Project 1: textual research
Aim
Taking on board your tutor’s comments from your last assignments and taking on board any suggestions, you can begin further more focused explorations into your chosen area(s) by continuing your written research. Further explore the reading and viewing suggestions provided in the course and aim to find new resources of your own, making gallery visits (where possible). Remember to consult your Harvard Referencing guide and refer to our Museums and Galleries guide for useful questions.
Method
Consider contacting artists directly. This could include contacting artists via email or going to an ‘open studio’. Whether emailing or visiting an artist, ensure you prepare a few questions in advance. Make these specific to their particular practice.
Who and what inspires them?
Where do they get their ideas from?
Are there any artists past or present that they particularly relate to?
What materials, tools and techniques do they use?
How do they begin a work?
How is the work shown? etc.
Reflection
As you examine contemporary responses to earlier works, consider why the contemporary artists might have made use of a particular work, whether they have appropriated the earlier work or taken it as a springboard for a new idea, and how successfully it works. Store your findings in your learning log.
Research other Artists’ Statements and prepare the first draft of your own, we will cover this more thoroughly in the next part of the course so do not get too bogged down by it - it is just a starting point.
Taking on board your tutor’s comments from your last assignments and taking on board any suggestions, you can begin further more focused explorations into your chosen area(s) by continuing your written research. Further explore the reading and viewing suggestions provided in the course and aim to find new resources of your own, making gallery visits (where possible). Remember to consult your Harvard Referencing guide and refer to our Museums and Galleries guide for useful questions.
Method
Consider contacting artists directly. This could include contacting artists via email or going to an ‘open studio’. Whether emailing or visiting an artist, ensure you prepare a few questions in advance. Make these specific to their particular practice.
Who and what inspires them?
Where do they get their ideas from?
Are there any artists past or present that they particularly relate to?
What materials, tools and techniques do they use?
How do they begin a work?
How is the work shown? etc.
Reflection
As you examine contemporary responses to earlier works, consider why the contemporary artists might have made use of a particular work, whether they have appropriated the earlier work or taken it as a springboard for a new idea, and how successfully it works. Store your findings in your learning log.
Research other Artists’ Statements and prepare the first draft of your own, we will cover this more thoroughly in the next part of the course so do not get too bogged down by it - it is just a starting point.
contextual focus points
landscape
George Shaw
This British artist focused on creating realistic paintings of mundane English suburbs, in particular where he grew up, Tile Hill Estates, depicting them in a realistic and sometimes unflattering way. He used Humbrol enamel paint, normally used for model making. His depictions fit well into Romanticism, with imagery and objects evoking feelings of nostalgia. His work takes inspiration from Rembrandt, Turner and Poussin (Jonze, 2019). However, Shaw managed to find a way of making taking their work as inspiration and making it more personal to him, show casing semi- detached houses, bus stops and disused telephone boxes set against a backdrop of grey skies and dull green patches of grass. This is what draws viewers to his work, Shaw's ability to capture a working class neighborhood with "grace, transcendence and epiphany" (The Alternative UK), allowing the viewer to observe and remember. "What I look for in art are the qualities I admire or don’t admire in human beings" (Shaw cited on Artnet, 2019). |
This raises the question of how such ordinary places were (or were not) depicted throughout art history. Go to the British Council website and look for more painters of the ordinary or banal.
David Hepher is another artist who depicted urban scenes fro England. He did a series focusing on the house fronts of Edwardian semi-detached houses in Townley Road, East Dulwich, London. Before painting, Hepher is meticulaous about researching his subject, creating several drawings and photographs. He is more concerned with his painting method, than his subject. The series is a commentary on how the middle-class leads facsimile lives and how 'suburban has been redefined as a :banal state of existence" (Feaver, 2019) What do you think of depictions like this? Can you find successful examples of artwork that reflect the everyday scenes we see in our lives? Make notes in your learning log. |
Simon Ling
He is a British artist who also did a series of paintings around the streets of east London. Though his urban landscapes have a great sense of realism, it is also combined with his distinct perception. Like Edward Hopper, the artist values the connection a piece has to the maker's eye, heart and mind (New, 2015). His compositions often focus on tight or unconventional angles, making the chosen location anonymous and distorting the viewer's perception of scale and context. Combining his unique view of the subject with bright colours and textures, provides the viewer with a poetic space that blurs the lines between realism and romanticism. The artist works with oils, often starting paintings in plein air and then using photographs to complete the work in studio. |
Reflection
Especially during the centuries before the photograph, painting played a very important role in documenting history. Primarily their was a focus on individuals and events, but during the seventeenth century landscape art became a genre in it's own right. Consider how the paintings of Thomas Cole (1801-1848) captured the vast and diverse landscapes of America and the romantic depictions of Dedham Vale, England by John Constable (1776-1837). These paintings are important as they provide us with an idea of what life was like during that time. Even though we rely more heavily on photography to document spaces now, there is something special about how a landscape is captured by an artist. This brings me back to the point made earlier from Edward Hopper, who believes that no amount of skill can replace imagination and that an artwork has to consider the artist's inner life (Hopper and Levin, 1998). Looking at the three artists above, it is clear that each of them had a different connection and perception of their surroundings. If I had to consider a style that resonates with me as a viewer more, I would choose the urban landscapes of Simon Ling. I like his unconventional take on composition and the enhancement of colour.
Especially during the centuries before the photograph, painting played a very important role in documenting history. Primarily their was a focus on individuals and events, but during the seventeenth century landscape art became a genre in it's own right. Consider how the paintings of Thomas Cole (1801-1848) captured the vast and diverse landscapes of America and the romantic depictions of Dedham Vale, England by John Constable (1776-1837). These paintings are important as they provide us with an idea of what life was like during that time. Even though we rely more heavily on photography to document spaces now, there is something special about how a landscape is captured by an artist. This brings me back to the point made earlier from Edward Hopper, who believes that no amount of skill can replace imagination and that an artwork has to consider the artist's inner life (Hopper and Levin, 1998). Looking at the three artists above, it is clear that each of them had a different connection and perception of their surroundings. If I had to consider a style that resonates with me as a viewer more, I would choose the urban landscapes of Simon Ling. I like his unconventional take on composition and the enhancement of colour.
detailed observation
To illustrate how history has influenced the way that painters and artists make and think through their works, perhaps think about the influence of ‘vanitas’ on contemporary makers such as Damien Hirst, Jake and Dinos Chapman and even Sarah Lucas. Although they are not specifically painters, you should be able to see how an idea that some may perceive as ‘traditional’ can influence contemporary art practice. Or perhaps think about Tracey Emin’s My Bed (1999) and the possible correlations between that and the unmade beds of Degas’ interiors.
