Wednesday, 30 December 2009
Tuesday, 29 December 2009
Monday, 28 December 2009
Sunday, 27 December 2009
Saturday, 26 December 2009
Monday, 21 December 2009
Below is Bleckner’s Falling Birds 1994.
The other area of interest, not unconnected with Bleckner was the sublime and the possibilities that a relatively new medium, a digital medium could bring to it. Bleckner’s influence was extreme and heavy (side stepping Bleckner’s own influences, notably Brigritte Riley, too new, too rigid) and I created a series of stripe or zip pictures. This evolved after some experimentation into my first real digital picture Ornithology.
Ornithology tapped into areas of history that in my youthful ignorance I had neglected, ignored or just forgotten: the bird emblem belonged to the work of Max Ernst.
Friday, 11 December 2009
Thursday, 10 December 2009
- Mixed media
- Photographic Imagery
- Found Imagery
Max Ernst seems to be one of a number of influences. Here is a piece of his writing on one of the approaches that guided his development as an artist.
“Inspiration to Order” 1932:
“Being one fine rainy day… I found myself recalling how in childhood an imitation mahogany panel opposite my bed had served as optical excitant of a somnolence vision, and I was struck by the obsession now being imposed on my Irritated Gaze by the floor…”
Max Ernst is inspired here by the writings of Leonardo: his Treatise on Painting.
Recent research into the Migraine aura and the mechanisms of visual hallucinations and its manifestations and representations in 20th Century Art:
My research has explored digital imagery in print and film. It has including exploring the possibilities of art on the Internet, which culminated in the production of a digital film "Of Art and Migraines" for the BBC Telling Lives project (not a great “film” by a long chalk.). The content or main inspiration on my work brought my art to the attention of Dr Klaus Podoll of the Department of Psychology and Psychotherapy, University of Technology (RWTH) Aachen, Germany. We exchanged theories about the influence of migraine auras on 20th Century Art and its source for artistic inspiration in contemporary art and he soon put me straight. The digital works I produce are an investigation into the relationship between my migraines and my practice as an artist. The digital images explore the nature of the migraine auras or hallucinations. My research has included writing about my work and its relationship with the auras and contains discussions about other artists who have possibly been inspired by the migraines optical effects and suffered similar conditions.
Dr Klaus Podoll kindly produced an article on the subject of visual migraine and my digital images. It my contribution to a website specifically devoted to the subject of "Migraine Art". You can visit The Migraine Aura Foundation website here : www.migraine-aura.org and www.migraine-aura.org/content.
Wednesday, 9 December 2009
I appropriated from a variety of sources like forties and fifties science books, the National Geographic and “Peter and Jane” books. With my approach being largely inspired by the art of Barbara Kruger and Jenny Holzer's and their statements and aphorisms, I added my own potentially subversive statements to my chosen images. They seemed to give them a transforming charge and power, that suggested to me that art could morally influence the world, challenge the powers that be and challenge/subvert political/public discourse. It was an art of the street, an art that critiqued mass culture, consumerism and official language: military, political, governmental and economic. I fused that language with culled imagery.
I don't think that many believe that art can transform life any more. Okay, so you have Banksy and Posterboy, with their powerful and critical pieces, the true heirs to Grosz, Heartfield, Hoch and Hausmann.
The attacks laid at Holzer and Kruger from some quarters, notably Richard Kostalanetz and Jeremy Gilbert-Rolfe made me question the effectiveness and purposefulness of such art and the making of art. Kostelanetz referred to Holzer's art as 'dull' (2001, p. 290) and Kruger's work as 'advertisements for themselves' (Ibid. p. 354). Gilbert Rolfe compares Holzer's slogans to those of 'Mao Tse-Tung or or the Ayatolloh Khomeni' (1995, p. 30), preferring to view art as 'beyond piety' to borrow from the title of his collection of criticism. The attacks were furious and still leave me unsure in my own mind at the relevance and power of political art.
Ideology and critical discourse aside, I quickly bored with the sort of seemingly uncreative post-modern pictures that that relied upon so much of the past, without the creative challenges of producing a convincing picture. I began to look again at picture making.
Tuesday, 8 December 2009
Monday, 7 December 2009
Here are some of my thoughts on Modernism and Modernity:
The adjective modern refers to the contemporaneous. So in terms of art, all art is modern to those who make it, whether they are the inhabitants of Renaissance Florence or present day Lincoln. Specifically the term Modern refers to a historical period from the mid 19th century to the nineteen seventies. The exact end date for modernism is up for debate, but we could argue the the 1970s represented the beginning of the end.
Modernism is a critical approach that stresses innovation over all criteria. It is characterised by a radical attitude toward both the past and present. Historically we begin in the 18th Century and the Enlightenment and then at a period that has often been called the Age of Revolution (American, French and Industrial) and then in 1848 the year of the Chartists and the revolutions that swept Europe changing peoples attitude to contemporary life. Crucial to the development of modernism was the break down of traditional of financial power-the church, the state, and the aristocratic elite. This meant that artists were more independent and so free to determine the content of their art, refusing to depict paintings with mythological, religious and historical themes (often referred to as Academic Art). Modernism was widely, but not exclusively associated with life in an industrialised society and was often distinguished by its celebration of technology and science (challenged by many modern artists after 1914). Modern Art arose as part of Western society’s attempt to come to terms with the urban, industrial and secular society that emerged from the 19th century. Modern design emerged as a reaction against the declining standards of craftsmanship and to the Art Nouveau movement from the 1880s onwards. Many practitioners recognized the need for new approaches that would enable the mass production of well-made artefacts for mass consumption. It was believed that mechanization and technology, if properly channelled, could change society for the better. Progress seems to be a key word here when in art we see one style succeed another in quick succession. In the late 19th Century and early Twentieth Century we see the content of art shift from realism and naturalism to spirituality, the celebration of technology, the evocation of primitivism and the emptying of art of all identifiable forms. So Modernism cannot be seen as just one movement.
Hello and welcome! This is the first of hopefully many entries to my production planning (b)log for an MA in Digital Imaging & Photography at Lincoln University.
This blog gives the author the opportunity to discuss research, make connections and acts as a diary that records any developments as a....(wait for it!) a thinker (lol) and a creative.
I am late with this blog, mainly because I have not worked on the web for nearly ten years, well not directly anyway. I am also less starry eyed about the web. Less sure. I am not entirely comfortable with sharing my thoughts and ideas within this context, but then why bother having them. Why be worried about any level of scrutiny and criticism?
The course began in late September, we are now in week 11, so I thought I had better make a start and join the rest of the MA community on-line. The course is divided between theory and critical units and three major practical projects spread out over the course of two years. I must confess that my main interests lay in theory and history, but in terms of practice I make digital collages/paintings. I will be posting examples.
The current theory unit “Media Technologies and the Public Spheres” has been immensely enjoyable and challenging and opens up for me some startling debates about media practices , audiences and the impact of technologies on culture and society and visa versa. My background is largely fine art and so although many of the critics and theorists are familiar to me, having to explore them in a media context is immensely helpful. I'll try to comment further about this.