U2 w10 (?)

June 19, 2008


1st an apology to Jonathan Kearney for again not using the video reflection format. I  find it too much of a learning curve to take on just now and want to get these ideas  down as think they may prove central to my next section of research.

 

Jonathan recommended FACT in relation to my contextualization last week and in researching the link for Fact

 

http://www.fact.co.uk/

 

  I came across the work of artist Pilpilotti Rist.

 

http://www.pipilottirist.net/begin/open.html

 

http://en.wikipedia.org/wiki/Pipilotti_Rist

 

 

http://www.sfmoma.org/msoma/artists/rist.html

 

 

 

Her work is video based and uses technology to explore the human body and condition in new ways. I was interested that she linked this to fantasy and rituals and in many ways reminded me of Niki de  Saint Phalle in some of the themes running through the works.

 

 

 

 

In thinking around contextualization I have been re visiting the artists who were my reference points during my BA and advanced printmaking courses.

 

looking back now with a gap of 15 years I realize the thing about these works that spoke to me was a sense of construction of the work. The use of composition either through the draftsmanship like Greek and Roman sculpture, Tudor painting,Nash ,Hitchens, Hilton or Spencer http://stanleyspencer.org.uk/ or use of colour like Rothko or Caro.

 

I always had a sense of frustration in galleries that the work was on the wall where you couldn’t interact with it.

 

The Rothko room at the Tate was one of my favorite pieces to visit as you could be inside the art.

 

‘The Dinner party’ was another piece that has stayed as an influence. I was always somewhat unsure about the feminist issues that were raised during the 70’s and 80’s and uncertain where to place my self with in it if at all and so avoided it.

 

 

There have always been expectations , stereotypes, affiliations, allegiances.  But I find it a some what ironic contradiction in the field of the arts that there is such an avarice for  pigeon holing and labeling  artists, practioners, movements, styles.

 

There must be an innate human need for this process.

 

 

 Reading ’Vision and difference’ by  Griselda Pollock who is examining the feminist issue and legacy in what is now thought of as a post feminist era I will research more in to Donna Harraway who was a reference recommended by Andy Stiff during  my last tutorial.

 

I went to Dance City Newcastle earlier this week  to use their studio for photographing myself moving following on from work done last week at the local community center.

 

It has always been the stereotype that dancers are thin, young etc. and only those who meet that description  can be involved in movement practice at a certain level. It is an exclusive club in much the same way as that of achieving a certain level of acclaim as an artist.  

 

So some big questions are forming.

 

In taking these images of myself moving and the choice I have been making in composition, colour etc and making in many ways the images I expect which are stereotypical movement images. Very nice, well constructed, lyrical, English  ect how far have I gone in challenging a stereotype?

 

How can I use what I have to ask better questions and be clearer and more focused in my questioning?

 

As a product of my background etc how far do I need to shift stylistically? How do I need to ask better questions about my intentions as an artist to make more relevant work. Should I change what I do or leave it as a comment to my upbringing back ground, culture, identy?

 

 

 

Have I created a stereotypical image of my neighbour Alec Parker in the slide show and photo below?

 

 

 

What is being referred to in the different approaches to depicting myself moving at the top of this post and the photo and slide show of  Alec?

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