Vanitas Still Life
Definition according to TATE (2019) "A still life artwork which includes various symbolic objects designed to remind the viewer of their mortality and of the worthlessness of worldly goods and pleasures". Painters used objects to signify particular ideas and themes, for example:
Skulls and burnt out candles to represent death.
Books and instruments to represent vanity
Food and wine to represent wealth or gluttony
Clocks or timers to remind the viewer that life is finite
These all combine together to remind the viewer of the futility in worldly pursuits. It certainly has a religious context here and could be seen as a way of 'guilting' believers to consider the after life. A humanist, of course, would not necessarily consider the pursuit of knowledge and an appreciation of beauty to be futile. Though the notion of time being precious and death being inevitable would certainly still be universal.
Considering the chosen symbolism above, you can certainly see a vanitas connection to Damien Hirsts' For the Love of God (2007). Where the actual sculpture of the scull refers to death, and the chosen materials of construction, diamonds and platinum, refer to the pursuit of riches and luxury.
Jake and Dinos Chapman produce pieces with reoccurring themes of death and religion. Their pieces certainly point out the wrong doings of man and how their behavior impacts life. Though their work is not quite like a vanitas painting, it takes inspiration from the idea of warning society about their pursuits. They push it a step further by also showing the consequences of these pursuits, which they do with quite a dark and assaulting aesthetic, as can be seen in their series Old Kent Road (2014).
Vanitas Still Life
Definition according to TATE (2019) "A still life artwork which includes various symbolic objects designed to remind the viewer of their mortality and of the worthlessness of worldly goods and pleasures". Painters used objects to signify particular ideas and themes, for example:
Skulls and burnt out candles to represent death.
Books and instruments to represent vanity
Food and wine to represent wealth or gluttony
Clocks or timers to remind the viewer that life is finite
These all combine together to remind the viewer of the futility in worldly pursuits. It certainly has a religious context here and could be seen as a way of 'guilting' believers to consider the after life. A humanist, of course, would not necessarily consider the pursuit of knowledge and an appreciation of beauty to be futile. Though the notion of time being precious and death being inevitable would certainly still be universal.
Considering the chosen symbolism above, you can certainly see a vanitas connection to Damien Hirsts' For the Love of God (2007). Where the actual sculpture of the scull refers to death, and the chosen materials of construction, diamonds and platinum, refer to the pursuit of riches and luxury.
Jake and Dinos Chapman produce pieces with reoccurring themes of death and religion. Their pieces certainly point out the wrong doings of man and how their behavior impacts life. Though their work is not quite like a vanitas painting, it takes inspiration from the idea of warning society about their pursuits. They push it a step further by also showing the consequences of these pursuits, which they do with quite a dark and assaulting aesthetic, as can be seen in their series Old Kent Road (2014).
Tracy Emin
This English artist works in a variety of media. As a conceptual artist she often deals with societal views on women and how this impacts their behaviour and emotional state. In My Bed (1999), she displayed the carnage left in and around her bed during a time of emotional imbalance. This assemblage piece does seem to take inspiration from the vanitas and still life genre when considering the composition of the piece and the underlying symbolism, though it could also be considered as an alternative type of self portrait. Though it does not exactly resemble the ideas mentioned above when considering vanitas, it does play on the notion of life being finite and mankind being over indulgent. This piece was a turning point for the artist, who looked at the chaos of what she created and wanted to make a change. Looking at the scene she realized that time was precious and not be wasted on indulging in negative emotions and behaviour (Cohen, 2018) |
Lucy Mckenzie
She became a trompe l’oeil specialist in order to progress her more subversive concepts and artistic strategies that investigated modernism. Trompe l'oeil is an art technique that uses realistic imagery to create the optical illusion that the depicted objects exist in three dimensions. Her works are inspired by history, taking influences from, "money, pop stars, to Olympians, McKenzie paints fleeting moments of idealism: symbols of transient seduction and power" (Saatchi Gallery, 2019). She uses unconventional materials to create symbolic tableau's. I her exhibition Inspired by an Atlas of Leprosy, she replaces many of the soft textural materials we would normally find in an apartment with marble. In this way she forces the viewer to to consider form and content. As with Hurst's diamond skull above, the marble could be a reference to indulgence, while the simplified organization of the furniture, could be a reference to life being banal, creating an underlying subtext that pursuing earthly riches is not worth it. |
Reflection
I think it is important to look at the history of art and uncover the forerunners of movements and practices. It is not only an opportunity to learn about techniques but to consider the socio-cultural context that the artist brings to the work. Whether or not the above works qualify as vanitas, or still life paintings don't really matter, it is rather important that we view these pieces in their context and then evaluate the statement the artist is making. As I am still developing as a painter, it is useful for me to look at the work of others, but the challenge is to find my own voice in techniques or ideas that have been done before.
I think it is important to look at the history of art and uncover the forerunners of movements and practices. It is not only an opportunity to learn about techniques but to consider the socio-cultural context that the artist brings to the work. Whether or not the above works qualify as vanitas, or still life paintings don't really matter, it is rather important that we view these pieces in their context and then evaluate the statement the artist is making. As I am still developing as a painter, it is useful for me to look at the work of others, but the challenge is to find my own voice in techniques or ideas that have been done before.
research point
Hyper Realism/ Super-Realism/ Photorealism
Hyperrealism is art that looks so realistic it tricks the I, a concept called trompe l’oeil in French. The earliest artists whose work might be considered hyper- real were the Dutch masters, including Vermeer, who used the camera obscura and other optical devices to show the ‘reality’ of objects and people within architectural spaces. Hyperrealistic art was further refined with the invention of photography in the mid nineteenth century. Photorealism was a reaction to the invention of photography, as many artists were worried the with the invention of the photograph there would no longer be a need for art. Using photographs to create hyperrealistic art works meant that the artists could not only support the value of paintings, but also celebrate the value of it (Taggart, 2018).
