Exhibition and Research Proposal
Preferred assessment option: 100% Practice
Summary
of proposed work
I am going to exhibit
a one hour moving image piece with sound. There may be elements of installation
– choices to be made about projecting onto a screen, a wall or shown on a TV
monitor. Material I am working on towards the moving image is the Found
Paintings, and the meaning of such abstract imagery. I’m interested in the fact
that the digital version of these images is the original, and ideas about
reproduced images.
I am looking to
populate the moving image with portraits in my possession- mostly prewar school
groups from Eastern Europe. I am looking at lives which are now anonymous and
untraceable, and what remains of a person in the image of a face.
Treatment so far
similar to Found, sketch 1:http://eleanormacfarlane.blogspot.co.uk/2013/10/task-1-outline-research.html
The sound will be for
a later stage of the project. I have recently completed sound piece 24 Hour
Sibelius, and anticipate that the final project sound will be somewhat similar.http://www.youtube.com/watch?v=Ouk2z715-OY&feature=youtu.be
The sound will be an
appropriately treated piece of music, perhaps layered as in previous pieces I
have made, eg, The Future Past Tense.http://vimeo.com/60550109
Methods of producing
the visual and sound elements are similar in practice – isolating and then
layering, and I would like to continue a sense of confusion and overlapping
between the senses.
As yet I am working on
the found paintings, the photos and the sound in parallel, but it is my
practice to make them integrated and linked during the making. Part of
resolving the piece is realising the conceptual links.
Summary
of contextual research
I am looking at my Found Paintings images
in the context of abstract painters and the principles and implications of colour
and shadow.
Colour, Shadow, Surface:
Hartridge(10). Science and optics of colour.
Kirby(12). Magnified analysis of painting surfaces.
Sloane(19). Colour theory in art and design.
Tanizaki(21). Space and nuance in art.
Painters, Abstract Visual Language:
Robert Rauchenburg. Materials, objects, painting. Incorporating
found imagery.
Philippe Vandenburg. Visual motifs, expression, colour.
……….
Also researching how
images are apprehended from visual clues, the suggestion of presence, implied
images. In moving image I am researching elements of the implied narrative –
more usually seen in films made using appropriated imagery – artists Christian
Marclay, Elizabeth Price. It is a construct I wish to apply to my own work, and
I see this research evolving in parallel to making the current project, eg, I
imagine some of the subjects in my vintage school photos appearing to interact
with each other or make eye contact. This is a way of giving audiences another
layer to imagine, fill in and interpret as narrative.
Vision, Perception, Understanding Images:
Barthes(1). The nature of photography, time, the past and our relationship with
image.
Elkins(7). Insights into art, vision and human perception.
Sontag(19). What photographs show us about the world and how we think.
Rothenberg(22). Connecting ideas
in music,
philosophy, mathematics, art.
……….
Looking to articulate
some of my ideas about using waves of music and sound, and the pace and
experience of thought that both mirrors and directs.
Music:
Barthes(2). The meanings signified by text, music, image.
Sachs(16). Music in the brain and the mind.
Scruton(17). Interprets the illusive feelings music inspires.
Music:
Gavin Bryars. Looped fragments, rich harmonies.
Minimalism. Overlapping phase music.
……….
Ideas about the
reality of an image – the real, the photograph, the digital projection –
justifying the version I choose of the reality of the Found Paintings.
Extending previous work on street compositions and brick imagery.
Lost, Found, Reproduction:
Benjamin(3). Philosophy of reproduction.
Berger(4). What we actually see – constantly to reread.
Mundy(15). Originals and reproductions.
Spalding(20). Includes ideas about excluded and imagined art.
Lost, Found Artists:
The Boyle Family. Reproducing found places – streets.
Stuart Geddes. Found paintings – desktops, etc. Photos of
walls, cracks, etc.
……….
Related moving image
and video art practice.
Moving Image:
Heartney(11). Contemporary practice.
Meigh-Andrews(13). History of video art to now.
Still researching material.
Moving Image Artists: and my
particular interest in them
Christian Boltanski. Ambiguity – real/imaginary. Use of
light/photos - memorial & searingly moving.
Stan Brakhage. Experimental video using found material.
Douglas Gordon. Issues of time, magnifying concepts through
focus of time. Frame by frame.
Christian Marclay. Constructed narrative/appropriated imagery.
Linking clips through gesture.
László Moholy-Nagy. Shadows/ light, abstract imagery. Photography
expanding human vision and understanding.
Saskia Olde Wolbers. Constructed scenes. Abstract places. Imagined
narrative.
Elizabeth Price. Image, text, music – archive material.
Conceptual links.
Pipilotti Rist. Projections, installations, aptness.
Andy Warhol. Duration
films. Sleep. Empire State Building.
Catherine Yass.
Durational, industrial films. Descent
……….
