situation so badly that I would risk my life for it, or experienced hypothermia, but for that moment in the film and had a great sense of heavy and real that would be and Mosse played a crucial role in creating that experience through his choice of equipment, his composition of shots and his and his willingness to observe document such a difficult subject. Considering his intent on creating a feeling of unease with the audience, I believe this has been met considering my own experience. The piece is somber, haunting and provides you with a great sense of regret for being part of a society would not more eagerly step up to help their fellow man. In my opinion there are no shortcomings.
Though I have not been able to see the full instillation myself, I watched the artist talking about his experience in filming it. He talks about one night when they witness a boat breaking apart and the refugees falling in the water. He talks about how rescuers were scrambling to help them and get heat back into their bodies, as he speaks, you see the images of rescuers rubbing their hands over the blankets. Mosse notes how the use of the thermal camera allows you to see the hand prints on the blankets. At this moment in the film, I started to cry as I considered the severity of the situation and the importance of human touch in providing comfort (and heat). Now I can only speak for myself, but this to me proves that the artist was able to evoke a real empathy from me on the situation. I have not ever needed to escape a situation so badly that I would risk my life for it, or experienced hypothermia, but for that moment in the film and had a great sense of heavy and real that would be and Mosse played a crucial role in creating that experience through his choice of equipment, his composition of shots and his and his willingness to observe document such a difficult subject. Considering his intent on creating a feeling of unease with the audience, I believe this has been met considering my own experience. The piece is somber, haunting and provides you with a great sense of regret for being part of a society would not more eagerly step up to help their fellow man. In my opinion there are no shortcomings.
Helen Cammock
She is a multi-media British artist who combines photography, instillation, film and poetry. She is especially interested in the relationship between aural and visual perception (TATE Film, 2015). She takes inspiration from current events and social issues around her, especially the relationship between her Jamaican father and British mother. Thematically her work explores how relationships emerge from the smallest and most intimate of details (Fite-Wassilak, 2018). When writing the aural pieces that often accompanies her work, she does a great deal of research, especially looking into history and stories that have been silenced, like the works of Baldwin, Maya Angelou, Walter Benjamin, Frantz Fanon and Jamaica Kincaid (Guner, 2017).
In Changin Room (2017) she combines words with video. The words spoken are like a type of free form poem that is combined with generally static images. The camera does move or pans slight over scene, but transitions are slow and action within the frames are limited. As the artists combines text from different sources, the connection between what is said is not always clear. The first section talks about the Okapi and then work progresses to her memories (I assume of her father as she talks about teaching and ceramics). The Okapi is likely symbolic as it looks like a combination of animals, as she represent a combination of cultures. She then continues to start talking about remembering prejudice behavior from people in society, especially towards people of colour. Much of it continues to share examples of how they are treated, especially how society rejects or looks down on them, despite their high moral values and attributions to society. There are parts that reflect on what it means to be an artist and other anecdotes that just seem like personal anecdotes or reflections on her thoughts of loss. She makes specific points on how art has become about objects and not always related to life. The visuals do not necessarily seem related to what is being said, as they mostly show sculptural objects. Though I suppose, once you get closer to the end of the aural piece, you realize the connection to art being only about objects and the representation of form. This choice also likely a connection to her father being an art teacher and ceramic maker.
As her work endevours to explore intimacy and reflection on relational behaviour, I think the written piece brings up those points well. As the piece is meant to be viewed and listened to though, I would say that the actual reading of the text is one tonal and becomes bland rather quickly. This also applies to choice of visuals. The particular filming technique feel a little 'Ken Burns' and does not really add much context to what you are hearing. Perhaps this was the artist's intention, though I am not sure, I was not able to find this information. The weakness of the piece lies in the length and tone of the aural parts and how it combines with the visual. As an experiment in how these work together, you could find some success, but as a final piece I consider it rather boring (this is only my opinion, as the work does not appeal to me).
Comparing the two pieces it is interesting to note how Moss' piece uses few words and yet evokes a great deal of experience, while Cammock's piece uses a great deal of works with lack-luster experience. It feels like Cammock's piece is doing more to challenge the theory of art, while Moss' piece is creating art. Both of these artists used composition and choice of visuals/ tools as a means of creating symbolism or metaphors, which I find interesting and is useful in challenging and provoking the viewer.
She is a multi-media British artist who combines photography, instillation, film and poetry. She is especially interested in the relationship between aural and visual perception (TATE Film, 2015). She takes inspiration from current events and social issues around her, especially the relationship between her Jamaican father and British mother. Thematically her work explores how relationships emerge from the smallest and most intimate of details (Fite-Wassilak, 2018). When writing the aural pieces that often accompanies her work, she does a great deal of research, especially looking into history and stories that have been silenced, like the works of Baldwin, Maya Angelou, Walter Benjamin, Frantz Fanon and Jamaica Kincaid (Guner, 2017).
In Changin Room (2017) she combines words with video. The words spoken are like a type of free form poem that is combined with generally static images. The camera does move or pans slight over scene, but transitions are slow and action within the frames are limited. As the artists combines text from different sources, the connection between what is said is not always clear. The first section talks about the Okapi and then work progresses to her memories (I assume of her father as she talks about teaching and ceramics). The Okapi is likely symbolic as it looks like a combination of animals, as she represent a combination of cultures. She then continues to start talking about remembering prejudice behavior from people in society, especially towards people of colour. Much of it continues to share examples of how they are treated, especially how society rejects or looks down on them, despite their high moral values and attributions to society. There are parts that reflect on what it means to be an artist and other anecdotes that just seem like personal anecdotes or reflections on her thoughts of loss. She makes specific points on how art has become about objects and not always related to life. The visuals do not necessarily seem related to what is being said, as they mostly show sculptural objects. Though I suppose, once you get closer to the end of the aural piece, you realize the connection to art being only about objects and the representation of form. This choice also likely a connection to her father being an art teacher and ceramic maker.
As her work endevours to explore intimacy and reflection on relational behaviour, I think the written piece brings up those points well. As the piece is meant to be viewed and listened to though, I would say that the actual reading of the text is one tonal and becomes bland rather quickly. This also applies to choice of visuals. The particular filming technique feel a little 'Ken Burns' and does not really add much context to what you are hearing. Perhaps this was the artist's intention, though I am not sure, I was not able to find this information. The weakness of the piece lies in the length and tone of the aural parts and how it combines with the visual. As an experiment in how these work together, you could find some success, but as a final piece I consider it rather boring (this is only my opinion, as the work does not appeal to me).
Comparing the two pieces it is interesting to note how Moss' piece uses few words and yet evokes a great deal of experience, while Cammock's piece uses a great deal of works with lack-luster experience. It feels like Cammock's piece is doing more to challenge the theory of art, while Moss' piece is creating art. Both of these artists used composition and choice of visuals/ tools as a means of creating symbolism or metaphors, which I find interesting and is useful in challenging and provoking the viewer.
Works Cited
Artnet (2020) Ricahrd Moss. [online] At: http://www.artnet.com/artists/richard-mosse/ (Accessed on 0 February 2020)
Fite-Wassilak, C. (2018) A New Voice: Helen Cammock. [online] At: https://frieze.com/article/new-voice-helen-cammock-wins-2018-max-mara-prize-women (Accessed on 10 February 2020)
Guner F. (2017) A Q&A with… Helen Cammock, artist shortlisted for Max Mara Art Prize for Women. [online] At: https://www.a-n.co.uk/news/qa-helen-cammock-artist-shortlisted-max-mara-art-prize-women/ (Accessed on 10 February 2020)
Mosse, R. (2017) Barbican Meets: Richard Moss. [online] At: https://www.barbican.org.uk/read-watch-listen/barbican-meets-richard-mosse (Accessed on 0 February 2020)
Mosse, R. (2017) NGV Triennial | Richard Mosse [online] https://www.youtube.com/watch?v=6QOyFAqs_rM (Accessed on 0 February 2020)
TATE Film (2015) HELEN CAMMOCK: BLACK AUDIO FILM COLLECTIVE ANDREA ARNOLD [online] At: https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=17&cad=rja&uact=8&ved=2ahUKEwjbyK6gxcbnAhVtJaYKHRnrCLwQFjAQegQICBAB&url=https%3A%2F%2Fwww.tate.org.uk%2Ffile%2Fhelen-cammock-black-audio-film-collective-andrea-arnold-programme-notes&usg=AOvVaw3vSVPZ-npNEkh1AleYjUSD (Accessed on 10 February 2020)
Artnet (2020) Ricahrd Moss. [online] At: http://www.artnet.com/artists/richard-mosse/ (Accessed on 0 February 2020)
Fite-Wassilak, C. (2018) A New Voice: Helen Cammock. [online] At: https://frieze.com/article/new-voice-helen-cammock-wins-2018-max-mara-prize-women (Accessed on 10 February 2020)
Guner F. (2017) A Q&A with… Helen Cammock, artist shortlisted for Max Mara Art Prize for Women. [online] At: https://www.a-n.co.uk/news/qa-helen-cammock-artist-shortlisted-max-mara-art-prize-women/ (Accessed on 10 February 2020)
Mosse, R. (2017) Barbican Meets: Richard Moss. [online] At: https://www.barbican.org.uk/read-watch-listen/barbican-meets-richard-mosse (Accessed on 0 February 2020)
Mosse, R. (2017) NGV Triennial | Richard Mosse [online] https://www.youtube.com/watch?v=6QOyFAqs_rM (Accessed on 0 February 2020)
TATE Film (2015) HELEN CAMMOCK: BLACK AUDIO FILM COLLECTIVE ANDREA ARNOLD [online] At: https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=17&cad=rja&uact=8&ved=2ahUKEwjbyK6gxcbnAhVtJaYKHRnrCLwQFjAQegQICBAB&url=https%3A%2F%2Fwww.tate.org.uk%2Ffile%2Fhelen-cammock-black-audio-film-collective-andrea-arnold-programme-notes&usg=AOvVaw3vSVPZ-npNEkh1AleYjUSD (Accessed on 10 February 2020)
The mediation of experience
Another problem Love identifies with the idea that experience cannot be questioned or challenged is that it assumes that experience is direct, undiluted, and pure rather than something mediated and interpreted by its owner. If there is an interface as Love implies, does this mean that our experience might be constructed and isn’t spewed out into an artwork without significant thought, struggle and possibly a degree of invention? A further problem Love identifies is that there are often judgements made about work that appears as too ‘personal’ as associated with women, whereas men are assumed to make more ‘intellectual’ work. Experience can be looked down upon as something too close to its owner and therefore not allowing for any critical distance.