Hyperrealism is art that looks so realistic it tricks the I, a concept called trompe l’oeil in French. The earliest artists whose work might be considered hyper- real were the Dutch masters, including Vermeer, who used the camera obscura and other optical devices to show the ‘reality’ of objects and people within architectural spaces. Hyperrealistic art was further refined with the invention of photography in the mid nineteenth century. Photorealism was a reaction to the invention of photography, as many artists were worried the with the invention of the photograph there would no longer be a need for art. Using photographs to create hyperrealistic art works meant that the artists could not only support the value of paintings, but also celebrate the value of it (Taggart, 2018).
Chuck Close
This American artist pioneered the Photorealism Movement with his large portraits. The artist used a technique similar to pointillism, whereby he used several little dots (or marks) to 'build' a face. What is also unique about his method is that he continually combines different mediums to produce his pieces, working with pastels, watercolours, pencil, oil, paper, tape etc. "By adopting a mechanical procedure and mimicking it physically, or by hand crafting what is normally carried out by the camera, Close suggests that illusion is ultimately in the eye of the beholder, whose own optical apparatus finally "completes" the picture" (The Art Story Contributers, 2019) |
Harriet White
Her paintings involve large-scale images reflecting conflicting senses of intimacy and glamour. The staged set-up and synthetic colour serve to emphasise the artifice, detaching the paintings from reality and suggesting a parallel world of Hollywood cinema and high-gloss fashion photography. "Through painting I aim to combine photographic accuracy and painterly distortion to create a removed ‘version’ of an image, one that has been translated but in itself is open to interpretation; to suggest the presence of some kind of narrative but never to clarify what it might be" (White, 2019). |
Reflection
I have always admired artists who are able to create works that look absolutely real, whether painted from a photograph or not. It is not only a testament to their impeccable observation skills, but also to their commitment in making those pain staking little marks that make the the subjects look so convincing. When I first started painting I also felt the need to represent everything faithfully as it appeared, but I soon realized that this was not my strong suit. But trying to teach/ train myself to look beyond the actual subject and find my own interpretation was very challenging. I often think not creating what is absolutely real or visible shows just as much talent as duplicating something exactly. In fact, if you are technically quite good with spacial awareness and form, it is probably easy. However, pushing boundaries creatively through interpretation and imagination may require a higher order of thinking. For me, whether working from photos (which I often do) or life, the more important thing is that I try to find a connection with what I am creating. Something that speaks to me, even if it doesn't speak to my audience.
Regarding the authenticity of work, I think I have mentioned before, that all art is really a form of appropriation as no idea can truly be considered the original idea. Fight Club (1999) said it best, "Everything is a copy of a copy of a copy". That being said, even if you can track down the root of idea, you can also recognize the point at which it evolved, changed or was re imagined.
I have always admired artists who are able to create works that look absolutely real, whether painted from a photograph or not. It is not only a testament to their impeccable observation skills, but also to their commitment in making those pain staking little marks that make the the subjects look so convincing. When I first started painting I also felt the need to represent everything faithfully as it appeared, but I soon realized that this was not my strong suit. But trying to teach/ train myself to look beyond the actual subject and find my own interpretation was very challenging. I often think not creating what is absolutely real or visible shows just as much talent as duplicating something exactly. In fact, if you are technically quite good with spacial awareness and form, it is probably easy. However, pushing boundaries creatively through interpretation and imagination may require a higher order of thinking. For me, whether working from photos (which I often do) or life, the more important thing is that I try to find a connection with what I am creating. Something that speaks to me, even if it doesn't speak to my audience.
Regarding the authenticity of work, I think I have mentioned before, that all art is really a form of appropriation as no idea can truly be considered the original idea. Fight Club (1999) said it best, "Everything is a copy of a copy of a copy". That being said, even if you can track down the root of idea, you can also recognize the point at which it evolved, changed or was re imagined.
reading point
If the idea of the ‘original’ interests you, read ‘The Work of Art in the Age of Mechanical Reproduction’ by Walter Benjamin (in Harrison & Wood, 2003). In this essay, Benjamin discusses the concept of a unitary authentic work of art, its ‘aura’ and the effect of modern/ mass reproduction (including print, photography and film) on our concept of the original.
Reflection
I have chosen to look at a few specific observations/ claims made in the essay that were of interest to me.
"In principle a work of art has always been reproducible"
The writer also continues to say that in order for something to be considered a reproduction, it means there must be an authentic original. If you wanted to be quite pedantic, you would also not consider the first one authentic either, as it was likely a 'copy' of something seen in nature and the urge of reproducing it.
"The greater the decrease in the social significance of an art form, the sharper the distinction between criticism and enjoyment by the public"
This makes an interesting point about how an audience response can affect the significance (or acceptance) of a piece. The writer also notes that audience size may vary, for example, a painting may not have as wide an audience as a photograph or film might. It brings up interesting points regarding work produced for the masses and how the impact of a greater audience can also play a role on how a piece of work is perceived. The socio-histroical context of this audience will also effect their response. I also think that artist intention should play a role here. A piece of art, regardless of its medium, was created with a specific intention, this intention may not necessarily be meant for the wider public or serve to 'entertain' them.
"The conventional is uncritically enjoyed, and the truly new is criticized with aversion."
People feel comfortable with what they know and can relate to. When confronted with brand new ideas or interpretations, their first instinct could be to reject it. This is easily seen throughout the history of art, where forerunners were first rejected for their new techniques or subject matter, but later celebrated for being a pioneer.
Reflection
I have chosen to look at a few specific observations/ claims made in the essay that were of interest to me.
"In principle a work of art has always been reproducible"
The writer also continues to say that in order for something to be considered a reproduction, it means there must be an authentic original. If you wanted to be quite pedantic, you would also not consider the first one authentic either, as it was likely a 'copy' of something seen in nature and the urge of reproducing it.
"The greater the decrease in the social significance of an art form, the sharper the distinction between criticism and enjoyment by the public"
This makes an interesting point about how an audience response can affect the significance (or acceptance) of a piece. The writer also notes that audience size may vary, for example, a painting may not have as wide an audience as a photograph or film might. It brings up interesting points regarding work produced for the masses and how the impact of a greater audience can also play a role on how a piece of work is perceived. The socio-histroical context of this audience will also effect their response. I also think that artist intention should play a role here. A piece of art, regardless of its medium, was created with a specific intention, this intention may not necessarily be meant for the wider public or serve to 'entertain' them.
"The conventional is uncritically enjoyed, and the truly new is criticized with aversion."