Ethics and issues of
using appropriated material (old school photos) and working in the Weiner
Library for indirect, abstract links and context. I am researching photo
archives at The Wiener Library for the Study of the Holocaust and Genocide http://www.wienerlibrary.co.uk/. I am mostly looking at family archives from a
similar time and place to my photos. Because many of my photos are now
practically untraceable, I am picking out visual clues and conceptual ideas
which link the images. This is unlikely to be a main apparent element of the
finished piece, but informs the entire codification of its making.
Archives, Ethics, Museums, Gallery, Space:
Curtis(5). Reworking and recontextualising of art through rehang.
Elkins(8). Visual literacy in different countries.
Harbison(9). Memories are spacial. Imagination and architecture.
Still researching material.
And
Contemporary Practice, Art Issues:
Danchev(6). Artist ideals in their own words. Art – thought – words.
Mirzoeff(14). Key writings and ideas.
Weintraub(23). Evidence from practising artists.
Reading
List
1. Barthes, R. (1981) Camera Lucida: Reflections on Photography.
London. Vintage.
2. Barthes, R. (1977) Image, Music, Text: Essays. London. Fontana.
3. Benjamin, W. (2008)
The Work of Art in the Age of Mechanical
Reproduction. London. Penguin.
4. Berger, J. (1997) Ways of Seeing. London. Penguin.
5. Curtis, P. (ed)
(2013) Tate Britain Companion: A Guide to
British Art. London. Tate.
6. Danchev, A. (ed.)
(2011) 100 Artists’ Manifestos from the
Futurists to the Stuckists. London. Penguin.
7. Elkins, J. (1998) The Object Stares Back: On the Nature of
Seeing. San Diego. Harcourt Brace.
8. Elkins, J. (2010) Visual Cultures. Bristol. Intellect.
9. Harbison, R. (2000)
Eccentric Spaces. Cambridge, Mass.
MIT.
10. Hartridge, H. (1949)
Colours and How We See Them. London.
Bell.
11. Heartney, E.
(2008) Art & Today. London.
Phaidon.
12. Kirby, J. (2011) Techniques of Painting. London. National
Gallery.
13. Meigh-Andrews, C.
(2013) A History of Video Art. 2nd
Revised edition. London. Bloomsbury
Academic.
14. Mirzoeff, N.
(1998) The Visual Culture Reader.
London. Routledge.
15. Mundy, J. (2013) Lost Art: Missing Artworks of the Twentieth
Century. London. Tate.
16. Sacks, O. (2008) Musicophilia: Tales of Music and the Brain.
London. Picador.
17. Scruton, R. (2009)
Understanding Music: Philosophy and
Interpretation. London. Continuum.
18. Sloane, P. (1966) Colour: Basic Principles and New Directions.
London. Studio Vista.
19. Sontag, S. (2002) On Photography. London. Penguin.
20. Spalding, J.
(2010) The Best Art You’ve Never seen:
101 Hidden Treasures From Around the World. London. Penguin.
21. Tanizaki, J.
(2001) In Praise of Shadows. London.
Vintage.
22. Rothenberg, D.
(2012) Survival of the Beautiful: Art, Science
and Evolution. London. Bloomsbury.
23. Weintraub, L.
(2003) Making Contemporary Art: How
Today's Artists Think and Work. London. Thames & Hudson.
Timetable
Period from
1st March to end of unit
(merged
with unit tasks timetable)
March
Complete compiling and
editing all visual material - found paintings, edited photos.
Complete video trials
and decide on moving image formats and structure of piece.
Reading, research and
notes.
Writing.
April May June
Processing and editing
moving image.
Sounds recording,
collecting, editing and trials.
Reading, research and
notes.
Writing
July August September October
Complete making vision
and sound.
Projection,
installation trials.
Writing
November
Completion and
processing of work.
Make DVDs and copies.
Print stills.
Speaker and sound
trials.
Writing.
December
Projection and
installation trials.
Exhibition.
Practical
and technical requirements and resources
Projector (probably bringing, but
interested in seeing what’s available on site at this stage)
TV
Screen
DVD player (bringing)
Leads and connectors
Speakers
Stands / plinths for equipment
Chairs/stools for viewers
Small table/ bench for cards, info, etc
Fixings and security
Material to make space lightfast
White paint and painting equipment
The exhibition space will be uncluttered
and painted white.
Notes Additional
After
submission of the proposal, I intend to amend slightly, especially adding to my
references various novels recently read which I recognize have significantly
influenced my thinking, and also music, especially giving more background into
my links in thinking with Sibelius and classical music I will use for the final
project. I intend these additions to be incorporated into working through the
making of the piece, and will add the most relevant.
I haven’t
completely ruled out incorporating objects in my final exhibition. Ideas for
appropriate sculptural pieces may become part of the project, but I also
anticipate them being small and straightforward to install.
14th February 2014
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