Monday, 25 April 2011
Marcel Duchamp's 'Green Box'
This work was shown quite out of the way given the artist's stature and notoriety, and I was surprised to come across a temporary work so tucked against a wall in what can only be described as a hallway, in comparison to the rest of the rooms housing the majority of works in the Reina Sofia. Obviously I do realise the fact that space is not infinite, but this is a master among masters, his ideas often represent what conceptualism and concept based art has grown from to become, he is seen by most (including myself) to be a leader in the field of changing peoples perception of what is art, and who's right it is to advocate such a title. He pushed boundaries, opened doors, and inspired so many, much more so than some of the artists seen in the Reina Sofia, and we see this singular defining piece of his work tucked back against a wall in a windowless hallway? I think this is a great injustice, and the Tate Modern should have thought twice about lending out such a prized possession.
It is quite easy to acknowledge my thoughts on Duchamp's work, and his quite frankly legendary status among some of the artists he is surrounded by in galleries whom appear as mere mortals. To see this in real life was indeed surreal, and something I'll never forget, given my partial anger of its location even when in the presence of wonder, I couldn't help but think it was an injustice. Either way, although it is quite often suggested by most that this is a catalogue of notes to help you understand the work it is the notation for (The Bride Stripped Bare by her Bachelors, Even (The Large Glass), this is actually quite obviously a verbal, text based form of the piece, a way in which to view the piece through words and concepts, and not as the apparent finished product. For me, this is the final outcome, these 94 pages define the conceptual element of the piece, and therefore the piece itself.
This work was shown quite out of the way given the artist's stature and notoriety, and I was surprised to come across a temporary work so tucked against a wall in what can only be described as a hallway, in comparison to the rest of the rooms housing the majority of works in the Reina Sofia. Obviously I do realise the fact that space is not infinite, but this is a master among masters, his ideas often represent what conceptualism and concept based art has grown from to become, he is seen by most (including myself) to be a leader in the field of changing peoples perception of what is art, and who's right it is to advocate such a title. He pushed boundaries, opened doors, and inspired so many, much more so than some of the artists seen in the Reina Sofia, and we see this singular defining piece of his work tucked back against a wall in a windowless hallway? I think this is a great injustice, and the Tate Modern should have thought twice about lending out such a prized possession.
It is quite easy to acknowledge my thoughts on Duchamp's work, and his quite frankly legendary status among some of the artists he is surrounded by in galleries whom appear as mere mortals. To see this in real life was indeed surreal, and something I'll never forget, given my partial anger of its location even when in the presence of wonder, I couldn't help but think it was an injustice. Either way, although it is quite often suggested by most that this is a catalogue of notes to help you understand the work it is the notation for (The Bride Stripped Bare by her Bachelors, Even (The Large Glass), this is actually quite obviously a verbal, text based form of the piece, a way in which to view the piece through words and concepts, and not as the apparent finished product. For me, this is the final outcome, these 94 pages define the conceptual element of the piece, and therefore the piece itself.
Wednesday, 2 March 2011
John Stezaker
This is an artist recommended to me by many a peer, and I can see why. admittedly not for the pieces themselves, but for the concept, thought and progression involved to create them. It is widely known that Stezaker spends an immense amount of time on choosing the perfect set of images to go together, deliberating over days, weeks, months, to find the specific image necessary to accomplish his goals. This tiresome and often gruelling regime is one of which I cannot replicate necessarily myself, however the hours that I put into the exact image choice and arrangement of the collages that I create is one I like to believe is an above acceptable amount. Needless to say the amount of time spent on the collages that I now create is above and beyond requirements, however the efforts make them subtle differences that truely transform a piece.
Stezaker's work is bold, clear-cut, definitive and I like it for what it is, however I believe it reminds me too much of minimalism in the context of a collaged portrait, and though I may take safety in the knowledge of the time and effort spent on his collages as I spend on mine, the works shant necessarily influence my style, the disfunctional relationships I configure between the various pieces within my collages are much more appropriate to my needs. Suffice to say, I still respect and admire the works below.