People feel comfortable with what they know and can relate to. When confronted with brand new ideas or interpretations, their first instinct could be to reject it. This is easily seen throughout the history of art, where forerunners were first rejected for their new techniques or subject matter, but later celebrated for being a pioneer.
figures
Appropriation Art
When an artist uses pre-existing objects or images in their art with few changes of the original (TATE, 2019).
Examples
1) The Chapman Brother's appropriation of Goya's Disasters of War (1810-20). For Goya these etchings represent the French invasion of Spain
whereas the Chapman Brother's Disasters of Every Day Life (1993) aims to point out how man is still destructive even without war, as we are controlled by the media. The use of toys or popular objects/ symbols in their versions of the etchings highlights the fallacy of our existence as well as our dependency on mass production, which is a commentary on authenticity.
When an artist uses pre-existing objects or images in their art with few changes of the original (TATE, 2019).
Examples
1) The Chapman Brother's appropriation of Goya's Disasters of War (1810-20). For Goya these etchings represent the French invasion of Spain
whereas the Chapman Brother's Disasters of Every Day Life (1993) aims to point out how man is still destructive even without war, as we are controlled by the media. The use of toys or popular objects/ symbols in their versions of the etchings highlights the fallacy of our existence as well as our dependency on mass production, which is a commentary on authenticity.
2) Banksy
Much of his work is a form of appropriation as he often uses popular paintings, images and symbols as a means to make a social commentary. He created a series of prints that put a new spin on Old Master's work, like Monet's Bridge over a Pond of Water Lilies (1899). For Monet this painting represents a quiet space where he spent much of his time enjoying nature. In Banksy's version Show me the Monet (2005), it represents society's dangerous relationship with globalized consumerism and how that is destroying nature.
Much of his work is a form of appropriation as he often uses popular paintings, images and symbols as a means to make a social commentary. He created a series of prints that put a new spin on Old Master's work, like Monet's Bridge over a Pond of Water Lilies (1899). For Monet this painting represents a quiet space where he spent much of his time enjoying nature. In Banksy's version Show me the Monet (2005), it represents society's dangerous relationship with globalized consumerism and how that is destroying nature.
Other artists who have made significant careers from appropriation are Jeff Koons, Andy Warhol, Cindy Sherman and Damien Hurst.
Reflection
Appropriation is a difficult topic for me, as my feelings about it depends on how the original is used. A part of me feels like if an artist simply prints a copy of another artist's painting a adds on additional detail or symbol over it, it not only diminishes the original work, but also diminishes the the hand of the artist. Visual art certainly does not only have to the physical act of painting, but whether it is digital sculptural or technical, there can still be evidence of the artist's hand. but then, you may also consider the purpose of the work appropriated. Looking at the example above by Banksy, taking something well known and beautiful to show the ugliness of present day society is a pretty effective tool and getting society's attention.
Particularly in marketing, making reference to imagery that is reconcilable will elevate your reach Thus, if an artist consider's them self or their work to be product, appropriation would be a good way of selling your product.
Reflection
Appropriation is a difficult topic for me, as my feelings about it depends on how the original is used. A part of me feels like if an artist simply prints a copy of another artist's painting a adds on additional detail or symbol over it, it not only diminishes the original work, but also diminishes the the hand of the artist. Visual art certainly does not only have to the physical act of painting, but whether it is digital sculptural or technical, there can still be evidence of the artist's hand. but then, you may also consider the purpose of the work appropriated. Looking at the example above by Banksy, taking something well known and beautiful to show the ugliness of present day society is a pretty effective tool and getting society's attention.
Particularly in marketing, making reference to imagery that is reconcilable will elevate your reach Thus, if an artist consider's them self or their work to be product, appropriation would be a good way of selling your product.
research point
John Currin
This American painter is a great example of how a contemporary artist can be inspired by the classical art of Renaissance painters, using techniques and compositional elements akin to the old masters. He has cleverly combines his knowledge of historical painters by pointing out the absurdity ad irony of the original. He tends to create portraits and nudes, as he thinks that popular culture has provided us with ridiculous views on beauty. They often have the feel of a classical pin-up, but with particular elements that stray from the 'ideal' (Glennon, 2019). He achieves this either through the composition/ depiction of the figures, or through the application technique. For example, he might show a woman that looks like a classical beauty, but one of her body parts is highly exaggerated or out of proportion. The thickness or colour of paints can also be used to make a particular area of a composition stand out.
This American painter is a great example of how a contemporary artist can be inspired by the classical art of Renaissance painters, using techniques and compositional elements akin to the old masters. He has cleverly combines his knowledge of historical painters by pointing out the absurdity ad irony of the original. He tends to create portraits and nudes, as he thinks that popular culture has provided us with ridiculous views on beauty. They often have the feel of a classical pin-up, but with particular elements that stray from the 'ideal' (Glennon, 2019). He achieves this either through the composition/ depiction of the figures, or through the application technique. For example, he might show a woman that looks like a classical beauty, but one of her body parts is highly exaggerated or out of proportion. The thickness or colour of paints can also be used to make a particular area of a composition stand out.
His work is a commentary on social structure. though much of it comments on our relationship with beauty, gender and sex, he also has works that comments on our behaviors in other areas. Thanksgiving, 2003 is a good example of this. Currin's work often draws from Dutch Still Life paintings, and this is evident through his use of flowers and fruit. The detail on the decorative pieces in the room are reminiscent of Van Eyck. The trend during the Renaissance was to portray ideal beauty by using portraying subjects as perfect. Even though the depiction may not be true, the realism with which it was captured made it appear so. Even then there were artists who challenged these notions, like El Greco, whose figures often had extremely long limbs. The women in Thanksgiving (2003) seem to take inspiration from this. There milky skin and glossy hair allude to notions of beauty, while their slightly distorted limbs and awkward angles make them less perfect. Currin is also pointing out society's obsession with food and opulence through the use of silverware and the Turkey, which also seems to be larger than usual. The piece almost takes on the form of a tasteful caricature. |
Reflection
I find Currin's work quite interesting, especially how he combines very classical imagery and techniques bu putting his own cultural ideologies on them. Though I think some of the work has a highly sexual nature, I understand the underlying commentary that makes on society. I like that he particularly plays with themes of masculinity and societal perceptions of beauty as this provides a means for the viewer to look inward and consider their own perceptions of these matters. This resonates with me as the pieces I am currently trying to work on also aim to experiment with gender stereotypes and perceptions of beauty.