Another problem Love identifies with the idea that experience cannot be questioned or challenged is that it assumes that experience is direct, undiluted, and pure rather than something mediated and interpreted by its owner. If there is an interface as Love implies, does this mean that our experience might be constructed and isn’t spewed out into an artwork without significant thought, struggle and possibly a degree of invention? A further problem Love identifies is that there are often judgements made about work that appears as too ‘personal’ as associated with women, whereas men are assumed to make more ‘intellectual’ work. Experience can be looked down upon as something too close to its owner and therefore not allowing for any critical distance.
research point 2
Research Ricarda Denzer, About The House / Silence Turned Into Objects, 2013 using the link below and other sources. Record your thoughts in your learning log.
About The House / Silence Turned Into Objects, 2013
This is an exhibition and book project by Ricarda Denzer which is based on the life and work of the British-American writer Wystan Hugh Auden (1907–1973) which is set in his home in Kirchstetten. Auden was a great poet and he wrote a 12 part cycle of poems about each room in his house, which is where Denzer has taken her inspiration from. She invited 12 artists to create installations in the home as well as displays from Auden's own archives. The exhibition is meant to incorporate the elements of voice, text, speech, listening and visuals, especially how sound combines with visuals in a space of social significance. It also explores the interrelationship between what is outside and what is inside. In other words, how Auden was viewed publically, and what life was like privately and in this way also explores the relationship of the artist with his readers. Denzer considers this exhibition an artistic and philosophical amalgamation (Denzer, 2013).
Reflection
I think that an argument can be made for all work carrying some biographical (personal) nature, as every artist approaches a piece or collection from their own perspective. There will always be some element, no matter how small, of yourself in the work. Thinking about it this way makes it harder to distinguish whether biographical or overly personal artworks are still of critical value. Some of the bigger questions we are really exploring here is again; what is art? what is meant by experiencing art? Considering the exhibition About the House you may want to place it more into the category of a museum display rather than a piece of art, as it archives the life of this poet and shows you how he lived. Certain artistic principles and philosophies have been implemented into curating the exhibition which will allow the audience to have a greater experience and connection to Auden and what he meant to the town. Now when we start to consider this experience, we start to move more into the realm of art, as every chosen piece of documentation, spoken word or visual cue becomes integral in evoking an experience. These choices were certainly made by Denzer through careful research and thoughtful analysis. That does not necessarily guarantee that a viewer will experience what Denzer intended or anything for that matter. But should this be the determine factor of whether something is art or of value? Surely not, I believe it is the fact that each viewer has a unique experience that enhances the value, as it gives the piece a life of its own.The world is obsessed with compartmentalizing, and so subjects need to be specifically defined and fit within certain parameters. Yet it seems, that the parameters for art are difficult to establish.
About The House / Silence Turned Into Objects, 2013
This is an exhibition and book project by Ricarda Denzer which is based on the life and work of the British-American writer Wystan Hugh Auden (1907–1973) which is set in his home in Kirchstetten. Auden was a great poet and he wrote a 12 part cycle of poems about each room in his house, which is where Denzer has taken her inspiration from. She invited 12 artists to create installations in the home as well as displays from Auden's own archives. The exhibition is meant to incorporate the elements of voice, text, speech, listening and visuals, especially how sound combines with visuals in a space of social significance. It also explores the interrelationship between what is outside and what is inside. In other words, how Auden was viewed publically, and what life was like privately and in this way also explores the relationship of the artist with his readers. Denzer considers this exhibition an artistic and philosophical amalgamation (Denzer, 2013).
Reflection
I think that an argument can be made for all work carrying some biographical (personal) nature, as every artist approaches a piece or collection from their own perspective. There will always be some element, no matter how small, of yourself in the work. Thinking about it this way makes it harder to distinguish whether biographical or overly personal artworks are still of critical value. Some of the bigger questions we are really exploring here is again; what is art? what is meant by experiencing art? Considering the exhibition About the House you may want to place it more into the category of a museum display rather than a piece of art, as it archives the life of this poet and shows you how he lived. Certain artistic principles and philosophies have been implemented into curating the exhibition which will allow the audience to have a greater experience and connection to Auden and what he meant to the town. Now when we start to consider this experience, we start to move more into the realm of art, as every chosen piece of documentation, spoken word or visual cue becomes integral in evoking an experience. These choices were certainly made by Denzer through careful research and thoughtful analysis. That does not necessarily guarantee that a viewer will experience what Denzer intended or anything for that matter. But should this be the determine factor of whether something is art or of value? Surely not, I believe it is the fact that each viewer has a unique experience that enhances the value, as it gives the piece a life of its own.The world is obsessed with compartmentalizing, and so subjects need to be specifically defined and fit within certain parameters. Yet it seems, that the parameters for art are difficult to establish.
Works Cited
Denzer, R. (2013) About The House / Silence Turned Into Objects. [online] At:
http://ricardadenzer.net/About-The-House-Silence-Turned-Into-Objects-2013 (Accessed on 11 February 2020)
Denzer, R. (2013) About The House / Silence Turned Into Objects. [online] At:
http://ricardadenzer.net/About-The-House-Silence-Turned-Into-Objects-2013 (Accessed on 11 February 2020)
Exercise 3.1: Authenticity and audience
Research online the 2017 exhibition ‘Chapel’ by Kenyan born British artist Michael Armitage at the South London gallery and listen to the interview with Sandhini Poddar. Consider Armitage’s background, education, career as an artist and reflect on the issues around authenticity and appropriation that you have been examining. Do you see any contradictions or problems that his painting might raise? Based on your online research, write your own review of the exhibition, in relation to this in your learning log.
Michael Armitage
He was born and Kenya, but studied art in England where he mostly works now, although he divides his time between the two as much of his inspiration for his work comes from stories rooted in Kenyan culture. Artistically he also takes much of his inspiration from Gauguin, Titian, Goya and Picasso, especially as he explores themes of violence and exaggerated emotions (Douglas, 2018).
Chapel (2017) Review
*Disclaimer: I did not visit this exhibition personally, these are my observations based on how the show has been documented by others.
Michael Armitage
He was born and Kenya, but studied art in England where he mostly works now, although he divides his time between the two as much of his inspiration for his work comes from stories rooted in Kenyan culture. Artistically he also takes much of his inspiration from Gauguin, Titian, Goya and Picasso, especially as he explores themes of violence and exaggerated emotions (Douglas, 2018).
Chapel (2017) Review
*Disclaimer: I did not visit this exhibition personally, these are my observations based on how the show has been documented by others.
The exhibition was held at the South London gallery, which is a large white space with high ceilings which makes it feel like a space of quiet contemplation. It is this impression of the space along with Armitage's religious and cultural background that lead to the name Chapel. Kenyan born Armitage takes a great interest in his cultural heritage, particularly religious ceremonies and traditions. He combines this with Christian imagery to create vivid and symbolic narratives. As the walls of the space are grandiose, the eight paintings also needed to be. Armitage manages this not only through the size of the canvas, but also through striking combinations of colour and subject matter. The canvas itself is culturally significant as it is Ugandan lubugo bark cloth, which according to UNESCO is mainly worn at coronation and healing ceremonies, funerals and cultural gatherings, as well as other conventional uses. As the cloth reacts differently to linen when stretched, it has allowed for unique textures and markings, adding to the symbolism of the often grotesque subject matter. Armitage manages to create an intense juxtaposition between a calm dream-like state and an unsettling violent nightmare, taking inspiration from Titian and Gaguin. This is especially evident in The Flaying of Marsyas (2017), a Greek myth which was also depicted by Titian. Armitage has brought the imagary back to a more contemporary time set in Kenyan traditions. The figure tied to the tree is being tormented which highlights the injustice in East Africa. The connection he makes to East and West through the choice of the title also adresses the hypocrisy of the West being more civilized (South London Gallery, 2017). Each piece carries a collage of significant elements which draws the viewer into the narrative. The serpentine like lines are like a guide that pulls your view to the next part of the story.
Works Cited
Douglas, C. (2018) Michael Armitage: The Chapel at South London Gallery. [online] At: http://www.contemporaryartsociety.org/news/friday-dispatch-news/michael-armitage-chapel-south-london-gallery/ (Accessed on 12 February 2020)
South London Gallery (2017) Michael Armitage: The Chapel, Guide [online] At: https://www.southlondongallery.org/wp-content/uploads/2017/10/SLG_Armitage_printed-guide_v08_nocrop.pdf (Accessed on 13 February 2020)
UNESCO (2020) Barkcloth making in Uganda. [online] At: https://ich.unesco.org/en/RL/barkcloth-making-in-uganda-00139 (Accessed on 13 February 2020)
Douglas, C. (2018) Michael Armitage: The Chapel at South London Gallery. [online] At: http://www.contemporaryartsociety.org/news/friday-dispatch-news/michael-armitage-chapel-south-london-gallery/ (Accessed on 12 February 2020)
South London Gallery (2017) Michael Armitage: The Chapel, Guide [online] At: https://www.southlondongallery.org/wp-content/uploads/2017/10/SLG_Armitage_printed-guide_v08_nocrop.pdf (Accessed on 13 February 2020)
UNESCO (2020) Barkcloth making in Uganda. [online] At: https://ich.unesco.org/en/RL/barkcloth-making-in-uganda-00139 (Accessed on 13 February 2020)
Reflection on Appropriation
If you consider the theory of mimesis, then all art is a copy. Sure, some artists make use of exact imagery at times and those can be up for discussion at another time, but in this case, I would still consider the pieces as works in their own right. The appropriation of composition/ names or subject matter is actually what adds significantly to the context of the work. It also provides a valuable reflection of the contrast between cultural and social interaction.
If you consider the theory of mimesis, then all art is a copy. Sure, some artists make use of exact imagery at times and those can be up for discussion at another time, but in this case, I would still consider the pieces as works in their own right. The appropriation of composition/ names or subject matter is actually what adds significantly to the context of the work. It also provides a valuable reflection of the contrast between cultural and social interaction.