This is an artist recommended to me by many a peer, and I can see why. admittedly not for the pieces themselves, but for the concept, thought and progression involved to create them. It is widely known that Stezaker spends an immense amount of time on choosing the perfect set of images to go together, deliberating over days, weeks, months, to find the specific image necessary to accomplish his goals. This tiresome and often gruelling regime is one of which I cannot replicate necessarily myself, however the hours that I put into the exact image choice and arrangement of the collages that I create is one I like to believe is an above acceptable amount. Needless to say the amount of time spent on the collages that I now create is above and beyond requirements, however the efforts make them subtle differences that truely transform a piece.
Stezaker's work is bold, clear-cut, definitive and I like it for what it is, however I believe it reminds me too much of minimalism in the context of a collaged portrait, and though I may take safety in the knowledge of the time and effort spent on his collages as I spend on mine, the works shant necessarily influence my style, the disfunctional relationships I configure between the various pieces within my collages are much more appropriate to my needs. Suffice to say, I still respect and admire the works below.
Monday, 24 January 2011
Bob Kilvert
I haven't found much else on this artist, though he seems competent to say the least. I have no idea of his origins, where he came to learn his trade, I can't get hold of a copy of the book it is from anymore, even though I have viewed it in person much to my annoyance (I should've jumped at the chance to collect information on a piece of collage work I like) but alas, I have failed. Either way the mystery is something I love.
The piece itself is inspirational in its use of materia, however much of it looks/seems to be 'painted between the lines'. Whether consciously constructed with the imagery at play her, or totally misconstrued by myself to a higher sense of credibility, as if it doesn't deserve as much as I am giving it, the piece is subliminally suggestive of a lonely almost desperate elder, tattered and broken, seeking refuge in a tavern of some sort. The emotion conveyed are vague at best, though subtly they creep in, the more you view this piece as a whole and not just a collaged load of smaller images. I can only but assume it is due to the negative amount of facial features on show, that gives the work a subtle and quiet way of conveying its emotional content. This is just another way of backing the stark contrast of this work that I create.
“The Black Felt Hat” by Bob Kilvert, from Creative Collage Techniques by Nita Leland and Virginia Lee Williams.
http://www.dawnsbrain.com/index.php?s=hume
© Dean Ross.
David Lock
The pieces below were found through the discovery of some though crude, very vibrant and likeable paintings in a collage book (see bottom for name etc), which then led me to research the artist, and find that his collage work is much more vibrant, strong and overall technically flawless in my eyes. The paintings had such a blase feel, as if thrown out without care or attention to the subject or the integrity of the artist. The collages however have something all the more enticing to them. They feel as if the literal structured layers are the key to a host of metaphorical layering associated with each piece of the collage jigsaw, every placement has an impact somewhere else, every piece playfully exchanges with its counterparts. I hope that within my own collages I have taken even half as much time as the hours that must have gone into these collages, as they represent so much, they feel finished, in a defiantly crafted, highly thought out sort of way. I love these collages, I hope my own live upto my own expectations in other people's eyes.
Misfit (66)
Misfit (12)
Misfit (63)
Misfit (70)
Misfit (65)
Misfit (67)
The pieces below were found through the discovery of some though crude, very vibrant and likeable paintings in a collage book (see bottom for name etc), which then led me to research the artist, and find that his collage work is much more vibrant, strong and overall technically flawless in my eyes. The paintings had such a blase feel, as if thrown out without care or attention to the subject or the integrity of the artist. The collages however have something all the more enticing to them. They feel as if the literal structured layers are the key to a host of metaphorical layering associated with each piece of the collage jigsaw, every placement has an impact somewhere else, every piece playfully exchanges with its counterparts. I hope that within my own collages I have taken even half as much time as the hours that must have gone into these collages, as they represent so much, they feel finished, in a defiantly crafted, highly thought out sort of way. I love these collages, I hope my own live upto my own expectations in other people's eyes.