I find Currin's work quite interesting, especially how he combines very classical imagery and techniques bu putting his own cultural ideologies on them. Though I think some of the work has a highly sexual nature, I understand the underlying commentary that makes on society. I like that he particularly plays with themes of masculinity and societal perceptions of beauty as this provides a means for the viewer to look inward and consider their own perceptions of these matters. This resonates with me as the pieces I am currently trying to work on also aim to experiment with gender stereotypes and perceptions of beauty.
abstraction
You may have looked at Jean Dubuffet earlier in the course, today we can look back and see his influence on artists like Francis Bacon (1909–92), Julian Schnabel (1951 - ), and Cy Twombly (1928–2011). Other artists who used thick paint to show its materiality, but in very different ways, have included Jackson Pollock (1912–56), Richard Serra (1939 - ), Leon Kossoff (1926 - ), Robert Ryman (1930 - ), Frank Auerbach (1931 -) and Antoni Tàpies (1923–2012).
Considering my own interests and what I am currently working on I will take a look at the work of Francis Bacon and Leon Kossoff and Frank Aurbach.
Considering my own interests and what I am currently working on I will take a look at the work of Francis Bacon and Leon Kossoff and Frank Aurbach.
Francis Bacon
He is an Irish painter who took influences from Surrealism and Expressionism. The subjects h painted often had distorted features and he made use of large thick brush strokes as a means to enhance those distortions. He was influenced by artists like Velazquez as well his own personal experiences during World War I, to which he attributes his violent and emotive imagery. His portraiture was especially striking and emotional as they were often of friends and close relations, like the portrait Head of Man (1959), which is of his lover Ron Belton. He has captured Belton with features that almost appear to be collapsing. The heavy strokes and choice of colour give it a haunting beauty. I love how freely and loosely he works with the paint and the colour. A stark contrast to the work of John Currin I was looking at before. Though we are looking at two very different approaches here, I do see a commonality in the theme, in that Bacon often depicted men, as he was trying to find his place within culture and society and their perceptions of what is acceptable of men. And while I can appreciate the technical skills involved in creating the realistic, yet whisical, details Currin does in his work, Bacon's expressionistic style still resonates with me more. I prefer it when the method of painting evokes emotions, rather than the particular subject matter. |
Leon Kossof
When creating hsi portraits Kossof has several visits with a subject, every time creating multiple sketches. One of these sketches will finally reveal the character of the sitter, leading to a process of emotionally and expressively applying paint to capture this character. The artists works with a highly impasto technique, layering paint to build the surface. He tends to work with a limited palette warm and earthy colours when creating his portraits, with outlines often favoring darker shade. |
Frank Auerbach
Auerbach's portraits are fractured and sculptural depictions which creates a psychological introspection forcing the viewer to be more attentive of their own unstable perceptions (Osborne-Bartucca, 2019). Within many of his paintings the figures become fractured that they are almost not visible. Though there are aspects about this technique that I appreciate, I am not fond of how colour is used in his compositions. I understand that this techniques suits his particular theme, but I prefer to more semblance of the sitter in the final portrait. His theme of engaging the viewer to question their own perceptions and thus grasp of identity, is something that resonates with me. Once piece that I particularly like is his self portrait drawing with charcoal pencil (left). Here he has not fractured too much of the features, so the identity is still evident. but some of the specific lines and distortions create a feeling of unease, making the viewer question the solidity of this character. The expression and contrast between light and dark add to the poetic notion of things being unhinged or uncertain. As an artist he was influenced by Rembrandt, Picasso, Rubens and Constable, finding particular inspiration from their ability to capture subjects with a sense of intimacy (Tate, 2019). |
Reflection
I like how the three artists above have created fragmented or distorted impressions of figures. When I first began painting figures, I was always very bogged down by creating accurate forms and details, which is challenging for me. I often feel as the my eye is just slightly off. This is what makes abstraction so great, as it can allow the opportunity to look beyond the conventional and realistic. Capturing figures with unconventional methods helps the image become poetic. As a viewer you almost feel like that you are now staring into the soul of the sitter. I have come to realize that what makes art good is the emotional response or connection it provides, whether for the painter or the viewer, as that gives it meaning. This is an area where I would like to continue to grow and I think using these artists as inspiration to step outside of the conventional would allow for that.
I like how the three artists above have created fragmented or distorted impressions of figures. When I first began painting figures, I was always very bogged down by creating accurate forms and details, which is challenging for me. I often feel as the my eye is just slightly off. This is what makes abstraction so great, as it can allow the opportunity to look beyond the conventional and realistic. Capturing figures with unconventional methods helps the image become poetic. As a viewer you almost feel like that you are now staring into the soul of the sitter. I have come to realize that what makes art good is the emotional response or connection it provides, whether for the painter or the viewer, as that gives it meaning. This is an area where I would like to continue to grow and I think using these artists as inspiration to step outside of the conventional would allow for that.
research point
It is impossible to ignore the power of Picasso’s Guernica, painted in 1937, and this could be considered a stepping stone (albeit potentially one of the most powerful statements an artist has made) from early ‘history’ paintings. Can you think of a contemporary artist whose paintings relate in some way to ‘history’ or ‘story painting’. Paula Rego is one such artist but there are many more. Many artists today adopt a political methodology within their work – Banksy, the Gorilla Girls, Ai Wei Wei, to name but a few. Can you find any more painters working in this way? Luc Tuymans and Annie Kevans, for example, both have a strong political dimension to their work.
Paula Rego
She is a Portuguese-British artist who combines elements of classical, surrealist and realist art. Her figures, usually females, are often presented in classical poses while the inclusion of animals and props provide allegorical meaning and surrealist undertones. Much of her paintings tell the stories of the life and culture of Portuguese women, particularly the working class. It is clear that she draws from culture and history, particularly the history of painting, within her own work (Da Cunha Lewin, 2019)
Her pastel series Dancing Ostriches (1995) is very intriguing. It consists of nine large ballerina paintings inspired by the Disney film, Fantasia. Fairy tail characters remind Rego of her childhood in Portugal and are often evident in her work. This series particularly highlights themes of body image and femininity. The ballerinas are a stark contrast to those of Degas, where females were sensual and elegant, presented to be observed. Rego has done away with the traditional pink leotards and put great emphasis on the build and expression of the ballerinas. These women likely represent how Rego viewed working class women in Portugal, as their day was laborious and the expectations on them were many. You can see that these women have hardened when looking at their faces and that their bodies are strong. Some of her other works have a more overt political message, but I like the reality and grit used to portray these women. One could certainly argue that art that questions a society's views and expectations of a specific gender has a political agenda, as these perceptions are cultural and a culture is greatly influenced by its political leaders.
