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Place - Tacita Dean + Jeremy Millar - my notes

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Place - Tacita Dean + Jeremy Millar - my notes

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John Dewey - Art as Expression - My notes

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John Dewey - Art as Expression - My notes

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Mind map - contemporary thinking of the sublime

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Mind map - contemporary thinking of the sublime

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Contemporary Landscape and the Sublime of Now

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It has been argued that the word sublime has be overused and is no longer applicable to contemporary art. In this presentation Kathy Varadi says that concept of the sublime is still relevant to art and proposes a new term, neosublime, that describes

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Shingle Street is a coastal settlement on the North Sea coast of the English county of Suffolk. It is 8 miles (13 km) north-east of Felixstowe and 12 miles (19 km) east of Ipswich at the mouth of the River Ore and opposite the tip of Orford Ness. It is within the parish of Hollesley with HM Young Offender Institution Hollesley Bay Colony nearby. A report from October 2004 suggests that Shingle Street is at risk from coastal erosion and flooding and could disappear within 20 years if sea defences are not erected.

Shingle Street was originally a home for fishermen and river pilots for the River Ore. Early in the 19th century a Martello tower was built, which was later a home for coastguards. Many of the original buildings date from this period. A public house called the Old Beach House had been built here out of drift wood. However in 1810 this was replaced by a pre-fabricated wooden building built in Ipswich in the yard of the Cliff Brewery. It was then brought to Shingle Street by barge and named the Lifeboat Inn. The pub was one of 300 pubs owned by Cobbolds Brewery and was pictured in Souvenir of the Bi-Centenery of the Cliff Brewery in Ipswich.

World War II

Several buildings were destroyed during World War II, including the Lifeboat Inn.

After World War II many strange happenings were reported to have taken place at Shingle Street, including a failed German invasion. Since the civilian population had been evacuated in May 1940, there were no eyewitness reports, although official documents remained classified until questions in the House of Commons led to their early release in 1993. These papers disclosed no German landing. Rumours of a failed invasion on the South and East Coasts were commonplace in September 1940 and helped to boost morale. Author James Hayward has proposed that these rumours, which were widely reported in the American press, were a successful example of black propaganda with an aim of ensuring American co-operation and securing lend lease resources by showing that the United Kingdom was capable of successfully resisting the German Army.

Shingle Street was the inspiration of the Thomas Dolby song "Cloudburst at Shingle Street", from the 1982 album The Golden Age of Wireless.

The Shingle Street Shell Line

In 2005 stonecutter Lida Cardozo Kindersley and her childhood friend Els Bottema started to arrange a line of shells on the beach, beginning as a way of coping with their shared experience of cancer treatment. After regular visits to add to the line by 2018 it stretched for more than 275m and was made up of 20,000 individual whelk shells. A short documentary film about the work, entitled 'C shells', was released in 2017, followed by a book The Shingle Street Shell Line in 2018.

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Shingle Street is a coastal settlement on the North Sea coast of the English county of Suffolk. It is 8 miles (13 km) north-east of Felixstowe and 12 miles (19 km) east of Ipswich at the mouth of the River Ore and opposite the tip of Orford Ness.

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From Jenny Hölzer to Andy Warhol: browse through the past exhibitions of the Fondation Beyeler for an insight into modern and contemporary art.

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September 5 - October 19, 2019

Opening reception: September 5, 2019, 6-8pm

Hales New York, 547 W 20th Street, NY10011

Hales is delighted to announce SNAKE SHAPE LAKE a solo exhibition of recent works by British artist Jessica Warboys (b. 1977 Newport, Wales). Featuring painting, glasswork and film, this will be the artist's first solo show in the U.S. SNAKE SHAPE LAKE highlights a multifaceted practice interconnected and informed by personal and collective memory, landscape, history, ritual and mythology. Warboys received a BA from the British institution Falmouth College of Arts, Cornwall (2001), and completed her postgraduate studies at Slade School of Art, London (2004). Warboys lives and works in Suffolk, UK and Berlin, Germany.