Misfit (66)
Misfit (12)
Misfit (63)
Misfit (70)
Misfit (65)
Misfit (67)
Misfit (07)
Lock, David (2006) Collage: Assembling Contemporary Art, pg.166-167, black dog publishing, 2008. ISBN 978-1-906155-39-1
http://www.david-lock.com/collage.html
© Dean Ross.
Ellenjo04
A wistful attempt at amateur art and a basic grasp of high school art lessons has produced this, however I am very drawn to it. There is something deeply wrong with this piece, emotionally the 'artist' must be rather dark, twisted, intense. It's not necessarily the technique, but the image itself that defines this work. It certainly shows in this that art doesn't have to be technically sound (thouh that may be how I often prefer it) as this image has defiantly taken the way in which I want to destroy a face and accomplished it with anger and destroyed sanity (or so I believe, I may not be of sound mind myself, but who is?). This is a good furious, fast paced way of working, it really benefits what I think the artist is trying to convey - schizophrenic loneliness, a distance from everything, even the subjects own person.
http://home-and-garden.webshots.com/photo/1534410609062709791OQOTyi
© Dean Ross.
Ewa (Eva) Sim-Zabka
Eva uses a deft hand in her painting, embracing collage to reinforce the imagery with an extra deeper layer of interest, covering with paint, exposing the collage, fading between the two forces playfully interacting in this piece. Admittedly this isn't my cup of tea per se; as a piece of artwork I wouldn't suggest I like it necessarily, however the technique involved and the way it is executed is wonderful. Quite simply I don't like the piece itself but I like what was involved in creating this piece.
http://www.onecolorfullife.com/collage.html
© Dean Ross.
Eva uses a deft hand in her painting, embracing collage to reinforce the imagery with an extra deeper layer of interest, covering with paint, exposing the collage, fading between the two forces playfully interacting in this piece. Admittedly this isn't my cup of tea per se; as a piece of artwork I wouldn't suggest I like it necessarily, however the technique involved and the way it is executed is wonderful. Quite simply I don't like the piece itself but I like what was involved in creating this piece.
http://www.onecolorfullife.com/collage.html
© Dean Ross.
Jonathan Yeo
PORTRAIT OF LUCIAN FREUD FROM PRIVATE PARTS
PORTRAIT OF LUCIAN FREUD FROM PRIVATE PARTS
"Jonathan Yeo’s tribute to Lucian Freud has been achieved by pasting together cuttings from pornographic magazines to form a portrait.
Art world insiders see the collage as a daring image that both reflects one of Freud’s best known works, his 1985 self-portrait, and reveals Yeo’s own naked ambition.
Yeo, 38, whose previous subjects have included the Duke of Edinburgh and Tony Blair in more traditional hues, said last week: “It’s a tribute to an artist I greatly admire. I have done it this way because Freud himself has made his reputation – at least in part – by his portraits of both men and women naked. It’s a light-hearted tribute and not in any way an insult.”
Charles Saumarez Smith, who was director of the National Portrait Gallery in the 1990s, said, “Yeo is the young rising star of portraiture and Freud is the acknowledged master. It’s a homage that has its tradition in the past. Painters would quite often do portraits of other artists they admired. Admittedly this one of Freud is rather different as Yeo has used this other dimension – people’s private parts.”
The picture of Freud, which goes on show this week at an exhibition in central London, is a return to a technique Yeo used last year for a picture of President George W Bush"
Art world insiders see the collage as a daring image that both reflects one of Freud’s best known works, his 1985 self-portrait, and reveals Yeo’s own naked ambition.
Yeo, 38, whose previous subjects have included the Duke of Edinburgh and Tony Blair in more traditional hues, said last week: “It’s a tribute to an artist I greatly admire. I have done it this way because Freud himself has made his reputation – at least in part – by his portraits of both men and women naked. It’s a light-hearted tribute and not in any way an insult.”
Charles Saumarez Smith, who was director of the National Portrait Gallery in the 1990s, said, “Yeo is the young rising star of portraiture and Freud is the acknowledged master. It’s a homage that has its tradition in the past. Painters would quite often do portraits of other artists they admired. Admittedly this one of Freud is rather different as Yeo has used this other dimension – people’s private parts.”