The universal subject
In fact, Love goes further and proposes that an experience does not happen to you and then you put it into words, but that it is always already in language. This would mean that you are already formulating what you think and feel in the moment that something is happening to you. Love proposes that the reason Agamben believes that the authority of experience is lost in modern life, is because he is, ‘...anticipating an authority which would constitute your experience as neutral, disinterested, impartial – a relation to the world which could make your trajectory through life feel more real, elevated, enduring, strong, certain...this is what he feels has been lost.’ (Love, 2005:163)
In UVC 1 you explored the theory of Modernism put forward by the Art historian and critic Clement Greenberg. He argued for the innocence of the eye, that is an optical appreciation of art, separate from language, politics, or anything else external”. In contrast to this disinterested, disembodied, neutral subject that Greenberg insisted on, Love continues the poststructuralist project and posits that such a universal authority cannot exist and therefore to try to guarantee the truth or certainty of experience is contradictory. The conventional understanding of experience, therefore, needs to be reconsidered.
In fact, Love goes further and proposes that an experience does not happen to you and then you put it into words, but that it is always already in language. This would mean that you are already formulating what you think and feel in the moment that something is happening to you. Love proposes that the reason Agamben believes that the authority of experience is lost in modern life, is because he is, ‘...anticipating an authority which would constitute your experience as neutral, disinterested, impartial – a relation to the world which could make your trajectory through life feel more real, elevated, enduring, strong, certain...this is what he feels has been lost.’ (Love, 2005:163)
In UVC 1 you explored the theory of Modernism put forward by the Art historian and critic Clement Greenberg. He argued for the innocence of the eye, that is an optical appreciation of art, separate from language, politics, or anything else external”. In contrast to this disinterested, disembodied, neutral subject that Greenberg insisted on, Love continues the poststructuralist project and posits that such a universal authority cannot exist and therefore to try to guarantee the truth or certainty of experience is contradictory. The conventional understanding of experience, therefore, needs to be reconsidered.
Exercise 3.2: Universal versus specific
Do you think that experience can be universal, that underneath the differences of gender, class, ethnicity we are all the same? Or, is the ‘universal’ only ever able to represent the values of those that have power? Discuss this with another student and record the conversation in your learning log. You can connect with other students through the OCA forums, or through using the map of student locations on the OCA website to make contact with a student in your region. You can also discuss with a friend, family member or colleague.
Conversation with a family member (FM)
Me: Do you think that experience can be universal, that underneath the differences of gender, class, ethnicity we are all the same?
FM: Probably not - no two people are the same - there are too many variables, people have different backgrounds and therefore perceive (hear, see feel) things differently.
Me: It think we could have a type of universal experience if you allow for the word 'experience' to be a variable.
FM: Do you mean that goal is for everyone to experience something, but the experience is allowed to be unique?
Me: Yes, universally, we can agree that every humans experiences a range of emotions, but which emotion and to what degree it is experienced can still be different.
FM: Sure, if you consider Maslow's hierachy of needs, we could agree that the physiological need to feel safe and fed is universal. So the concept of feeling safe is a universal concept, but the individual's experience of what 'safe' looks like, is different.
Me: Exactly! We can agree that conceptually, there are certain universal truths, it is simply that our interpretation and action toward that truth will be unique, as we are.
FM: So what does that mean when looking at art?
Me: Well, it means that if I paint a bowl of fruit, one person may look at it and think, "delicious", another "that means prosperity", another "the movement of the brush here implies a sense of hunger from the artist". Though each individual is having a different reaction, it none the less would still be considered an experience.
FM: And I suppose, even if someone looking at a piece of art claims to have no experience, you could argue that indifference is still a choice and therefore an experience.
Me: The weird thing to me about society is this constant need for everything to conform to one idea or fit in a specific box. Why should it matter if we experience things differently?
FM: I suppose society thinks that when more people can agree on an experience it carries more truth or value.
Me: Yeah, maybe. For myself, and my art, I would just hope that people look at it, think about it, 'experience' it ... whatever that looks like for them. (I realize this is easier said than done, because you will always hope that someone experienced it for what you meant it to be)
FM: Maybe the only really universal truth is: Agree to disagree :)
Me: Yeah, or agree that we are all unique.
Conversation with a family member (FM)
Me: Do you think that experience can be universal, that underneath the differences of gender, class, ethnicity we are all the same?
FM: Probably not - no two people are the same - there are too many variables, people have different backgrounds and therefore perceive (hear, see feel) things differently.
Me: It think we could have a type of universal experience if you allow for the word 'experience' to be a variable.
FM: Do you mean that goal is for everyone to experience something, but the experience is allowed to be unique?
Me: Yes, universally, we can agree that every humans experiences a range of emotions, but which emotion and to what degree it is experienced can still be different.
FM: Sure, if you consider Maslow's hierachy of needs, we could agree that the physiological need to feel safe and fed is universal. So the concept of feeling safe is a universal concept, but the individual's experience of what 'safe' looks like, is different.
Me: Exactly! We can agree that conceptually, there are certain universal truths, it is simply that our interpretation and action toward that truth will be unique, as we are.
FM: So what does that mean when looking at art?
Me: Well, it means that if I paint a bowl of fruit, one person may look at it and think, "delicious", another "that means prosperity", another "the movement of the brush here implies a sense of hunger from the artist". Though each individual is having a different reaction, it none the less would still be considered an experience.
FM: And I suppose, even if someone looking at a piece of art claims to have no experience, you could argue that indifference is still a choice and therefore an experience.
Me: The weird thing to me about society is this constant need for everything to conform to one idea or fit in a specific box. Why should it matter if we experience things differently?
FM: I suppose society thinks that when more people can agree on an experience it carries more truth or value.
Me: Yeah, maybe. For myself, and my art, I would just hope that people look at it, think about it, 'experience' it ... whatever that looks like for them. (I realize this is easier said than done, because you will always hope that someone experienced it for what you meant it to be)
FM: Maybe the only really universal truth is: Agree to disagree :)
Me: Yeah, or agree that we are all unique.
Exercise 3.3: Finding your voice
Are there other ways to find your ‘voice’ in your work other than drawing from personal identity? Can it be found for example through process, technical skill, or specialism? Reflect in your learning log on your studio work to date and think what you would consider being your voice in the work.
Reflecting on my work
When I began my studies, I was mostly focused on building up my skills. The Painting 1 course is also set up in a way that it encourages you to look into different topical matters and especially the way in which paint behaves. Much of my work in the beginning was focused on getting my eye more focused in observing what I see. My favorite module was exploring figures and I soon realized that I have a great interest in the female form and its sensuality. In the pieces I created then, I really tried to explore femininity, which you can see in the pieces below.
When I began my studies, I was mostly focused on building up my skills. The Painting 1 course is also set up in a way that it encourages you to look into different topical matters and especially the way in which paint behaves. Much of my work in the beginning was focused on getting my eye more focused in observing what I see. My favorite module was exploring figures and I soon realized that I have a great interest in the female form and its sensuality. In the pieces I created then, I really tried to explore femininity, which you can see in the pieces below.
Later in the course I started experimenting with palette knives and at that point it was all about texture for me. I found the creating urban landscapes worked well for knife work due to the linear perspectives created. In these works you can also start seeing that I begin to break away from realism and explore a more abstract and expressionistic approach.
During Painting 2 there were once again exercises that encouraged me to explore different methods. I have often painted with a dripping technique when using watercolour and wanted to see what that would look like if done with oils. Though I enjoyed my stint of painting urban landscapes, the humanist in my was still fascinated with faces and figures. The two faces below show a comparison of the dripping technique in watercolour and oil.
As you can see I also enjoy playing with texture and energy. I like the idea of it feeling like the painting is alive or has its own energy. I continued to explore different methods in how to show this, which you can see below. I also began expanding my figural work to males.
So as you can see, my work is firstly driven by techniques and exploring what paint can do. But this goes close in hand with my choice of topical matter. I like exploring people and emotions and I try to find ways of conveying that through my techniques, especially the brush work and choice of colours. The Painting 1 and History 1 course have helped me to be more attentive on what my work might be saying. Some of my final pieces in Painting 2 have developed a bit more past technique and tries to also convey a message, in particular the exploration of masculine and feminine, albeit subtle. (I have not included any of the pieces here yet, as they are still being assessed). As such, I can definitely see how my research into specific art movements or artists have helped me develop a focus and how to recognize the impact of my surroundings and socio-cultural experiences.
Exercise 3.4: Thinking through the structure for the Parallel Project
In Part Two you began to think about the Parallel Project and areas of your practice that you would like to develop further. Take a similar approach to that in Part One: Visual Mapping and spend some time mapping out initial ideas using your experience of the previous exercises to help you think about possibilities for a self-directed project.
To begin, identify at least 3 possible routes that this project could take. Think about what you might do rather than what you think you will create; remember you are mapping out possibilities, not outcomes. Consider how you will carry out both visual and material research; what materials, equipment, methods and sources will you use and how will you access these? Identify any possible contextual reference points, artist’s work and exhibitions that could feed into this process. If you can, visit relevant exhibitions, performances and/or events. You will need to document your process and reflections thoroughly; consider which methods will best support your developing practice. Now put your plans away, continue working on the coursework and return to them after a couple of weeks.
Topic: The media and sexual imagery
When I say media, I am specifically talking about advertising; online, magazines, TV etc. There has always been controversy about the use of sex, nudity or gender stereotyping in the media, and it still continues. Advertisers in particular have received much backlash when using sexual imagery as it is deemed degrading, particularly by feminist camps. That being said, I find it interesting how artists can get away with creating similar imagery that seems to be less offensive as it is in the name of art. The idea behind my parallel project is to explore the response of audience members to sexualized images in art to that of the media.
Areas of research:
Some contextual research on the history of nudity/ sex in art
Research artists who have explored similar themes like Cindy Sherman and Bill Brandt in photography.
Research painters like Tracey Emin, John Currin and Jenny Saville
Potential to collect feedback from viewers as primary research
Potential creations:
Photographs with objects
Sketches (could experiment with charcoal/ pencil/ pen_
Painting reproductions of media ads ( compare whether the painted version of the image makes it more acceptable) - watercolour or oils
To begin, identify at least 3 possible routes that this project could take. Think about what you might do rather than what you think you will create; remember you are mapping out possibilities, not outcomes. Consider how you will carry out both visual and material research; what materials, equipment, methods and sources will you use and how will you access these? Identify any possible contextual reference points, artist’s work and exhibitions that could feed into this process. If you can, visit relevant exhibitions, performances and/or events. You will need to document your process and reflections thoroughly; consider which methods will best support your developing practice. Now put your plans away, continue working on the coursework and return to them after a couple of weeks.
