Candice Breitz, Soliloquy Trilogy (2000)

Each of the three short films from the Soliloquy Trilogy takes a well-known Hollywood
movie as its starting point, zooming in on a single protagonist who is stalked and
isolated (cut-and-pasted) out of every scene in which s/he is vocally present. The three
films tackled by Breitz are Dirty Harry (Clint Eastwood), The Witches of Eastwick (Jack
Nicholson) and Basic Instinct (Sharon Stone). Breitz’s editing procedures radically test
the power of star appeal versus narrative coherence. The legible body of each film is
dramatically cut away. A monochrome black screen is dropped in to edit out those
visual moments in which other actors are distractingly prominent while the chosen star
speaks. (https://www.google.co.uk/search?q=candice+breitz+soliloquy+trilogy&espv=2&biw=2327&bih=655&source=lnms&tbm=isch&sa=X&ei=SYM2VOyuHsKV7Aa594HoCA&ved=0CAcQ_AUoAg)

partially

http://www.modernart.net/read.html?id=1,4,673,674,675

Stuart Shave/Modern Art is delighted to announce a solo exhibition of new sculpture by Karla Black. This is the artist's first solo show with Modern Art.

Karla Black’s sculptures are formed from materials that are loose, impermanent and fragile - combinations of various powders, make-up, toiletries, cellophane and polythene, along with more ordinary art-making materials such as paper, paint and plaster. The raw materials are at odds with what they become - often large scale, incredibly heavy sculptures that completely dominate and almost entirely fill the spaces they are in. Black’s practice has a theoretical underpinning in psychoanalysis, feminism, and specific points in art history that relate to ideas of formlessness and performative gesture. Nevertheless, she favours an approach to understanding gathered from the immediate physical and material experience of sculpture over that which may be derived from language.(RICHARD DEACON AND MATIRAL LANGWAGE) Black has described her practice as a continual exploration of thinking, feeling and relating. There is a realness that appeals to her about sculpture: it is here in the world, and can be physically and emotionally engaged with. 

This exhibition at Modern Art comprises a suite of sculptures that occupy the gallery’s three exhibition spaces. Black’s new works utilise characteristically light and delicate feeling forms that, as always, embody the difficulty and chaos of the creative moment (WORKING ON A LARGE SCALE AND HO9W YOU MOVE ABOUT THE WORK TO MAKE IT AND THE RESTIRCTION THE WORK PUTS ON YOUR MOVEMENT), in challenging scales and positions throughout the overall rhythm of the exhibition. The new sculptures are made predominantly from loosely painted cellophane and dusted polythene. 

PAINT AND CRUMPLE

RIP AND SUSPEND

A very relavnt essay i wrote based round Richard Serras verb list and Eva Hesse's aproach to marital. 

CRUMPLE

PAPER

PLASTIC

this text wasnt too wordy but seemed to bevery ploicaly motervated espaicaly in the las section. politcal ideas isnt what im trying to gain out of this text but it did expand my ideas on the processes im useing and has made he think diffrently about what im doing when repeating my processes and even what im doing when takeing pictures of my work.

Omer Fast CNN Concatenated

2002, Fast released CNN Concatenated, an 18-minute long single-channel video which uses CNN footage. The video is cut so that each word is spoken by a different newsperson. The pieces literally asks the viewers questions about media authenticity and give CNN a distinct voice (http://en.wikipedia.org/wiki/Omer_Fast)

 

PIERRE HUYGHE

Time Out says

Posted: Thu Sep 18 2014

Art that you can actually touch is a rarity in galleries. So imagine my surprise when I was allowed to place my palms on a sculpture in Pierre Huyghe’s exhibition. And then to find out that the headless female body was warm, as if she might get up and walk round the show with me. Made of concrete and heated by an internal element the reclining figure, ‘La Déraison’, is an apparently corporeal form that also harbours life. Moss grows on its surface. Dotted here and there are small pools of water. Allegedly there is even a spider or two residing in its dank crevices. ("This was another pice in the show witch didnt fit in and i had little intrest in as an object. there was meaning behind it but i had to read to find out about the meaning, i was there to look")

Always one for creating an experiential spectacle, the French artist here paves a storytelling path that takes you off on tangents, poses questions that are never answered  (the work dosent pose the question the pice of writeing with the work poses the questions, The work in this show only asked me qestions about what i was seeing and espaly in the show how the artist was letting me see it") and lures you into a fantasyland based on reality. (" A fantasyland made form reality, a world witch the artist is controlling your viwe and what you can see") The content of the show covers 30 million years in just five works. It doesn’t seem substantial enough but it’s a small feat for such a prolific illusionist as Huyghe.