The exhibition features work from the series River Wax Paintings, which take their departure from Warboys' Sea Paintings, where the beach becomes the studio and the canvas becomes a record of the littoral - its physical aspects and symbolic undercurrents. Recalling the giants of 20 th century landscape painting, Warboys' Sea Paintings are sublime and monumental; visceral marks scatter across the surface, sea spray is palpable and ocean depths are suggested in tidal waves of colour. The series, made across beaches in the UK, was the focus of the artist's recent major solo exhibition at Tate St. Ives (UK) and her presentation at dOCUMENTA 13 (Kassel, Germany).

In her most current body of work, River Wax Paintings, Warboys has introduced the river as a site for making, as well as incorporating a new element in her longstanding process. The canvases are painted with large gestural strokes in aromatic hot liquid bees wax before introducing them to the river and mineral pigments. Referencing Batik, much of the wax is then removed. Elaborating on her method, the artist states:

"They are then taken to a river close to my studio in Suffolk called 'the Little Ouse,' pronounced ooze. Here they are soaked, uninterrupted they float and drift, they are pushed and pulled until they are fully submerged...Once dry, the fields of pigment reveal the serpentine lines."

(Jessica Warboys, 2019)

There is ritual in Warboys' process, a magic to the distinct shapes appearing on the canvas. The meandering pattern created echoes both a winding waterway and Warboys' earlier series of Snake Paintings (2018 ongoing)and stained glass works, HOUR I-IV (2019). Moving through the works in the exhibition the circular to serpentine lines accumulate in a form reminiscent of an hour glass in River Wax Painting X (2019). The snake symbol has been evolving since it first appeared by happenstance - as a shadow of a small glass hoop in Warboys' 2011 film, Stone Throat.

Unprimed, unstretched and unframed, Warboys' River Wax Paintings are hung in response to the architecture of the spaces in which they are installed. Instead of forming conclusions, the artist offers us one moment in a possibly-endless display of iterations. Large in scale, the viewer is engulfed in a tableau of paintings.

For SNAKE SHAPE LAKE Warboys has made a two-channel film and soundscape, Moon Burn / Moon Wave (2019), which collages together outtakes from films produced in the last decade. Exploring how her past work resonates in the context of her current practice, this cyclical piece reframes the work as a whole, sequences sealed within loops and echoes rather than isolated narratives. Fantastical glimpses of landscapes and sculptures, a cast of characters, doubling and unfolding across the screens. The accompanying soundscape was created by Morten Norbye Halvorsen, in which two loops of soundwaves drift in and out, by chance matching up in amplitude, which in turn modulates throughout the space.

The four HOUR (2019) works are closely aligned with the two-channel film. Displayed together there is a strong interplay animating the works, expanding the sculptural and filmic loops both visually and temporally.

In this exhibition, the paintings, films and soundscape create an immersive environment, punctuated by glasswork. Warboys has developed these strands of her practice for two decades, evolving methods and rhythmically perpetuating works interconnected visually and thematically. Considered and meditative, the works lie in the realm between the observed and the magical. Warboys' connection to the landscape, its histories, power and fragility results in atmospheric, transcendental works that are an antidote to the digital age.

Jessica Warboys (b. 1977 Newport, Wales) is based in Suffolk, UK and Berlin, Germany, where she works with film, painting and sculpture.