Topic: The media and sexual imagery
When I say media, I am specifically talking about advertising; online, magazines, TV etc. There has always been controversy about the use of sex, nudity or gender stereotyping in the media, and it still continues. Advertisers in particular have received much backlash when using sexual imagery as it is deemed degrading, particularly by feminist camps. That being said, I find it interesting how artists can get away with creating similar imagery that seems to be less offensive as it is in the name of art. The idea behind my parallel project is to explore the response of audience members to sexualized images in art to that of the media.
Areas of research:
Some contextual research on the history of nudity/ sex in art
Research artists who have explored similar themes like Cindy Sherman and Bill Brandt in photography.
Research painters like Tracey Emin, John Currin and Jenny Saville
Potential to collect feedback from viewers as primary research
Potential creations:
Photographs with objects
Sketches (could experiment with charcoal/ pencil/ pen_
Painting reproductions of media ads ( compare whether the painted version of the image makes it more acceptable) - watercolour or oils
Reflection
On returning to your plans/maps what stands out? Has anything come to mind over the past two weeks that you would like to add? Have any relevant exhibitions, performances and/or events come to your attention? Do any of your ideas relate in some way; are they in fact parts of the same project? Perhaps there are ideas that seem less strong now? Review and edit your plan.
As you work through Part Three repeat this process at least a couple of times, allowing new experiences and approaches to feed into your thinking. When you receive feedback on the Project Three Assignment speak to your tutor about the Parallel Project maps you have made. Inform him/her of your ideas and progress and discuss any questions you have at this stage. As you work through the course you will continue to receive prompts to help you develop the Parallel Project, however, avoid relying on these to propel you into action, it’s important that the project runs alongside your other work – in parallel to it.
On returning to your plans/maps what stands out? Has anything come to mind over the past two weeks that you would like to add? Have any relevant exhibitions, performances and/or events come to your attention? Do any of your ideas relate in some way; are they in fact parts of the same project? Perhaps there are ideas that seem less strong now? Review and edit your plan.
As you work through Part Three repeat this process at least a couple of times, allowing new experiences and approaches to feed into your thinking. When you receive feedback on the Project Three Assignment speak to your tutor about the Parallel Project maps you have made. Inform him/her of your ideas and progress and discuss any questions you have at this stage. As you work through the course you will continue to receive prompts to help you develop the Parallel Project, however, avoid relying on these to propel you into action, it’s important that the project runs alongside your other work – in parallel to it.
Topic 2: Art, experience, and language
Inside or outside language
If you accept that there is no ‘neutral’, authoritative position from which art can be judged, then what other ways are there to critically engage with it? Love describes two existing models:
1. To conflate experience with authentic knowledge, which exists outside language (you have examined in topic 1 the problems that this model poses).
2. Experience is always already in language if it is to be understood as experience.
It seems that both of these models seem inadequate for the critical analysis of art. The alternative that Love proposes more accurately describes the experience of making work as an artist and engaging with it as a viewer. In this model, experience is somewhat unfixable and rather than something you ‘know’ or ‘understand’ it is something you roughly grasp the feeling of. It is ‘an approach to the world which I both recognized, and yet didn’t quite recognize, a space which was both in language but yet not quite in language, at the limit of language but unequivocally not beyond.’ (Love, 2005:169). Rather than dismiss this place at the edge of language that often describes an encounter with art, it could be explored as a valid mode of analysis, one that enables openness, fluidity and liveliness.
If you accept that there is no ‘neutral’, authoritative position from which art can be judged, then what other ways are there to critically engage with it? Love describes two existing models:
1. To conflate experience with authentic knowledge, which exists outside language (you have examined in topic 1 the problems that this model poses).
2. Experience is always already in language if it is to be understood as experience.
It seems that both of these models seem inadequate for the critical analysis of art. The alternative that Love proposes more accurately describes the experience of making work as an artist and engaging with it as a viewer. In this model, experience is somewhat unfixable and rather than something you ‘know’ or ‘understand’ it is something you roughly grasp the feeling of. It is ‘an approach to the world which I both recognized, and yet didn’t quite recognize, a space which was both in language but yet not quite in language, at the limit of language but unequivocally not beyond.’ (Love, 2005:169). Rather than dismiss this place at the edge of language that often describes an encounter with art, it could be explored as a valid mode of analysis, one that enables openness, fluidity and liveliness.
Exercise 3.5: The edge of language
Find an artwork that you find difficult, but at the same time are drawn to and want to engage with in more depth. Remain open to this feeling of not knowing and rather than being frustrated that you have not understood the work or interpreted it adequately, create a map of your experience in your sketchbook of this encounter over a 30 min period. Begin with a description of everything you see in as much detail as possible, then chart everything that you think and feel, the connections you observe, which thoughts recur or evolve. Decide the ratio of the written and visual content of your map.
The art work I have chosen is by Giovanni Anselmo. He was part of a movement known as Arte Povera, meaning 'poor art'. It explored the use of natural and humble materials in the creation of art as a means to question the hierarchical and subjective nature of art.
The art work I have chosen is by Giovanni Anselmo. He was part of a movement known as Arte Povera, meaning 'poor art'. It explored the use of natural and humble materials in the creation of art as a means to question the hierarchical and subjective nature of art.
Untitled (1968)
by Giovanni Anslemo
Lettuce, copper wire and granite
I would like to start my reaction to this piece as if viewing it in a gallery for the first time with no contextual information.
Upon first inspection I am confused. The first questions that go through my mind are, what is it? Why is there lettuce? How can this be considered art? If I were not an art scholar and I was presses for time, I would very likely shrug of these questions, consider the work nonsense and move along. As someone with some knowledge of art and the history of movements, I will however stay for a moment and try to consider what the artist is saying. Before you can ascribe meaning to anything you need to consider what you see first.
Physical observations
- A rectangular column of concrete about half a meter high
- A head of lettuce being squeezed by a smaller block of concrete and held in place by copper wire.
- There are no significant craft markers or design ideas.
- The lettuce has been placed rather high up which could be a compositional choice.
Next my mind starts racing to find meaning (this is meaning based on my own socio-cultural understanding)
- the concrete and height of the piece give impressions of a grave stone - potential link to death or finite existence
- the lettuce could represent something natural in contrast to something man made
- potential irony in the fact that even though the lettuce is has been placed in 'soil' (concrete has soil or earth in it), it will still rot and whither - another connection to death
- use of copper wire to suspend lettuce from above could allude to the danger of how our man-made world is growing - also a potential link to industrialization
- thematically it appears that concepts of man vs nature arise, decay and death, construction and industrialization, connection to time and finite life
Overall impressions
While the piece certainly does a great job of evoking thought and applying critical thinking, I still have trouble viewing it is art, or at least I have trouble finding the artist's hand in the work. Similarly to the ready-mades, it feels like the artist has been cheating. The piece does a great job of questioning our philosophy on art and it's value, so if we look at art as having an agenda, then is surely art. It is a piece that becomes poetic as it embodies physical ideas as a still image. However, I think this can only be obtained if the viewer stops to think about it. As I mentioned before, a person less interested in understanding art philosophically, would walk by this piece with little consideration.
The artist's intended meaning
Anselmo was trying to investigate primary energies by considering nature;s fundamental forces; tension, gravity and time. The choice of materials shows how these natural and man made forces are bound together and juxtaposed. As the lettuce wilts, the art fall s apart and the fundamental forces are personified (Art in Time, 2014).
by Giovanni Anslemo
Lettuce, copper wire and granite
I would like to start my reaction to this piece as if viewing it in a gallery for the first time with no contextual information.
Upon first inspection I am confused. The first questions that go through my mind are, what is it? Why is there lettuce? How can this be considered art? If I were not an art scholar and I was presses for time, I would very likely shrug of these questions, consider the work nonsense and move along. As someone with some knowledge of art and the history of movements, I will however stay for a moment and try to consider what the artist is saying. Before you can ascribe meaning to anything you need to consider what you see first.
Physical observations
- A rectangular column of concrete about half a meter high
- A head of lettuce being squeezed by a smaller block of concrete and held in place by copper wire.
- There are no significant craft markers or design ideas.
- The lettuce has been placed rather high up which could be a compositional choice.
Next my mind starts racing to find meaning (this is meaning based on my own socio-cultural understanding)
- the concrete and height of the piece give impressions of a grave stone - potential link to death or finite existence
- the lettuce could represent something natural in contrast to something man made
- potential irony in the fact that even though the lettuce is has been placed in 'soil' (concrete has soil or earth in it), it will still rot and whither - another connection to death
- use of copper wire to suspend lettuce from above could allude to the danger of how our man-made world is growing - also a potential link to industrialization
- thematically it appears that concepts of man vs nature arise, decay and death, construction and industrialization, connection to time and finite life
Overall impressions
While the piece certainly does a great job of evoking thought and applying critical thinking, I still have trouble viewing it is art, or at least I have trouble finding the artist's hand in the work. Similarly to the ready-mades, it feels like the artist has been cheating. The piece does a great job of questioning our philosophy on art and it's value, so if we look at art as having an agenda, then is surely art. It is a piece that becomes poetic as it embodies physical ideas as a still image. However, I think this can only be obtained if the viewer stops to think about it. As I mentioned before, a person less interested in understanding art philosophically, would walk by this piece with little consideration.
The artist's intended meaning
Anselmo was trying to investigate primary energies by considering nature;s fundamental forces; tension, gravity and time. The choice of materials shows how these natural and man made forces are bound together and juxtaposed. As the lettuce wilts, the art fall s apart and the fundamental forces are personified (Art in Time, 2014).
Works Cited
Art in Time (2014) A World History of Styles and Movements, Phaidon
Art in Time (2014) A World History of Styles and Movements, Phaidon
Exercise 3.6: An experiment in writing
The art historian T.J. Clark visited the painting Landscape with a Man Killed by a Snake by Poussin regularly over a six-month period and kept a diary. This became the book:
Clark, T, J. (2006) The Sight of Death. An experiment in Art Writing. New Haven: Yale University Press.
Read:
Philips, A. (2006) ‘What do you think you are looking at?’ In: Theguardian.com 13.08.06 [online] At:
https://www.theguardian.com/books/2006/aug/13/art (Accessed on 07.06.18)
Choose one particular diary entry from the book to read. How would you compare this form of analysis to other forms that you are familiar with? Does it enable you to engage with the work in a new or different way? How might this affect the way that you approach the next artwork that you see? Summarise your thoughts in your learning log.
