The big thing this week was my video tutorial with Rebecca (8-Apr-2016). Very helpful. A lot of thinking time on it since, including realising that there is still a lot of unfinished business for MMT. I need wind back a bit on the transitioning and keep some focus on the immediate tasks.
So I’ve been trying to research current Australia Post rules, done some shopping research and have a new
toy tool hopefully to be delivered tomorrow, and have stalled on drawing while I finish up the sketchbook.
Paper yarn project
This week there are better quality photos – definitely worth getting out the camera, not just using my tablet which has trouble with my workroom lighting.
I’m enjoying this little gathering point in each day, a minor meditation.
Lectures, exhibitions, performances
There should have been a lecture, part of the Collectors and Collections series at AGNSW, but I mixed up dates and missed it 😦
I visited the MCA for a second look at some works which I felt rushed on first time round.
GRAYSON PERRY – My Pretty Little Art Career
There’s a lot to see in this exhibition and I’ll only touch on a few points that particularly struck me.
One was how foreign an apparently similar culture can be. There’s a lot of linked history and the base of colonial Australia, the same woman as queen, I have an English mother, have lived in the UK a few times for a few years in total, watch lots of TV and so on, but many of the references were totally unfamiliar and not particularly meaningful to me.
It was interesting to be able to see a few of Grayson Perry’s sketchbooks. I was particularly taken with the translation of a work from sketchbook page to massive tapestry.
One is a double page spread in an A4-ish sized sketchbook. The other is 200 x 400 cm.
I’ve wondered before about the use of tapestry by contemporary artists. In an exhibition of Chuck Close I found the tapestry lacking in emotion, not adding anything new (25-Mar-2015). It seemed an easy way to get scale. Not exciting to a textile person.The photo above shows just over half of The Walthamstow Tapestry. The work is 300 x 1500 cm.
In a way this makes more sense to me. It is packed with allusions to all sorts of aspects of British culture. It is huge – and yet it has the connotations of domestic textile. I suppose in other works Perry’s pottery works in the same way. Skewering a society at the same time as being a close part of it. All the awful details of suburbia and domesticity uncovered and displayed in appalling detail and scale.
Artists in the 20th Biennale
I’m fairly confident a large reason for the inclusion of this artist is her movement notation – performance is a significant strand in this Biennale. However the “wall carpets” are interesting in their own right.
All of the works shown above were human in scale, less than my height, narrower than my outstretched arms. Two works shown, both from 1995, were much larger.
The more I looked at this work the more I found. It was probably about the same level of bewilderment throughout.
The descriptive information includes words like eclectic, ambitious, readymade, hand crafted, found… I am flummoxed and intrigued. I would like to learn and see more.
Shahryar Nashat, Parade. A video of a performance, this was based on an original work from early last century that has gone through two processes of translation. The result is hard to describe but fascinating to watch.
Finished the Claire Falkenstein book. My original research on this artist was posted 11-Mar-2016. The best thing about this book was the many large, clear photographs. There were some interesting essays too. I continue to find Falkenstein very exciting both in her work and in her work processes. Risk taking, following her own ideas, experimenting in many media… There are ideas around exploding the volume – no longer a solid mass; kinetic, with the potential for viewer involvement (this suggests to me engaging haptic as well as optic senses, unlike much 20th century art, and could be part of what attracts me to her work); the combination of scultural and graphic processes. Drawing in three dimensions… I could benefit from spending some time developing drawing techniques based on her work (similar to exercise done with Ruth Hadlow based on John Bokor (25-Feb-2016).
The Falkenstein Foundation (2012) Claire Falkenstein Los Angeles: The Falkenstein Foundation
Ongoing: Fer, B. (1997) On abstract art New Haven and London: Yale University Press. This is turning into a rocky road. A lot of Freudian analysis, to which I react with impatience. Now on to a section on Eva Hesse, which I find more engaging.