Warboys's selected group exhibitions include: dOCUMENTA 13 Kassel, Germany, Artists Film International, Whitechapel Art Gallery, London (2012);the 9ª Bienal do Mercosul Porto Alegre, Brazil (2013); the British Art Show 8 (2016); and Surface Work, Victoria Miro, London (2018). Selected solo exhibitions include: Land & Sea, Credac, Paris, France (2011), Victory Park Tree Painting, Cell Project Space, London, (2011), Ab Ovo, Spike Island, Bristol, UK, (2013); Glade, Museum M, Leuven, Belgium and Ad Lib, State of Concept, Athens, Greece (2015); Angle Poise, Kunstverein Amsterdam, Netherlands; and Topo Scenic, Kunsthall Stavanger, Norway (2016), Hill of Dreams, Tate St Ives, Cornwall, UK; Body Sleep, Gaudel de Stampa, Paris, France (2017), Echogap, Towner, Eastbourne, UK (2017) and Italian Hours, Galleria Gentili, Florence, Italy (2019). Selected Film and Performance events include: Prospectif Cinema, Centre Pompidou, Paris, France (2015); Hill of Dreams, Tate Britain, London (2016); and Hoop Eye Dance Trance, CAPC, Bordeaux, France (2017).

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Jessica Warboys | 5 September - 19 October 2019

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Jessica Warboys SNAKE SHAPE LAKE September 5 - October 19, 2019 Opening reception: September 5, 2019, 6-8pm Hales New York, 547 W 20th Street, NY10011 Hales is delighted to announce SNAKE SHAPE LAKE a solo exhibition of recent works by British artist Jessica Warboys (b. 1977 Newport, Wales). Featuring painting,...

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Like many stories, this one begins with a rock, in fact one rock amongst many: the shifting shingle which geographically defines and continually redefines the salt marshes of Orford Ness. When contemporary artist Anya Gallaccio made her first trip to the shingle spit of the Ness, it was not the accidental sculptures of wire and curled sheet metal (rusted by salt-winds) which captured her imagination, but the stony beach desert on which they lie, abandoned like military driftwood.

When we arrive for SNAP on the National Trust ferry out to the Ness, our faces glittering with salt water spray, Gallaccio recalls the illicit exchange of a bag of shingle in Fortnum and Mason, miles away from the flat-lining whistle of the Suffolk coast. Back in the Snape Maltings a photograph records the forbidden transaction: a plastic bag of assorted rocks tied up with a paper label: "For Anya Gallaccio".

But none of them were quite right. Gallaccio was looking for a rock whose stony matter could link the unique ecology of Europe's largest vegetated shingle spit to its incongruous history as a testing ground for the MOD. She imagined the Ness' shingle as being somehow 'shell-shocked.'

Eventually one of the National Trust workers found her the perfect specimen, marked by the traces of an explosive trauma: the rock had been taken from the inside of a crater recently blasted in a controlled explosion of live ordnance. Gallaccio smashed this rock and spent hours looking at six or seven of the traumatised fragments, which were magnified 20,000 times under an electron microscope. She was searching for strange landscapes which recalled the Ness, the aerial photography tests made by the MOD on the site, and imagined aerial surveys of war-torn battlefields.

The frames she selected were then printed onto large mesh canvases and returned to be installed in their original landscape. Here, they tilt backwards like mirrored panels designed to disorientate our sense of perspective. They force us to zoom in and zoom out on a seemingly endless series of landscapes within the landscape. Our eyes must schizophrenically refocus again and again as what appears to be a vast greyscale aerial panorama turns out to be a shrinking microscopic fleck of landscape viewed through the lens of a single pebble. The history of Orford Ness isn't just contained within the remaining structures, decorated with laminated info-points, it is also preserved - invisible to the naked eye - in every shifting piece of shingle.

MoD laboratories are now left spaceship-like, burrowed into the shingle. The land is still fertile with rumour and conspiracy.

The movement of the rocks through tidal drifts and seasonal storms makes the environment ideal for an artist inspired by the ephemeral, the decaying: the natural flux of the world. It is thought that soon the Ness will be an island, completely cut off from its coastal neighbours. The lighthouse, which is slowly being pulled closer to the waves' edge, was switched off last year despite having been a permanent fixture since 1637; the diesel generator and bath of mercury were removed in anticipation of its inevitable slip into the sea in several years' time. The question of how to record both its history and its ecology seems to be a topic of equal fluctuation.