Journal Entry: 26 January (p.27 - 30)
On this day he writes about Landscape with a Calm. He begins by noting that the painting at first greets him with disappointment, and that art at times should be disappointing, especially if you as the viewer are expecting more. He then starts describing the piece by commenting on what zones he can make out in the composition. He then starts listing specific objects in the space. He then compare how the layout of space is quite different from Landscape with a Man Killed by a Snake. One big contrast for him is the amount of zones and the contrast from foreground to background, which is more dramatic in Snake. He continues to write about Calm and begins noticing little details, and it is these little details that take away his disappointment. He also questions how many of these decisions were Poussin's own or chosen by his patrons. A valid point considering patrons during this time played a great role in the subject matter. He does note that while a patron could control composition, they cannot control the artists eye and specific skills with a colour palette.
Reflection
I think there is value at giving a piece of art work your attention for an extended period of time. Like Philips, your first impression of a piece may be one of disappointment of dislike, but often when we allow ourselves to appreciate the process, skill and technique of an artist we can begin to appreciate the work even if we don't like it. Generally when I look at a piece, I tend to first pay attention to the subject matter as I try to recognize specific items in it. Next I usually focus on colours and techniques. This allows me to separate skill from meaning. Although, I will be honest, if on first impression something is not to my taste, I tend to neglect thinking about it more deeply, so it would be interesting to see whether giving more attention might help me find an appreciation for such pieces and the work that goes into them.
Clark, T, J. (2006) The Sight of Death. An experiment in Art Writing. New Haven: Yale University Press.
Read:
Philips, A. (2006) ‘What do you think you are looking at?’ In: Theguardian.com 13.08.06 [online] At:
https://www.theguardian.com/books/2006/aug/13/art (Accessed on 07.06.18)
Choose one particular diary entry from the book to read. How would you compare this form of analysis to other forms that you are familiar with? Does it enable you to engage with the work in a new or different way? How might this affect the way that you approach the next artwork that you see? Summarise your thoughts in your learning log.
Journal Entry: 26 January (p.27 - 30)
On this day he writes about Landscape with a Calm. He begins by noting that the painting at first greets him with disappointment, and that art at times should be disappointing, especially if you as the viewer are expecting more. He then starts describing the piece by commenting on what zones he can make out in the composition. He then starts listing specific objects in the space. He then compare how the layout of space is quite different from Landscape with a Man Killed by a Snake. One big contrast for him is the amount of zones and the contrast from foreground to background, which is more dramatic in Snake. He continues to write about Calm and begins noticing little details, and it is these little details that take away his disappointment. He also questions how many of these decisions were Poussin's own or chosen by his patrons. A valid point considering patrons during this time played a great role in the subject matter. He does note that while a patron could control composition, they cannot control the artists eye and specific skills with a colour palette.
Reflection
I think there is value at giving a piece of art work your attention for an extended period of time. Like Philips, your first impression of a piece may be one of disappointment of dislike, but often when we allow ourselves to appreciate the process, skill and technique of an artist we can begin to appreciate the work even if we don't like it. Generally when I look at a piece, I tend to first pay attention to the subject matter as I try to recognize specific items in it. Next I usually focus on colours and techniques. This allows me to separate skill from meaning. Although, I will be honest, if on first impression something is not to my taste, I tend to neglect thinking about it more deeply, so it would be interesting to see whether giving more attention might help me find an appreciation for such pieces and the work that goes into them.
Research point 3: Research Objects of Culture, Ian Hunt. Read his essay.
The leftover of experience
As Clark and Phillips suggest, there is something about the experiences evoked in the presence of art that spills over and is different with each encounter. There is a toing and froing between language and experience as they try to find equivalents. Opening herself up to this approach Love writes:
‘whereupon the boundaries between ‘self’ and what was “other” felt endlessly negotiable – leaving me the very pronounced sense that anything and everything was possible, an openness and fluidity that temporarily undid “who I was.” This felt like experiencing the world in the best way one can – a sort of “activated space” – that precise moment when consciousness meets language meets world – when you are mixed up, in real time, in the business of making sense of the world as it makes sense of you, which, as I said earlier, makes you feel like you might be able to mobilize meanings which hold you rather than remain fixed.’ (Love, 2005:171)
This approach in the same vein as Sontag and Barthes rejects the idea that there are specific ideas and knowledge that are to be extracted or unearthed from art. However, whilst Sontag described an opposition between the sensual and the intellectual, Love does not see them as separate.
As Clark and Phillips suggest, there is something about the experiences evoked in the presence of art that spills over and is different with each encounter. There is a toing and froing between language and experience as they try to find equivalents. Opening herself up to this approach Love writes:
‘whereupon the boundaries between ‘self’ and what was “other” felt endlessly negotiable – leaving me the very pronounced sense that anything and everything was possible, an openness and fluidity that temporarily undid “who I was.” This felt like experiencing the world in the best way one can – a sort of “activated space” – that precise moment when consciousness meets language meets world – when you are mixed up, in real time, in the business of making sense of the world as it makes sense of you, which, as I said earlier, makes you feel like you might be able to mobilize meanings which hold you rather than remain fixed.’ (Love, 2005:171)
This approach in the same vein as Sontag and Barthes rejects the idea that there are specific ideas and knowledge that are to be extracted or unearthed from art. However, whilst Sontag described an opposition between the sensual and the intellectual, Love does not see them as separate.
Exercise 3.7:Storytelling
Watch the following discussion between John Berger and Susan Sontag:
Voices, To tell a Story [television programme online] Pres. Berger, Sontag Channel 4 UK (1983) 63 mins At:
http://www.channel4.com/programmes/voices/on-demand/811-007 (12/06/18)
How do you think the issues raised in it relate to making and engaging with art? Make two lists in your sketchbook: one detailing the aspects that art and literature share and the second describing how they differ.
Please Note: This podcast is only available in the UK, so I was not able to listen to it.
I did my own reading and created my lists below based on that.
Voices, To tell a Story [television programme online] Pres. Berger, Sontag Channel 4 UK (1983) 63 mins At:
http://www.channel4.com/programmes/voices/on-demand/811-007 (12/06/18)
How do you think the issues raised in it relate to making and engaging with art? Make two lists in your sketchbook: one detailing the aspects that art and literature share and the second describing how they differ.
Please Note: This podcast is only available in the UK, so I was not able to listen to it.
I did my own reading and created my lists below based on that.
What Art and Literature Share
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How Art and Literature Differ
|
further research
Millar, J, D. (2011), ‘Art/Writing’ In: Art Monthly (349) [online] At:
https://www.artmonthly.co.uk/magazine/site/article/art-writing-by-john-douglas-millar-september-2011 (Accessed on 14.06.18)
This article talks about the rise of art writing as a form of contemporary art.
The most notable sentence for me:
"Like so much within contemporary art, what something is seems to depend on what an institution (museum, gallery or art school) says it is."
It is an interesting point, all of life is cyclical and tends to shape around trends. There is currently a remarkable trend to write about and understand art, which in itself requires a base knowledge from writer. The interesting thing to consider is whether or not these writers could ever have real ajhority in sharing their knowledge if they are not artists themselves. A similar argument from Love's book about second-hand experiences not being real experiences. I still think they are both valid, they are just experiences of a different type.
https://www.artmonthly.co.uk/magazine/site/article/art-writing-by-john-douglas-millar-september-2011 (Accessed on 14.06.18)
This article talks about the rise of art writing as a form of contemporary art.
The most notable sentence for me:
"Like so much within contemporary art, what something is seems to depend on what an institution (museum, gallery or art school) says it is."
It is an interesting point, all of life is cyclical and tends to shape around trends. There is currently a remarkable trend to write about and understand art, which in itself requires a base knowledge from writer. The interesting thing to consider is whether or not these writers could ever have real ajhority in sharing their knowledge if they are not artists themselves. A similar argument from Love's book about second-hand experiences not being real experiences. I still think they are both valid, they are just experiences of a different type.
Topic 3: The speaking object
New Materialism
Another aspect of making and viewing art that has been reconsidered in recent years is the relationship between humans and things. Modern Western culture commonly accepts the division and hierarchy between mind(life) and body(matter) advocated by the French philosopher René Descartes. This assumption supposes that there is a clear boundary between the animate and the inanimate and it is human beings that have the ability to determine the destiny of the inanimate and to give meaning to it.
New materialists such as Jane Bennett and Bruno Latour, amongst others, question these claims and argue that matter is not dull, inert and passive, but in fact has power and agency (the capacity of an actor to act in a given environment). They re-examine the ideas of philosophers and writers such as Baruch Spinoza, Friedrich Nietzsche and Henry David Thoreau that had been marginalised in the West in modern times. To blur the line between the animate and inanimate you would have had to have been superstitious or religious, but New Materialists put forward the case that things have the power to affect us, just as much as we do them, despite the fact that they are not conscious.
Another aspect of making and viewing art that has been reconsidered in recent years is the relationship between humans and things. Modern Western culture commonly accepts the division and hierarchy between mind(life) and body(matter) advocated by the French philosopher René Descartes. This assumption supposes that there is a clear boundary between the animate and the inanimate and it is human beings that have the ability to determine the destiny of the inanimate and to give meaning to it.
New materialists such as Jane Bennett and Bruno Latour, amongst others, question these claims and argue that matter is not dull, inert and passive, but in fact has power and agency (the capacity of an actor to act in a given environment). They re-examine the ideas of philosophers and writers such as Baruch Spinoza, Friedrich Nietzsche and Henry David Thoreau that had been marginalised in the West in modern times. To blur the line between the animate and inanimate you would have had to have been superstitious or religious, but New Materialists put forward the case that things have the power to affect us, just as much as we do them, despite the fact that they are not conscious.
reading point 2
Corpo Esteso/Expanded Body At:
http://www.esculenta.org/Corpo%20Esteso01.pdf (Accessed on 29.06.18)
http://www.esculenta.org/Corpo%20Esteso01.pdf (Accessed on 29.06.18)
The Expanded Body
This is an installation piece by Coretto and Spagna which explores the relationship between people and things. In other words, mans connection to his environment. For these two artist, their connection with their surroundings is specifically geological, and so many of the pieces on display are different types of minerals. It explores push and pull between 'art' and 'found object' Reflection A display of this nature feels more like what you view in a museum. In theory I certainly understand the ideology of exploring our relationship with the 'stuff' around us and how it imacts our beliefs or identity, but I would not consider simply arranging natural objects in this manner art. Similarly to my view on Anslemo's lettuce and granite, I think it explores art philosophy or theory. |
Exercise 3.8: Things
Think about how your own relationship with things and the material world is shaped. How much is influenced by your work in the studio, family, peers, cultural beliefs, environmental issues, or what you read? Has your experience in the studio changed your relationship to the material world? Draw a diagram in your sketchbook showing how your beliefs connect and interact with each other.