She is a Portuguese-British artist who combines elements of classical, surrealist and realist art. Her figures, usually females, are often presented in classical poses while the inclusion of animals and props provide allegorical meaning and surrealist undertones. Much of her paintings tell the stories of the life and culture of Portuguese women, particularly the working class. It is clear that she draws from culture and history, particularly the history of painting, within her own work (Da Cunha Lewin, 2019)
Her pastel series Dancing Ostriches (1995) is very intriguing. It consists of nine large ballerina paintings inspired by the Disney film, Fantasia. Fairy tail characters remind Rego of her childhood in Portugal and are often evident in her work. This series particularly highlights themes of body image and femininity. The ballerinas are a stark contrast to those of Degas, where females were sensual and elegant, presented to be observed. Rego has done away with the traditional pink leotards and put great emphasis on the build and expression of the ballerinas. These women likely represent how Rego viewed working class women in Portugal, as their day was laborious and the expectations on them were many. You can see that these women have hardened when looking at their faces and that their bodies are strong. Some of her other works have a more overt political message, but I like the reality and grit used to portray these women. One could certainly argue that art that questions a society's views and expectations of a specific gender has a political agenda, as these perceptions are cultural and a culture is greatly influenced by its political leaders.
What I also find incredibly fascinating about this artist is that she is constantly experimenting with different styles and media. It is clear that she takes inspiration from her environment, experiences and art history. She is not afraid to dabble in different movements and continually push her creative boundaries. For example, if you look at the work Salazar a Vomitar a Pátria (1960) and compare it to Germaine Greer (1995), you would think they were to completely different artists.
Kathryn Keiser
This Canadian artist is also influenced by her surroundings and current affairs, using her art as a means to create awareness. This means that many of her oil paintings take on a strong element of story telling as the viewer is drawn in by considering their own views on these matters.
This Canadian artist is also influenced by her surroundings and current affairs, using her art as a means to create awareness. This means that many of her oil paintings take on a strong element of story telling as the viewer is drawn in by considering their own views on these matters.
Collateral Damage and Disparate shows the effect of war on people. These are particularly focused on the refugees of the war in Syria. I have chosen these two paintings as they are different in the way they tell a story. Collateral Damage takes a more 'obvious' approach as the destroyed urban setting immediately tells the viewer that there has been devastation here. The use of a young girl holding her toy also draws attention to the fact that the ones who suffer most from war, are the innocent. In Disparate, the portrait of this women becomes more symbolic and emotional. The women's grip on the fence and her expression leads to the viewer to a feeling of being trapped and longing for a better life.
Kaiser also has a great way of manipulating colour and paint to add to the emotional response of her paintings. There is a warmness to her palette which shows affection for the subject, this in turn also helps the viewer to engage with the subject emotionally.
reading point
Take every opportunity to read what artists say about their work.
Book: Ai Weiwei Speaks: with Hans Ulrich Obrist
These are some of the points from the book that interested me:
- The artist understands that art can have power. He often uses his art as means to advocate or protest issues. Issues whuch may include politics, cultural traditions and the impact modernization has on these.
- The artist is continually evolving. He is sensitive to cultural and technological changes and uses them to enhance his work and message. In 2006 he started a blog to document his practice, using the blog as a form of creative resistance.
- The artist takes much of his inspiration from his own life and as he is so outspoken about Chinese politics, he is able to draw from his persecution on this.
- The artist uses his knowledge of art (painting on canvas) and expands it to writing, architecture and poetry.
- He uses photography to capture people and surroundings. The images serve as a means of storytelling. He also uses them as reminders, saying that he has difficulty using his imagination and needs real references or moment captured to help him remember.
(Obrist, 2011)
Ai Weiwei
He is contemporary Chinese artist who works mainly in sculpture and architecture. He uses his work to make a social commentary on society, particularity his political views on the Chinese government and human rights.
Book: Ai Weiwei Speaks: with Hans Ulrich Obrist
These are some of the points from the book that interested me:
- The artist understands that art can have power. He often uses his art as means to advocate or protest issues. Issues whuch may include politics, cultural traditions and the impact modernization has on these.
- The artist is continually evolving. He is sensitive to cultural and technological changes and uses them to enhance his work and message. In 2006 he started a blog to document his practice, using the blog as a form of creative resistance.
- The artist takes much of his inspiration from his own life and as he is so outspoken about Chinese politics, he is able to draw from his persecution on this.
- The artist uses his knowledge of art (painting on canvas) and expands it to writing, architecture and poetry.
- He uses photography to capture people and surroundings. The images serve as a means of storytelling. He also uses them as reminders, saying that he has difficulty using his imagination and needs real references or moment captured to help him remember.
(Obrist, 2011)
Ai Weiwei
He is contemporary Chinese artist who works mainly in sculpture and architecture. He uses his work to make a social commentary on society, particularity his political views on the Chinese government and human rights.
In Life Cycle (2018) he highlights the plight of refugees, a topic that resonates with him as he was a child refugee. The refugee crisis is one that is global and can speak to many viewers. Ai Weiwei has recreated a recognizable scene using a boat crowded with refugees, but he has created it using bamboo and silk materials and by crafting them with traditional Chines Kite making techniques. The mystic creatures suspended above the boat represent the mountains and seas from the shan hai jing. The creatures represent history and culture, but some are also more personal to the artist and have become regular motifs in his work (Barandy, 2018).
It is a thought provoking peace that will hopefully spark answers to world's refugee crisis. The intricacy of the work means that the viewer has to step closer and take a hard look at the effects of war and poor government. |
Reflection
What is interesting about Ai Weiwei is that he takes inspiration from all mediums of art to create, even ones he doesn't like, in order to develop his craft. He also clearly has a talent for taking inspiration from real life and re-imagining it as a structural concept, even though he claims not to have an imagination. It is clear that even though he has issues with the political views of the Chinese government, he still has a deep respect for the cultural traditions and history of the country.