Wildlife is also the focal point of the three aquariums, ‘Nymphéas Transplant’, which refer to Claude Monet’s country house in Giverny as captured in his ‘Nymphéas’ series of paintings now housed in the Musée de l’Orangerie in Paris. The aquarium glass flips between opaque and transparent, systematically obscuring and revealing the contents. You don’t really need to know that the varying views are timed to specific recordings of the weather in Giverny between 1914 and 1918, when Monet made his paintings. Trying to glimpse the fish and salamanders swimming around before the glass glazes over is much more fun.("these paintings seem to look at how the artist veiw is restiricted  , the person who wrote this reviwe finds looking more "fun" aswell")

Bringing the show to completion are two videos. ‘Human Mask’ comprises 19 minutes of haunting visuals. A desolate Japanese village turns out to be Fukushima. There’s also footage of a monkey wearing a mask and dressed as a woman. The film is disturbing and beautiful, not least because it’s based on the real-life story of a monkey in Japan that was trained to be a waitress. ‘De-extinction’ puts existence under the microscope. What at first appears to be a galactic vista is in fact fossilised insects trapped in amber.

This show contains everything you want from engaging art: thought provocation, interaction and revelation.

there was still the need to read befor the work came to geather and asked those deep unaswerable phislplichal questions

Freire Barnes

the red painting reflected and process to me more than an idea. the process was to apin on lots of layers of red paint and then to use a stone to sand away layers. to me this pice is a reflection on a the artist abiltly to contorll what we see. a relection witch seem to be very storng in most pices in the show.

FAN HO

non-space 

 

Douglas Gorden, 24-Hour Psycho 1993 screen shots (taken from google images)

24 Hour Psycho is the title of an art installation created by artist Douglas Gordon in 1993. The work consists entirely of an appropriation of Alfred Hitchcock's 1960 Psycho slowed down to approximately two frames a second, rather than the usual 24 (wikipedia)

The important themes in Gordon's work: recognition and repetition, time and memory, complicity and duplicity, authorship and authenticity, darkness and light. (http://www.theguardian.com/arts/pictures/image/0,8543,-10104531576,00.html)

 

PHYLLIDA BARLOW

SERRA

13:00-20:40

talking about what the work is and what it looks like and why it looks like anything and if it should look like something 

Emma McNally

this text was very intreting. very wordy but one i read it a cupple of time i understood what was being said. the ideas i like, there something quite developed to cossider when reading this text. i think these are idea witch would applie to ones work more than ideas to build off... maby 

Even at first glance, McNally's silver-beaded wire sculptures and graphite drawings resemble constellations in the night sky or maps, while other paperfolding pieces look like geological forms. There's no doubt her interests in philosophy, science, and music influence the intuitive, cartographic quality of her work.

 She describes her drawings as a visualisation of complex systems and as a 'visual thinking around questions of emergence'.

Some of Emma's earliest pencil drawings are associated with mappings of geological formations and constellations. They appear to be the result of scientific readings yet they have been made intuitively. Their abstract vocabulary has a likeness to musical scores and computer coding, creating a matrix of humming activity where chaos is organised by rhythms and connections.

In her most recent pieces McNally has favoured a more physical and almost sculptural approach pouring pure graphite powder on to large surfaces covered with paper or muslin and hammering nails into them. 

 visualisations of complex systems,networks etc. I am attempting to break down any hierarchies between the spaces as being more or less inherently ‘natural’ or defining and to think about ways in which 'selves' and 'world' are mutually arising and interdependent.'

(http://archinect.com/news/article/84998562/drawing-space-by-emma-mcnally-to-show-at-abstract-drawing-exhibition-in-london-s-drawing-room)

Emma McNally's use of paper to represent spaces/objects. though her work is directly infuenced buy things. though the the work is a modle of something real so is like a map. her use of paper is very simlar to my use so far.

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