My diagram above begins with where my first influneces came from, my family. Growing up in a religious household, much of my identity came from that, especially having to behave or act in certain ways. My country was also a great source of influence. We have a very eclectic nation that has faced struggles and much of the way we see the world stems from that. As I got older, me influences shifted more towards my friends, my studies and the media. TV played an especially big role in how I see the world, and unfortunately many of those ideas were stereotyped, biased and often sexist. As an adult, traveling has had the greatest impact on my identity, as you quickly learn that each country is different, the language, the food, their views on politics, their expectations of people in society, etc. As I don't simply travel to have fun, I make sue to visit museums, galleries and do historical tours, as the rich history is where you find the real growth and development in their culture.
|
My constant thirst for knowledge also continually opens my eyes to new ideas. As a teacher, I constantly have to find new sources and simuli for my students, this means I engage with new materials all the time. In order to get my students to think critically, I also have to think critically. In my art studies I have learned greatly from looking into history and the works of others, but also through my own explorations.
It is clear that I generally find inspiration from my observations of society and the people in it, but mostly the people. How we define ourselves, what we get up to, what interests us, what our purpose is, etc.
It is clear that I generally find inspiration from my observations of society and the people in it, but mostly the people. How we define ourselves, what we get up to, what interests us, what our purpose is, etc.
Agency
(From the Guide)
The political theorist and philosopher Bennett proposes that what ‘is manifest arrives through humans but not entirely because of them.’ (Bennett, 2010:17) This could be a good description of the creative process – for many artists, material is not considered to be inanimate. Often the enquiry into materials is driven by the desire to find out what they can do. Bennett points to the work of the science historian Cyril Smith, which reveals that it was in fact, metalworkers’ intimate relationship with their material that led them to discover the polycrystalline structure of non-organic matter, rather than through the work of scientists. The studio of an artist is a good place to observe Vital Materialism in action. ‘Vitality’ is defined as: ‘the capacity of things – edibles, commodities, storms, metals – not only to impede or block our will and designs of humans but also to act as quasi-agents or forces with trajectories, propensities, or tendencies of their own.’ (Bennett, 2010:viii)
Bennett argues that human agency is not always individual, rational, self-aware or free and is complicated by many factors, ‘…an intention is like a pebble thrown into a pond or an electrical current sent through a wire or neural network: it vibrates and merges with other currents, to affect and be affected’. (Bennett, 2010:32)
Rather than a vertical hierarchy with humans at the top and things below Bennett advocates for a horizontal hierarchy between persons and things. Whether an intention is conscious or unconscious, it does not arise autonomously but is the result of many causal factors and forces. It may be of comfort to think that we can determine and direct our thoughts and intentions and to believe that we have control over them, but we are not self-sovereign; we are shaped by material conditions. Likewise, the human body is not an autonomous entity – it is subject to physiochemical processes that are independent of our own will and are influenced by a myriad of systems and forces that are not of our own making.
Bennett suggests that there is a constant interplay between human and non-human forces in which agency is shared by human and non-human entities, which can have independence and even resistance to us. Her theories question binaries such as life/matter, sentient/non-sentient, organic/non-organic. Critics of New Materialism argue that in fact, it is only in Western culture that these ideas are ‘new’, as they have been widely held in other cultures, but had been rejected as ‘primitive’ or ‘other’. In part two you examined constructivist thinking that claims that there is no neutral viewpoint from which a claim can be made because all knowledge is socially constructed. New Materialism is Post-constructivist in that material stuff is considered to be included in the explanation of the construction of reality, which cannot solely exist in social (human) interaction.
(From the Guide)
The political theorist and philosopher Bennett proposes that what ‘is manifest arrives through humans but not entirely because of them.’ (Bennett, 2010:17) This could be a good description of the creative process – for many artists, material is not considered to be inanimate. Often the enquiry into materials is driven by the desire to find out what they can do. Bennett points to the work of the science historian Cyril Smith, which reveals that it was in fact, metalworkers’ intimate relationship with their material that led them to discover the polycrystalline structure of non-organic matter, rather than through the work of scientists. The studio of an artist is a good place to observe Vital Materialism in action. ‘Vitality’ is defined as: ‘the capacity of things – edibles, commodities, storms, metals – not only to impede or block our will and designs of humans but also to act as quasi-agents or forces with trajectories, propensities, or tendencies of their own.’ (Bennett, 2010:viii)
Bennett argues that human agency is not always individual, rational, self-aware or free and is complicated by many factors, ‘…an intention is like a pebble thrown into a pond or an electrical current sent through a wire or neural network: it vibrates and merges with other currents, to affect and be affected’. (Bennett, 2010:32)
Rather than a vertical hierarchy with humans at the top and things below Bennett advocates for a horizontal hierarchy between persons and things. Whether an intention is conscious or unconscious, it does not arise autonomously but is the result of many causal factors and forces. It may be of comfort to think that we can determine and direct our thoughts and intentions and to believe that we have control over them, but we are not self-sovereign; we are shaped by material conditions. Likewise, the human body is not an autonomous entity – it is subject to physiochemical processes that are independent of our own will and are influenced by a myriad of systems and forces that are not of our own making.
Bennett suggests that there is a constant interplay between human and non-human forces in which agency is shared by human and non-human entities, which can have independence and even resistance to us. Her theories question binaries such as life/matter, sentient/non-sentient, organic/non-organic. Critics of New Materialism argue that in fact, it is only in Western culture that these ideas are ‘new’, as they have been widely held in other cultures, but had been rejected as ‘primitive’ or ‘other’. In part two you examined constructivist thinking that claims that there is no neutral viewpoint from which a claim can be made because all knowledge is socially constructed. New Materialism is Post-constructivist in that material stuff is considered to be included in the explanation of the construction of reality, which cannot solely exist in social (human) interaction.
research point 4
Bennett, J. ‘Powers of the Hoard: Artistry and Agency in a World of Vibrant Matter’ In: Vimeo.com [online] At:
https://vimeo.com/29535247 (Accessed on 13.06.18)
Compare Bennett’s theories with the concept you explored in UVC 1 on Constructivism: the idea that everything we know is constructed socially and only gains meaning through humans. Can Constructivism and new Materialism be reconciled, or do they oppose each other? Discuss this with another student and record your conversation in your learning log. You can connect with other students through the OCA forums, or through using the map of student locations on the OCA website to make contact with a student in your region. You can also discuss with a friend, family member or colleague.
Notable statements and ideas by (Bennett, 2010):
- things are lively intensities
- a drive to seek connections with other 'bodies'
- things that "speak to you" or "call you" or "attach to you"
- can a thing be a lively body that is trying to connect with you?
- the narrative qualities of things
- animism
- how do we communicate about our relationship with stuff
- things are incalculable
- do we tend to approach things with a more pragmatic approach, i.e. what can this object do for me?
- are artist more able to see the aesthetic and vital abilities in objects - perpetuated more now by materialism and consumption
- Thing-power gestures toward the strange ability of ordinary, man-made items to exceed their status as objects and to manifest traces of independence or aliveness. constituting the outside of our own experience
- Human and non-human things have in common that they both exist and have a purpose
- Things have potential to carry great creativity (compare organic and inorganic things)
- Our connection to things can stem from the fact that we are made up of things (bones, minerals etc)
Additional Research
Constructivism as a Philosophy
- an educational philosophy on how humans learn
- humans construct knowledge by experiencing the world around them and forming their own reality based on that
- learning is built upon previous knowledge and new experiences
- in order for knowledge to become understanding learning must be active
- learning is a social activity and other are needed to share, impact and negotiate knowledge
(McLeod 2019)
Constructivism in Art
During this movement, artists applied notions of industiralization and science by looking at art as specific materials. The artist was not considered to have a role, but rather to craft or represent things with material. They did not aim to represent the world, but rather to find the truth in the composition of the materials they used (Art in Time, 2014)
Materialism as a Philosophy
That all things are made up of materials or material particles and are therfore physical. Physics does, however expand this definition by considering matter. Though matter is an observable substance, energy is required for it to exist. The argument that all matter requires energy brigs forth the idea that things have the potential to have 'mind-like' qualities (Jamieson and Smart, 2020)
Materialism in Art
In art, materialism still places an emphasis on the physical, more specifically the things we as humans are concerned with. It specifically looks at our relationship with material things which has a consumer connetation. It delves into what we consider important and what our relationship with materials things might say about ourselves, in other words, a psychological approach (Shroeder, 1992)
Conversation
This is a conversation between myself (M) and my husband (H). It may be useful to know that we are both high school teachers within the field of Humanities (history/ psychology/ economics etc).
M: I think we are both quite familiar with the philosophy of constructivism in education. Working in international schools that teach the IB curriculum, our teaching practice and ideologies generally center around the learning as an experience, that requires reflection and a building of knowledge.
H: Yes, though education itself is still plagued by a backlog of old ideas and route learning that is often perpetuated by older generations.
M: Let's not get in a debate about education, we could be here a while. What you think about the notion that something can only have meaning when a human gives it meaning?
H: I suppose that's like asking "If a tree fell in the forest, would anyone hear it?"
M: I can understand the notion of purpose. I think phsychologically all humans crave purpose, it provides us with a sense of hope, which is what keeps us going. But if we talk about objects having purpose, we are considering the idea that an object craves validation in the same way a person does.
H: Yes, as if an object has a soul or psychie.
M: I do believe that our connection to objects and materials is a very real thing. We create and shape our identity from that which is around us. Where we come from and what we are interested in. But that comes from the person, not the thing. The purpose anything has is given to it by the one who created it.
H: Sure, but that also brings up the question of where we place organic or natural materials that we can argue are not man made. Science has shown that all matter has a purpose and a reason, so if that came from their 'creator' it becomes quite a religious argument?
M: Well, that also depends on how you look at the science. I like the idea of all particles requiring energy. Matter is made up of atoms that are actually constantly in motion, even if it looks solid or stagnant, it's not. The energy in matter has it's own purpose to be be used/ transferred/ expelled/ connected. According to physics it can not be created or destroyed. So if all matter has energy (including us), it is constantly trying to connect as a means of fulfilling its purpose, creator or not.
H: And with that you also managed to find a way to reconcile Constructavism and Materialism.
M: Well, I am not actually sure if the materialism referred to is that of matter in science or materialism in economics which we also call consumerism.