The picture of Freud, which goes on show this week at an exhibition in central London, is a return to a technique Yeo used last year for a picture of President George W Bush"
This piece is not only a collage, but a great representation of a favourite artist's work of mine, done by a now plausible contestant to be a favourite artist of mine! Dangerously edgy, I don't see this work as shocking, but in fact highly interesting, the effort, time, technique and choices made to create this piece are truly wonderful, it's inspiring to see an artist ready to put a cheeky twist on the age old homage, and to do it so well. The accuracy, attention to the integrity of Freud's piece, choice of piece and involvement of the own artist's subtle dark satire all but has enthralled me.
http://www.jonathanyeo.com/archnews.asp?id=2
© Dean Ross.
© Dean Ross.
I thought this was a brilliant way in which to create a self portrait. I'm not a big collage fan, most of the time I find them unoriginal, generic, uninspired and very simple, technique highly lacking. However, this piece although not exactly the best arranged, caught me due to the mystery in the identity, the glasses covering the eyes, the hint at a mask introduced into the image as if often used, or his identity is something that he doesn't want to unveil to the viewer. It's a quirky piece, subtly humoured and inspiring.
http://www.flickr.com/photos/yetanothermusicweblog/3777169771/
© Dean Ross.
© Dean Ross.
Friday, 21 January 2011
Bryan Lewis Saunders
This is a very interesting artist to me, his work is very diverse, it has so many levels, so many different techniques and media, his work really does show that churning out as many as possible will bring you around to perfecting your way of working, even if it is tedious and doesn't exactly show a clear and direct route of progression through acknowledging your mistakes and learning from them instantly, as you should. The pieces below have been created while the artist is on certain paraphernalia, giving them very distorted points of view and I particularly love this experimentation with the psyche whilst involved with creating portraiture. Below I have included what drugs have been used, just as a reference. Don't try this at home, kids!
1 sm glass of Absinth
1/2 gram Cocaine
2 bottles of Cough Syrup
1 "Bump" of Crystalmeth
Morphine IV (doseage unknown)
© Dean Ross.
This is a very interesting artist to me, his work is very diverse, it has so many levels, so many different techniques and media, his work really does show that churning out as many as possible will bring you around to perfecting your way of working, even if it is tedious and doesn't exactly show a clear and direct route of progression through acknowledging your mistakes and learning from them instantly, as you should. The pieces below have been created while the artist is on certain paraphernalia, giving them very distorted points of view and I particularly love this experimentation with the psyche whilst involved with creating portraiture. Below I have included what drugs have been used, just as a reference. Don't try this at home, kids!
1 sm glass of Absinth
1/2 gram Cocaine
2 bottles of Cough Syrup
1 "Bump" of Crystalmeth
Morphine IV (doseage unknown)
© Dean Ross.
Eleanor Moreton
This work is very interesting, the washed out colours and yet the ability to create suggestions of three dimentional tone, with such flat marks. I really like the technique used to create these pieces. This is an example of her work that isn't portraiture, just to show Moreton's variety of works. Below is a portrait of which is my preference, I've always been attracted to portraiture more than anything else, it's what I like to do and it's what I like to see. The face is something I am particularly interested in, it's an unknown attraction that I'm more than happy to accommodate.
I love how thick and brazen the usage of brush strokes and stippling is in this piece. The strokes and thickness of the paint alone give this piece depth, without the need for exaggerated realistic portraiture.
© Dean Ross.
This work is very interesting, the washed out colours and yet the ability to create suggestions of three dimentional tone, with such flat marks. I really like the technique used to create these pieces. This is an example of her work that isn't portraiture, just to show Moreton's variety of works. Below is a portrait of which is my preference, I've always been attracted to portraiture more than anything else, it's what I like to do and it's what I like to see. The face is something I am particularly interested in, it's an unknown attraction that I'm more than happy to accommodate.
I love how thick and brazen the usage of brush strokes and stippling is in this piece. The strokes and thickness of the paint alone give this piece depth, without the need for exaggerated realistic portraiture.
© Dean Ross.
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