What is interesting about Ai Weiwei is that he takes inspiration from all mediums of art to create, even ones he doesn't like, in order to develop his craft. He also clearly has a talent for taking inspiration from real life and re-imagining it as a structural concept, even though he claims not to have an imagination. It is clear that even though he has issues with the political views of the Chinese government, he still has a deep respect for the cultural traditions and history of the country.
ways of seeing
John Berger
He is a renowned artist, poet and critic from Britain. Ways of Seeing (1972) is an influential book that particularly delves into the 'language' of painting and how we look at art. It was accompanied by a TV series of the same name, where each new episode questioned what we see and how we see it. Here are some notes on areas that stood out to me:
"The Way we see things is affected by what we know or what we believe" (p8)
Our knowledge affects what we perceive. Our knowledge is tied to our culture, upbringing and education, which means each person will find slightly different meanings within a painting depending on their frame of reference, or 'learnt assumptions'.
An image allows us to "share the artist's experience of the visible" (p10)
This shows that there is another factor to consider in how we see and what we know. Not only does a viewer place meaning to an image based on their knowledge, the creator placed meaning in the image based on their knowledge. And these are likely to differ contextually like through their history, culture, political views etc. This could mean the risk of the original meaning of an image being lost.
"In the age of pictorial reproduction the meaning of paintings is no longer attached to them; their meaning becomes transmittable ... like information that carries no special authority within itself" (p24)
When reproducing, reapropriating or digitally capturing a painting you take it out of its original context. The meaning of the painting changes according to the new context it is now placed it. This is because the reproduction might place focus on isolated part, where the original was meant to be experienced as a whole.
"Women have been seen and judged as sights" (p47)
Berger notes that by studying the European nude we quickly discover that women are an object , a sight to behold. As they are always perceived as something to be looked at (the male gaze), they begin to present themselves in a way to be looked at.
The author also notes how many of our current perceptions of the world is derived from publicity (the media) and these function by providing the viewer (consumer) with a sense of lack. They have honed (or narrowed) our interests towards things, things we don't have, but are convinced to need. They perpetuate ideas of how we should see ourselves and others, thus impacting the way in which we perceive art.
None of these points are necessarily bad things, but the are worth noting, as it will allow you to recognize your own bias and hopefully make you question the true roots of your perceptions.
He is a renowned artist, poet and critic from Britain. Ways of Seeing (1972) is an influential book that particularly delves into the 'language' of painting and how we look at art. It was accompanied by a TV series of the same name, where each new episode questioned what we see and how we see it. Here are some notes on areas that stood out to me:
"The Way we see things is affected by what we know or what we believe" (p8)
Our knowledge affects what we perceive. Our knowledge is tied to our culture, upbringing and education, which means each person will find slightly different meanings within a painting depending on their frame of reference, or 'learnt assumptions'.
An image allows us to "share the artist's experience of the visible" (p10)
This shows that there is another factor to consider in how we see and what we know. Not only does a viewer place meaning to an image based on their knowledge, the creator placed meaning in the image based on their knowledge. And these are likely to differ contextually like through their history, culture, political views etc. This could mean the risk of the original meaning of an image being lost.
"In the age of pictorial reproduction the meaning of paintings is no longer attached to them; their meaning becomes transmittable ... like information that carries no special authority within itself" (p24)
When reproducing, reapropriating or digitally capturing a painting you take it out of its original context. The meaning of the painting changes according to the new context it is now placed it. This is because the reproduction might place focus on isolated part, where the original was meant to be experienced as a whole.
"Women have been seen and judged as sights" (p47)
Berger notes that by studying the European nude we quickly discover that women are an object , a sight to behold. As they are always perceived as something to be looked at (the male gaze), they begin to present themselves in a way to be looked at.
The author also notes how many of our current perceptions of the world is derived from publicity (the media) and these function by providing the viewer (consumer) with a sense of lack. They have honed (or narrowed) our interests towards things, things we don't have, but are convinced to need. They perpetuate ideas of how we should see ourselves and others, thus impacting the way in which we perceive art.
None of these points are necessarily bad things, but the are worth noting, as it will allow you to recognize your own bias and hopefully make you question the true roots of your perceptions.
Gallery Visits
I went to the annual Hong Kong Affordable Art Fair. The fair has a great collection of galleries from around the world and allows for opportunities to see up and coming artists. Here are some that made an impression on me.
Adam Riches is a British painter chose portraits are mostly monochromatic. His portraits and figures contemplate the human condition through melancholy and distortion. The painting above was created with oil, but he also works with pen, creating more intricate and complicated sketches. I like how the slight distortions and unfinished areas give the painting movement. It also becomes symbolic of the sitter (or painter's) psyche. |
Toffoletti mostly paints the female figure as her says, "the subject - woman - is a pretext for a representation of the natural essence that lies deep in all of us. It is nature stripped of all prejudice or disguise.
In Pier's art, marks and graffiti have become a mysterious language (Tofoletti, 2019). He is highly influenced by the texture created when applying paint with the brush and graffiti. You can see this influence in the piece above as he uses the brush to mess with the depth of the image. The textures and graphic colours drag the figure into the background. |
Lisa Huang is a Singaporean painter who relies on colour and texture to capture the sensitivity of the architecture around her. In the painting above she has combined water colour with Chinese ink. I am interested in how she has used the watercolours to block out colours and then applied the Chinese ink with a more frilly and loose technique to give it a sketchy feel. |
Paul Wright is a British artist who works with a great sense of immediacy, which gives his paintings an energetic dynamic and texture. I am drawn most to his technique, as he is not afraid to work in vibrant colours. He also uses his brush methodically in capturing an impressionistic atmosphere, a skill I am still trying to hone. |
works cited
Artnet (2019) George Shaw. [online] At: http://www.artnet.com/artists/george-shaw-2/ (Accessed on 2 May 2019)
Berger, J. (1972) Ways of Seeing. British Broadcasting Corporation. Penguin Books.
Barandy, K. (2018) Ai weiwei addresses the global refugee crisis with his 'life cycle' exhibition in los angeles. [online] At: https://www.designboom.com/art/ai-weiwei-life-cycle-10-05-18/ (Accessed on 22 May 2019)
Cohen, A. (2018) Tracey Emin’s “My Bed” Ignored Society’s Expectations of Women. [online] At: https://www.artsy.net/article/artsy-editorial-tracey-emins-my-bed-ignored-societys-expectations-women (Accessed on 10 May 2019)
Da Cunha Lewin, K. Paula Rego. [online] At: https://www.theartstory.org/artist-rego-paula-artworks.htm#pnt_7 (Accessed on 15 May 2019)
Feaver, D. (2019) NUMBER 22 1972 David Hepher (1935 – ). [online] At: http://visualarts.britishcouncil.org/collection/search-9/number-22-hepher-1972-p1567/search/keywords:banal/page/1 (Accessed on 2 May 2019)
Glennon, J. (2019) John Currin. [online] At: https://www.theartstory.org/artist-currin-john.htm (Accessed on 14 May 2019)
Hooper, E. and Levin, G. (1998) Edward Hopper: an intimate biography. University of California Press.
