Have completed the sequence of ‘remashed’ Hockney and Hogarth.
1. In art research new knowledge is believed by some to be contained in the communicable, verbalised exposition of that knowledge NOT in the actual art work.
If this is so is there therefore any new knowledge contained in the actual art work?
If there isn’t then the paper could be said to be the art work NOT the art object itself?
If the paper contains knowledge and is the art work would it therefore require a further exposition i.e. another paper?
Or is there no communicable new knowledge in art research?
Well tomorrow 1st October so 22 days to go until DRN New York and finally embarked on the Art Object in search of new knowledge sequence!
I carefully re-read proposal (read it here http://www.scribd.com/doc/159584262/Drn-Proposal-2013 ) and fortunately I was quite careful about what I had promised. This means that I can just about fulfill promise to create a cartoon sequence but the full paper will have to be completed later (hopefully by M.A. completion date of January 24th). As for the animation I was really setting a high bar there and I think it may well develop separately to the DRN conference.
I have completed the sequence of 16 illustrations of contributors chapters to Elkins book and hope to complete the Elkins chapters after New York from the animation tests. To be honest I only likely to show a few sequences if that at end of presentation.
The project has however come together in my mind. the original ‘Rakes Progress’ by Hockney is a sequence of 16 images about his first trip to New York which dovetails with my first visit too. There however the comparison stops as my sequence whilst using the visual parody of Hockney’s suite of etchings will focus on current art research terminology specifically the idea of ‘New Knowledge’. Here I crossover with Elkins chapter on ‘Beyond research and new knowledge’ in Artist with Phds. To that extent this very much a continuation of investigation begun in previous conference with Frayling paper.
The drawings will mimic the number of Hockney etchings (16 in all) and end up in an art research ‘Bedlam’ 🙂
Here a photo from the studio whilst working on first drawing.
Only 15 to go! Also instead of drawing sequence after writing paper this time I experimenting with drawing first and literally ‘drawing out’ ideas for paper one for practical reasons and two as an experiment which may go dreadfully wrong. It interesting to see how drawing first affects decisions on what to include and structure of final paper. I will give an overview of ideas in presentation as at 20 minutes that roughly one image a minute.
To see original Hockney sequence see here http://www.hockneypictures.com/graphics_rakes_progress/graphics_rakes_01.php
Above: Ray Howard Jones at shed in Wales opposite Skomer Island and drawings by SDB
Been a busy time since came back from Amsterdam hardly had chance to sit down in studio.
I have been preparing for a charity music gig which now out of the way ( Black Star Horses at the Maze) for Nottingham Hospitals Charity Prostate Cancer Appeal.
Also been asked for material from 1991 related to a female artist known as Ray Howard Jones who is subject of a retrospective at Tenby Museum with a catalogue written by poet Tony Curtis. I have provided photographs and sketches from a visit I made to Skomer to visit Ray with the Rocket Boys ( David and Jonathan) in August 1991.
The sketchbook can be seen here: http://www.scribd.com/doc/157187608/Skomer-Sketchbook-1991
Here a sample and a couple of pictures Ray herself (aged 89!) outside her tin shed studio..a one off if ever there was one and one of the few accredited female War Artists with works in the Imperial War Museum. A deserved retrospective. Rumour is she changed her name from Rosemary to Ray to avoid sexism in art world. She also spent twenty years living with the wonderful British landscape photographer Ray Moore.
A very busy week last week didn’t make it into actual studio but I can officially announce that James Elkins has asked me to illustrate all the chapters for his second edition of ‘Artists with PhDs’. I have drawn two test images and feedback from Jim was he’d like more detailed and weird which fits with my love of Alisdair Gray‘s artwork for Lanark and Tony Fitzpatrick’s work. I also been compared to Adelheid Mers work which I had never seen until today and which fascinating in terms of vizualizing research. There seems to be a very strong Chicago School of Art connection here. Which figures as I first made contact with Mark Staff Brandl through the Chicago art-blog Sharkforum which sadly now offline although Mark’s Swiss Sharkforum still active). This came about through my Americana Reviewing and love of music. It all somehow connects 🙂
Here the first two test images for chapters from the book – not telling which ones 🙂
No drawing this week so far due to other matters. I did get to studio briefly but mostly I have been laying the groundwork for a busy summer. I have an extended commission. A paper on early cinema and the rest of M.A. to complete by October. To manage all this I am on a tight schedule and I already called in help with animating the DRN paper from my excellent animating colleague Andy Love. His initial experiments with R.Mutt in Space below 🙂 For the rest of his super work go to his blog here: http://recursiveworlds.com
R Mutt Experiment 2… from Andy Love on Vimeo.
My biggest inspiration 🙂 A book called Droodles which I got from a jumble sale when a kid ….most famous droodle is the cover of Zappa’s Ship arriving too late to save a drowning witch (below)..so now you know is not pop art, minimalism or a profound theory is DROODLES 🙂 These drawings are profound meditations on the hinterland and liminal spaces between inbetween-ness in a multi disciplinary meditation on landscape, time and sequentiality specifically ‘the first and second sequential ‘moments’ (my theoretical tagging of the invention of ‘cinema’ or was it animation? (1888 LePrince) and the second moment ‘youtube’ 1995….)..so now you know..then again it could be a droodle…
A very hot day and studio a little cooler than expected which good. Still managed to create three drawings despite also reading photo related items specifically about early photography ( Lady Elizabeth Eastlake’s Review from London Quarterly Review).
Had a fascinating message from an architect doing a PhD at the University of Tasmania who picked up on the recent drawings. He said they reminded him of the German ‘Burolandschaft’ workplace drawings of the Quickborner Team of 1960’s.
I did some hasty research (Googled it) and came up with drawings he referring to which were fascinating (see below). The connection is not entirely strange as I have been regarding these drawings a s cumulative ‘memory’ maps of my hometown/landscape. I am coming at it from a fine art viewpoint which more influenced by artists like Simon Lewty (http://www.artfirst.co.uk/simon_lewty/) and Aboriginal Bark Painting (signifiers of place) as much as maps and graphic diagrams. The idea of linking this further to architectural diagrams/theory fascinating. I shall be delving deeper. Especially as the drawings above show Caruso St John plans for the new Arts Council offices…ironically 🙂
For one of the drawings I sectioned the page into ‘staves’ or ‘cartoon strips’ to try out some sequential abstract narrative notions I have. This could lead to some large painted/drawn canvases for final show.
Strange couple of days painting…anything but canvas though. Front of house, bathroom , shed you name it if it didn’t move I painted it with white gloss. After that i finally sat down in home studio to do some ‘graphic’ work. The resulting three drawings above. First one I consciously trying to stay small in mark-making. Middle one I did ‘blind’ to see if it loosened things up and finally a very fast drawing to try and preclude conscious acts. Finally I drew the ‘country alphabet’ above which comes from a slightly different angle and refers way back to a ‘alphabet’ of symbols I built up in late eighties. I will scan some examples from sketchbook next time I in ‘proper’ studio to compare with image above which actually more aligned with Mariscal than abstract expressionism or Paul Klee.