It is only when we arrive back on dry land in the town of Orford that we fully comprehend the distance that two-minute ferry ride took us, to Orford Ness. It is only with our cheeks flushing that we realise how much the winds have battered us, and the salt-air dehydrated us; how different the weather conditions are on the river-front of civilisation - with its moored sailboats and Regardless River Trips - compared to the harsh conditions of the spit. The Ness is already a world isolated, remote: all that can be seen from Orford is the flat line of the opposite shore. Even though the area is now accessible to the public (ever since the National Trust took over the site in 1993) I wonder how many local residents have visited.

Gallaccio admits that the installation is also a good excuse to get people to come out and see the surreal site. On the day that I visit sea-cloud and sky-cloud are separated by a thin bow of blue. The sunshine, like a searchlight, revolves across the shingle, picking out the colours of flowering pink Sea Thrift, Yellow Horned Poppies, poisonous Ragwort, and the orange lichens which grow on the concrete exoskeleton of unnamed structures.

The reed and salt marshes, the brackish lagoons, mud-flats, shingle ridges and heath: all seem to roll onwards towards the tidal edgelands which lie beyond our reach, both because of the unexploded ordnance hidden beneath the pebbles and the fragility of the shingle's vegetation. We aren't lucky enough to see any Chinese Water Deer, but we do spot two hairy caterpillars stretching and gathering themselves onwards along the official pathway.

Although many of the buildings like the 'Power House', 'The Black Beacon' and the typical red and white candy-cane of the Lighthouse have obvious functions; there are others, such as the concrete circle of a ghosting foundation, which remain unexplained - shrouded in redacted Ministry of Defence secrecy. In the 1950s the MoD built several laboratories with fifteen-feet thick walls for the vibration testing and drop testing of nuclear weapons. The laboratories are now left spaceship-like, burrowed into the shingle. The land is still fertile with rumour and conspiracy.

In this context the fractured surfaces of Gallaccio's rockscapes leave themselves open to their own interweaving of new whisperings and fabrications. Her exploded rock, weighed down by industrial sandbags on its canvases, displays history like a ravaged landscape marked by each of its events.

As I come down from the Black Beacon observation tower I notice a hag stone amongst the shingle, shaped like a fruit pip, speckled orange, and worn through with a perfect hole for looping a piece of string. My journey to the Ness begins and ends with the story of a single rock.

Anya Gallaccio's installation is part of SNAP Art at the Aldeburgh Festival, 14th - 29th June, 2014. A co-commission by Aldeburgh Music and 14-18 Now WW1 Centenary Art Commissions, 1418now.org
Image credits, top to bottom:
1. Anya Gallaccio 'Untitled Landscapes' 2014. Installation at Orford Ness, SNAP 2014.Photo: Owain Thomas. Courtesy of Aldeburgh Music and the National Trust.
2-4. Francesca Brooks

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The Story of a Single Rock - The Learned Pig

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Like many stories, this one begins with a rock, in fact one rock amongst many: the shifting shingle which geographically defines and continually redefines the salt marshes of Orford Ness.

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Space Place Practice is an artists' research hub which comes together to create dialogues and to develop projects informed by a shared interest in notions of space, place and creative practice.

The aims of SPP are to:

Develop and maintain a diverse, inclusive network to inform practices and invite theoretical discourse.

Foster creative development through shared interests to generate further research practice.

Develop and realise group projects through publication and exhibition.

Give group members an opportunity to reflect and write on relationships between their theories and practices.

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Space Place Practice is an artists' research hub which comes together to create dialogues and to develop projects informed by a shared interest in notions of space, place and creative practice. Develop and maintain a diverse, inclusive network to inform practices and invite theoretical discourse.

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Burns is an international artist born in Kenya in 1963. He lives and works in Wales. His work is held in numerous public and private collections internationally.

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Introduction to "Edward Hopper" at Fondation Beyeler