Jonze, T (2019) Anarchy in Coventry: George Shaw's greatest hits. [online] At: https://www.theguardian.com/artanddesign/2019/feb/13/rembrandt-british-housing-estate-george-shaw-coventry-tile-hill-greatest-hits (Accessed on 2 May 2019)
New, J. (2015) Local Colour. [online] At: https://frieze.com/article/local-colour (Accessed on 6 May 2019)
Obrist, H.U. (2011) Ai Weiwei Speaks: with Hans Ulrich Obrist. Penguin, UK
Osborne-Bartucca, K. Frank Auerbach. [online] At: https://www.theartstory.org/artist-auerbach-frank.htm (Accessed on 14 May 2019)
Saatchi Gallery (2019) Lucy McKenzie - Artist's Profile. [online] At: https://www.saatchigallery.com/artists/lucy_mckenzie.htm (Accessed on 4 May 2019)
Taggart, E. (2018) How Hyperrealism Art Evolved From Religious Paintings to Simulated Reality. [online] At: https://mymodernmet.com/hyperrealism-history/ (Accessed on 8 May 2019)
TATE, (2019) Appropriation. [online] At: https://www.tate.org.uk/art/art-terms/a/appropriation (Accessed on 10 May 2019)
TATE (2019) Vanitas. [online] At: https://www.tate.org.uk/art/art-terms/v/vanitas (Accessed on 3 May 2019)
TATE (2019) Who is Frank Auerbach. [online] At: https://www.tate.org.uk/whats-on/tate-britain/exhibition/frank-auerbach/auerbach-introduction (Accessed on 5 June 2019)
Toffoletti, P (2019) Pier Toffoletti. [online] At: http://www.piertoffoletti.com/index.php/en/13-english.html (Accessed on 24 June 2019)
The Alternative UK (2019) For the artist George Shaw, one Coventry housing estate contains endless grace and transcendence. [online] At: https://www.thealternative.org.uk/dailyalternative/2019/2/10/george-shaw-estate-transcendence (Accessed on 2 May 2019)
The Art Story (2019) Chuck Close. [online] At: https://www.theartstory.org/artist-close-chuck.htm (Accessed on 9 May 2019)
White, H (2019) Harriet White. [online] At: http://www.harrietwhite.co.uk/about (Accessed on 8 May 2019)
Berger, J. (1972) Ways of Seeing. British Broadcasting Corporation. Penguin Books.
Barandy, K. (2018) Ai weiwei addresses the global refugee crisis with his 'life cycle' exhibition in los angeles. [online] At: https://www.designboom.com/art/ai-weiwei-life-cycle-10-05-18/ (Accessed on 22 May 2019)
Cohen, A. (2018) Tracey Emin’s “My Bed” Ignored Society’s Expectations of Women. [online] At: https://www.artsy.net/article/artsy-editorial-tracey-emins-my-bed-ignored-societys-expectations-women (Accessed on 10 May 2019)
Da Cunha Lewin, K. Paula Rego. [online] At: https://www.theartstory.org/artist-rego-paula-artworks.htm#pnt_7 (Accessed on 15 May 2019)
Feaver, D. (2019) NUMBER 22 1972 David Hepher (1935 – ). [online] At: http://visualarts.britishcouncil.org/collection/search-9/number-22-hepher-1972-p1567/search/keywords:banal/page/1 (Accessed on 2 May 2019)
Glennon, J. (2019) John Currin. [online] At: https://www.theartstory.org/artist-currin-john.htm (Accessed on 14 May 2019)
Hooper, E. and Levin, G. (1998) Edward Hopper: an intimate biography. University of California Press.
Jonze, T (2019) Anarchy in Coventry: George Shaw's greatest hits. [online] At: https://www.theguardian.com/artanddesign/2019/feb/13/rembrandt-british-housing-estate-george-shaw-coventry-tile-hill-greatest-hits (Accessed on 2 May 2019)
New, J. (2015) Local Colour. [online] At: https://frieze.com/article/local-colour (Accessed on 6 May 2019)
Obrist, H.U. (2011) Ai Weiwei Speaks: with Hans Ulrich Obrist. Penguin, UK
Osborne-Bartucca, K. Frank Auerbach. [online] At: https://www.theartstory.org/artist-auerbach-frank.htm (Accessed on 14 May 2019)
Saatchi Gallery (2019) Lucy McKenzie - Artist's Profile. [online] At: https://www.saatchigallery.com/artists/lucy_mckenzie.htm (Accessed on 4 May 2019)
Taggart, E. (2018) How Hyperrealism Art Evolved From Religious Paintings to Simulated Reality. [online] At: https://mymodernmet.com/hyperrealism-history/ (Accessed on 8 May 2019)
TATE, (2019) Appropriation. [online] At: https://www.tate.org.uk/art/art-terms/a/appropriation (Accessed on 10 May 2019)
TATE (2019) Vanitas. [online] At: https://www.tate.org.uk/art/art-terms/v/vanitas (Accessed on 3 May 2019)
TATE (2019) Who is Frank Auerbach. [online] At: https://www.tate.org.uk/whats-on/tate-britain/exhibition/frank-auerbach/auerbach-introduction (Accessed on 5 June 2019)
Toffoletti, P (2019) Pier Toffoletti. [online] At: http://www.piertoffoletti.com/index.php/en/13-english.html (Accessed on 24 June 2019)
The Alternative UK (2019) For the artist George Shaw, one Coventry housing estate contains endless grace and transcendence. [online] At: https://www.thealternative.org.uk/dailyalternative/2019/2/10/george-shaw-estate-transcendence (Accessed on 2 May 2019)
The Art Story (2019) Chuck Close. [online] At: https://www.theartstory.org/artist-close-chuck.htm (Accessed on 9 May 2019)
White, H (2019) Harriet White. [online] At: http://www.harrietwhite.co.uk/about (Accessed on 8 May 2019)