H: Either way they connect, because they all look at "things". Science is just trying to define the actual makeup of the thing, while human science looks into why we are concerned with the thing.
M: I think all subject areas are connected. We compartmentalize them so that we can delve deeper into certain areas of the work, but there is certainly evidence that they connect and reconcile. If you look back into the history of art movements, this is especially true. Movements and trends in art were mostly spurred by economic climates, political agendas, scientific discoverers, technological advances, psychological studies and more.
H: So they don't appose?
M: No, I would rather say they represent 2 perspectives of the same idea.
https://vimeo.com/29535247 (Accessed on 13.06.18)
Compare Bennett’s theories with the concept you explored in UVC 1 on Constructivism: the idea that everything we know is constructed socially and only gains meaning through humans. Can Constructivism and new Materialism be reconciled, or do they oppose each other? Discuss this with another student and record your conversation in your learning log. You can connect with other students through the OCA forums, or through using the map of student locations on the OCA website to make contact with a student in your region. You can also discuss with a friend, family member or colleague.
Notable statements and ideas by (Bennett, 2010):
- things are lively intensities
- a drive to seek connections with other 'bodies'
- things that "speak to you" or "call you" or "attach to you"
- can a thing be a lively body that is trying to connect with you?
- the narrative qualities of things
- animism
- how do we communicate about our relationship with stuff
- things are incalculable
- do we tend to approach things with a more pragmatic approach, i.e. what can this object do for me?
- are artist more able to see the aesthetic and vital abilities in objects - perpetuated more now by materialism and consumption
- Thing-power gestures toward the strange ability of ordinary, man-made items to exceed their status as objects and to manifest traces of independence or aliveness. constituting the outside of our own experience
- Human and non-human things have in common that they both exist and have a purpose
- Things have potential to carry great creativity (compare organic and inorganic things)
- Our connection to things can stem from the fact that we are made up of things (bones, minerals etc)
Additional Research
Constructivism as a Philosophy
- an educational philosophy on how humans learn
- humans construct knowledge by experiencing the world around them and forming their own reality based on that
- learning is built upon previous knowledge and new experiences
- in order for knowledge to become understanding learning must be active
- learning is a social activity and other are needed to share, impact and negotiate knowledge
(McLeod 2019)
Constructivism in Art
During this movement, artists applied notions of industiralization and science by looking at art as specific materials. The artist was not considered to have a role, but rather to craft or represent things with material. They did not aim to represent the world, but rather to find the truth in the composition of the materials they used (Art in Time, 2014)
Materialism as a Philosophy
That all things are made up of materials or material particles and are therfore physical. Physics does, however expand this definition by considering matter. Though matter is an observable substance, energy is required for it to exist. The argument that all matter requires energy brigs forth the idea that things have the potential to have 'mind-like' qualities (Jamieson and Smart, 2020)
Materialism in Art
In art, materialism still places an emphasis on the physical, more specifically the things we as humans are concerned with. It specifically looks at our relationship with material things which has a consumer connetation. It delves into what we consider important and what our relationship with materials things might say about ourselves, in other words, a psychological approach (Shroeder, 1992)
Conversation
This is a conversation between myself (M) and my husband (H). It may be useful to know that we are both high school teachers within the field of Humanities (history/ psychology/ economics etc).
M: I think we are both quite familiar with the philosophy of constructivism in education. Working in international schools that teach the IB curriculum, our teaching practice and ideologies generally center around the learning as an experience, that requires reflection and a building of knowledge.
H: Yes, though education itself is still plagued by a backlog of old ideas and route learning that is often perpetuated by older generations.
M: Let's not get in a debate about education, we could be here a while. What you think about the notion that something can only have meaning when a human gives it meaning?
H: I suppose that's like asking "If a tree fell in the forest, would anyone hear it?"
M: I can understand the notion of purpose. I think phsychologically all humans crave purpose, it provides us with a sense of hope, which is what keeps us going. But if we talk about objects having purpose, we are considering the idea that an object craves validation in the same way a person does.
H: Yes, as if an object has a soul or psychie.
M: I do believe that our connection to objects and materials is a very real thing. We create and shape our identity from that which is around us. Where we come from and what we are interested in. But that comes from the person, not the thing. The purpose anything has is given to it by the one who created it.
H: Sure, but that also brings up the question of where we place organic or natural materials that we can argue are not man made. Science has shown that all matter has a purpose and a reason, so if that came from their 'creator' it becomes quite a religious argument?
M: Well, that also depends on how you look at the science. I like the idea of all particles requiring energy. Matter is made up of atoms that are actually constantly in motion, even if it looks solid or stagnant, it's not. The energy in matter has it's own purpose to be be used/ transferred/ expelled/ connected. According to physics it can not be created or destroyed. So if all matter has energy (including us), it is constantly trying to connect as a means of fulfilling its purpose, creator or not.
H: And with that you also managed to find a way to reconcile Constructavism and Materialism.
M: Well, I am not actually sure if the materialism referred to is that of matter in science or materialism in economics which we also call consumerism.
H: Either way they connect, because they all look at "things". Science is just trying to define the actual makeup of the thing, while human science looks into why we are concerned with the thing.
M: I think all subject areas are connected. We compartmentalize them so that we can delve deeper into certain areas of the work, but there is certainly evidence that they connect and reconcile. If you look back into the history of art movements, this is especially true. Movements and trends in art were mostly spurred by economic climates, political agendas, scientific discoverers, technological advances, psychological studies and more.
H: So they don't appose?
M: No, I would rather say they represent 2 perspectives of the same idea.
Works Cited
Art in Time (2014) A World History of Styles and Movements, Phaidon
Bennett, J. (2010) Vibrant Matter: a Political Ecology of Things. Duke University Press
Jamieson, J. and Smart, C. (2016) Materialism. [online] At: https://www.britannica.com/topic/materialism-philosophy (Accessed on 24 February 2020)
McLeod, S. (2019) Constructivism as a theory for teaching and learning. [online] At: https://www.simplypsychology.org/constructivism.html (Accessed on 24 February 2020)
Shroeder, J.E. (1992) Materialism and Modern Art. [online] At: https://www.acrwebsite.org/volumes/12187/volumes/sv08/SV-08 (Accessed on 24 February 2020)
Art in Time (2014) A World History of Styles and Movements, Phaidon
Bennett, J. (2010) Vibrant Matter: a Political Ecology of Things. Duke University Press
Jamieson, J. and Smart, C. (2016) Materialism. [online] At: https://www.britannica.com/topic/materialism-philosophy (Accessed on 24 February 2020)
McLeod, S. (2019) Constructivism as a theory for teaching and learning. [online] At: https://www.simplypsychology.org/constructivism.html (Accessed on 24 February 2020)
Shroeder, J.E. (1992) Materialism and Modern Art. [online] At: https://www.acrwebsite.org/volumes/12187/volumes/sv08/SV-08 (Accessed on 24 February 2020)
Exercise 3.9: Attraction
Think about the material you work with in the studio (this can include paint, digital media, etc) and/or the material world that you might respond to in your work, are there particular things, qualities, features that you are drawn to? Make a list in your sketchbook of what these are. Do you notice any patterns in the types of things you are attracted to?
List:
- texture - colours (especially vibrancy and contrast) - the movement of the paint or the subject - emotions (experiencing them and evoking them) - composition (choosing the right moment to 'frame') - the human condition (I try to look for quiet intimate moments as my inspiration) - I like to feel challenged or stimulated in my thinking (I think confusion can be a wonderful thing) My current painting techniques explore the idea of still moments, that are never really still. Though my subject my be 'frozen' in one moment, the paint technique shows that things are constantly in motion. Like the notion of matter in science. The atoms in matter are constantly on the move, therefore the idea of a 'still image' is technically never possible. It is interesting for me to see how the vibrant colours and application techniques juxtapose the chosen still moment. You can see this in the example on the left. You may remember that in Part 2 I completed a portrait for a friend as a gift. I had initially started the portrait in oils and watercolours. You saw the watercolour version in Part 2. This is the oil version that I completed recently. It didn't quite turn out the way I wanted it to, but you can see what I mean by the use of larger more energetic brush strokes as means of exploring the energetic nature of subjects. As with any method or style, it continues to be in development and something I need to keep practicing. |
Assignment Three: Speaking as another
Look back over your sketchbook and learning log so far and reflect on what has shifted in your thinking. For this assignment, you will create a studio work in the media of your choice that draws from what is located outside of your direct experience. So, like Derrida, you could try to create from the experience of inhabiting a different gender, or the work could emerge from research about a specific current or historical event. Reflect on the process of researching and making the work. Are there some things that are easier to embody than others? What does distance add/take away from the work?
Or, you can create a work in which you approach your materials in a New Materialist way, bringing awareness to the two-way interactions that occur between yourself and the materials and processes that you work with. Does thinking about material and intention in a vitalist way change how you think about making work and what you create?
Show the artwork to someone without initially telling them anything about it. You may decide to give it a title, which you could share with them. First, allow your viewer to respond and then discuss the work and the process of making it with them and record this in your sketchbook.
Record your thoughts and observations as you create your work in 500 words. Send all the work for Assignment three to your tutor.
Parallel Project
Within this assignment direct your tutor to your burgeoning ideas for the parallel project through the material uploaded to your learning log, as well as writing a short summary of your plans and ideas. Your tutor will offer guidance on your ideas.
Or, you can create a work in which you approach your materials in a New Materialist way, bringing awareness to the two-way interactions that occur between yourself and the materials and processes that you work with. Does thinking about material and intention in a vitalist way change how you think about making work and what you create?
Show the artwork to someone without initially telling them anything about it. You may decide to give it a title, which you could share with them. First, allow your viewer to respond and then discuss the work and the process of making it with them and record this in your sketchbook.
Record your thoughts and observations as you create your work in 500 words. Send all the work for Assignment three to your tutor.
Parallel Project
Within this assignment direct your tutor to your burgeoning ideas for the parallel project through the material uploaded to your learning log, as well as writing a short summary of your plans and ideas. Your tutor will offer guidance on your ideas.
Assignment 3: paintings
The pieces I have created will incorporate a bit of both options prescribed above. I want to explore creating about something that I do not have a direct experience of, and I will also be focusing on my use of materials and how that guides my intentions when creating.
As my topic, I wanted to explore capturing what it feels like to be a mother. I am not a mother myself and don't desire to be. That being said, I think all people still have inherent desires to nurture and be intimate.
I first thought about what it means to be a mother and the kind of imagery that represents this. For my initial research, I brainstormed ideas of what I thought represented motherhood.
- sacrifice
- time, attention and care
- unconditional love
- putting the child first
- hard work
- lack of sleep
- hormonal roller coaster
- tender moments
- special bonds
- etc.
I also read a few articles to see what mothers have to say. In the article What Being a Mom Really Means written by Jessica James, the author says that a woman who is not a mother can not imagine what it will be like. For her, the connection between herself and her child is insurmountable. It grows every day and the desire to care for, protect and nourish the child never wains. It is a love that will never die.The article The Shocking Truth About Motherhood by Mary E. Williams, the author cuts through the romantic stuff and reminds the readers of the difficulties in being a mother. She writes about hemorrhoids, postpartum depression, teething, gaining wait, being sleep deprived, brain fog, spit-up on all your clothes and the additional 30 minutes it takes just to leave the house. Of course we all know that being a mother is hard work, but I suppose it is the tender, soul-searching moments that James wrote about that makes it all worth it. So this is the type of moment I wanted to capture.
I first began looking at birthing photos as the experience always looks so vulnerable and intense, but I thought that only representing the birth would not capture the feeling best. I then considered breastfeeding as it is a more intimate moment and a very distinct bond that a mother can have with her child. I also thought it was an important topic as there is still much controversy surrounding breastfeeding in public in certain areas. I looked at many images on line and even just by viewing the photographs of others I myself could sense how tender and intimate this moment could be. This already showed me that I didn't need to be a mother to understand the bond or relationship between a mother and child. Humans are emotional beings. We tend to build our memories or experiences around how we feel or felt when we did them. It is these emotions that make us relatable and help us find connections with others. So, if I want to successfully capture the feeling of motherhood, I am going to need to try and capture that emotion as described by James, "your heart swelling"
In order to really experiment with evoking emotions, I thought it would be best to create paintings in different styles to see which best evokes an emotional response that conveys motherhood. After finding images that made me feel emotional, I first completed some sketches to test the compositions. I then chose 3 compositions and thought about which mediums/ styles I would use. I chose to create one in watercolour, one in oils and one in acrylics.
Sketches
As my topic, I wanted to explore capturing what it feels like to be a mother. I am not a mother myself and don't desire to be. That being said, I think all people still have inherent desires to nurture and be intimate.
I first thought about what it means to be a mother and the kind of imagery that represents this. For my initial research, I brainstormed ideas of what I thought represented motherhood.
- sacrifice
- time, attention and care
- unconditional love
- putting the child first
- hard work
- lack of sleep
- hormonal roller coaster
- tender moments
- special bonds
- etc.
I also read a few articles to see what mothers have to say. In the article What Being a Mom Really Means written by Jessica James, the author says that a woman who is not a mother can not imagine what it will be like. For her, the connection between herself and her child is insurmountable. It grows every day and the desire to care for, protect and nourish the child never wains. It is a love that will never die.The article The Shocking Truth About Motherhood by Mary E. Williams, the author cuts through the romantic stuff and reminds the readers of the difficulties in being a mother. She writes about hemorrhoids, postpartum depression, teething, gaining wait, being sleep deprived, brain fog, spit-up on all your clothes and the additional 30 minutes it takes just to leave the house. Of course we all know that being a mother is hard work, but I suppose it is the tender, soul-searching moments that James wrote about that makes it all worth it. So this is the type of moment I wanted to capture.
I first began looking at birthing photos as the experience always looks so vulnerable and intense, but I thought that only representing the birth would not capture the feeling best. I then considered breastfeeding as it is a more intimate moment and a very distinct bond that a mother can have with her child. I also thought it was an important topic as there is still much controversy surrounding breastfeeding in public in certain areas. I looked at many images on line and even just by viewing the photographs of others I myself could sense how tender and intimate this moment could be. This already showed me that I didn't need to be a mother to understand the bond or relationship between a mother and child. Humans are emotional beings. We tend to build our memories or experiences around how we feel or felt when we did them. It is these emotions that make us relatable and help us find connections with others. So, if I want to successfully capture the feeling of motherhood, I am going to need to try and capture that emotion as described by James, "your heart swelling"
In order to really experiment with evoking emotions, I thought it would be best to create paintings in different styles to see which best evokes an emotional response that conveys motherhood. After finding images that made me feel emotional, I first completed some sketches to test the compositions. I then chose 3 compositions and thought about which mediums/ styles I would use. I chose to create one in watercolour, one in oils and one in acrylics.
Sketches
For this composition I worked in watercolours. I love watercolour as a medium, as it is not difficult to create work that is moody and expressive. The movement and translucency of the paint nearly automatically creates a soft and sensual feel. I was drawn to the original photograph because of the baby's eye contact. It reminded me of how vulnerable babies are and how important the role of the mother is in keeping them safe.
I wanted the composition to feel realistic and tender and therefore chose to work with a more natural colour palette. I mostly worked with yellows, browns, reds and greens to achieve this. I kept the canvas upright, allowing the paint to drip and bleed, a technique I use often and his highly representative of a style I favour. I believe this also adds to the sensuality and symbolism of the piece. It reminds the viewer of the passage of time and how quickly these tender moments come and go. It is also significant in creating a cohesive bond between mother and child. |
When I work in oils, I tend to make use of a more energetic and expressive style. I have mentioned in my writings above that I favour the work of the romantics and expressionists as there goal was to evoke emotional responses to their work. Using larger brush strokes and moving the paint more freely helps to achieve this. As I knew I would be working with a larger brush and not working precisely, I chose a composition that focused on the mother's face, rather than the baby. I also didn't think that creating a messy/ expressive baby face would be successful.
In many of my pieces I gravitate to the colour blue. It is one of my favorite colours as it is calm, vibrant and tends to add mood easily. I combined vibrant orange and prusian blue with linseed oil and turps to start with. Initially this was going to be my mix for the bottom layer and then I was planning to build more messy, neutral layers above that. I used a larger flat brush and moved around the canvas with big strokes. As I stood back an looked at the outlines, I realized the the contrast between the white canvas and the glossy look of the paint actually created a very simple and beautiful feeling. This is definitely an example of how I allowed the material to guide my work, as it was not my plan to create a on tonal piece. I chose to keep working with this mix and just built up layers in areas that needed to be darker. I also used my fingers to round out some of the areas so the figures still take on a more three dimensional look as that adds an element of realism which I think viewers will respond to more. Leaving the white of the canvas exposed also helped to create a great contrast. It makes the painting feel illuminated. The mother almost appears to have a glow, which in itself can be symbolic of motherhood. |
In order to best gauge whether I managed to capture the emotional feeling evoked by motherhood, I posted the 3 paintings on Facebook and asked my friends for feedback. I asked them to comment on the painting that for them best evokes the feeling of motherhood and why. I had a total of 32 responses which not only came from mothers, but also fathers and non-parents like myself. 26 people responded to the blue oil painting and 6 chose the more natural watercolour. Though there were friends who loved the colourful acrylic, they did not evoke an emotional response regarding motherhood. Of those who selected the watercolour, the reasons they cited was due to the connection they felt with their own child when breastfeeding. "This one spoke to me the most as it truly has been my life this whole past year. This painting shows a bond like no other between mom and bubba. I can’t even describe this feeling into words... but you’ve captured it so perfectly." Those who chose the oil painting, mostly cited the fact that the love, care and emotion of the mother for the child came through in this composition most vividly, "this one captures emotion of mother love so clearly". "Just reminds me of actual photos and moments from our kids lives." "Very real mother moments expressing love even when there’s no energy left.
Asking for feedback was really useful in helping me determine whether I could relate with the topic without experiencing it. It is also a very interesting chance to reflect on why people may have responded more or less to a certain composition. As I mentioned in at the start while planning the work. I knew that creating an emotional response that the viewer could relate to would be the most effective. This is clearly shown through the responses to the work. It is also evident that the specific composition, colours or styles play a role in how the viewers react. Though the painting does not represent my experience or even the viewers experience exactly, it brings back the memories of those times with their own children. And sure, each viewer's memory and experience will be different or unique, but the reaction is undeniable. So, all and all, I think that the experiment was a success.
This is why I think artists can play such a unique role in society, as they can find ways to express the emotions without needing words. The artist becomes like a translator between people of different backgrounds and cultures. Of course some artists can do this with more success than others, but there is certainly a reason why the arts remain important in society as they allow us to connect deeply. An artist may not be able to duplicate the exact same feeling or experience from each viewer, but that should not be the goal anyway. Here is where I like what Barthes said about the piece of work standing apart from the author, because it allows the reader to the work of art further and beyond. This doesn't mean that the artist should not have clear intentions in mind, as this will still help to give the work meaning and purpose.
Asking for feedback was really useful in helping me determine whether I could relate with the topic without experiencing it. It is also a very interesting chance to reflect on why people may have responded more or less to a certain composition. As I mentioned in at the start while planning the work. I knew that creating an emotional response that the viewer could relate to would be the most effective. This is clearly shown through the responses to the work. It is also evident that the specific composition, colours or styles play a role in how the viewers react. Though the painting does not represent my experience or even the viewers experience exactly, it brings back the memories of those times with their own children. And sure, each viewer's memory and experience will be different or unique, but the reaction is undeniable. So, all and all, I think that the experiment was a success.
This is why I think artists can play such a unique role in society, as they can find ways to express the emotions without needing words. The artist becomes like a translator between people of different backgrounds and cultures. Of course some artists can do this with more success than others, but there is certainly a reason why the arts remain important in society as they allow us to connect deeply. An artist may not be able to duplicate the exact same feeling or experience from each viewer, but that should not be the goal anyway. Here is where I like what Barthes said about the piece of work standing apart from the author, because it allows the reader to the work of art further and beyond. This doesn't mean that the artist should not have clear intentions in mind, as this will still help to give the work meaning and purpose.
reflecting on tutor feedback for part 3
In general, the feedback was quite positive and especially notes my competency in finding reliable sources to inform my understanding. The tutor appreciated the approach I took in creating the assignment and how I used Barthe's theories to justify my steps and thoughts. I was encouraged to consider how these theories may affect my parallel project proposal as well. While the tutor thought I used good sources, they remarked that I can continue to find more academic resources where artists or theorists have written about the particular themes I am working on. They appreciated how I made use of an audience in this assignment and mentioned that I may consider different platforms for collecting audience feedback. This is a valid point, but it can be tricky to find feedback from people or students that are particularly in the field of art. Next time I might consider asking for feedback through some of the OCA forums.