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Gaat het wel om abstractie? Gaat het niet over gewoon het observeren op zichzelf? Hoe ik me verhoudt tot het landschap en de wereld om me heen als beginpunt in plaats van de behoefte om alles maar te abstraheren?

In het NU leven

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"When I work, I'm very absorbed in the process of making an image of the form. I do this by looking hard and responding in an intuitive way"

"Shadows are evocative, and like memories, they are a bit hazy. In a way, they are a minimal representation of our physical selves"

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Beyond The Seen And Painted: Artist Jess Allen On The Power Of Observation - IGNANT

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Meditative and suggestive, Jess Allen's paintings are the fruit of observation-a study of the passing of time and the will to feel and recount. Over...

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Interieur van binnenplaats, Strandgade 30, Vilhelm Hammershøi

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Vilhelm Hammershøi Really Lived in Apartments Like This and Didn’t See Any Issue

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The Getty Museum has put on view Vilhelm Hammershøi’s Interior with an Easel, Bredgade 25 (1912). It’s a painting of an empty apartme…

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Edward Hopper, Nighthawks, 1942. The Art Institute of Chicago, IL, USA; Friends of American Art Collection

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Edward Hopper
Second Story Sunlight
1960

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Little by little collage by Jean Pierre Decort

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I have made two collages in total ever. This is a medium that I would like to discover more, since it can help me combine my photography with my other work.

This medium intrigues me since it allows you to use existing shapes and rearrange them in a new composition, something that I want to get better at (also with my paintings)

(beginning of college year 2024-2025)

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Collage 1 by me, academic year 2023-2024

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What I like about this work

I like how it's just on the border of being abstract, there are shapes you can recognize, but it doesn't really make a lot of sense.

The repetition of the blue sky colour in one large shape and one smaller stroke.

I really like the terracotta pot on the bottom right, the colour really works well.

The way the colour of the paper also plays an important role in the composition, leaving open spaces.

What I dislike about this work

I am not really sure about all the straight lines, it could look a bit more organic I think.

The bottom part looks a bit like a forced frame to me, I am not sure if that works

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What I like about this work

The suggestion of looking through a window

The reflection/repetition of the houses and also of the sky with the trees

The colours look very satisfying to me

The grey square on the bottom right (not sure why haha)

What I dislike about this work

It's maybe a bit too filled in for my case, there's a lot of weight in the center of the composition

Too much repetition of the same shapes and sizes, I am missing some smaller pieces (maybe I can still add them)

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Using seperate pieces of paper that don't have a photograph on them could make the arrangement of the photographs feel more structured

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Robert Rauschenberg
Street Game (Anagrams)
1996

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Robert Rauschenberg
Sphinx's Atelier
1998

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I could get more free with using paint or markers on these collages, it doesn't only have to consist of paper and glue

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Explore the Whitney’s collection of over 26,000 works, created by more than 3,900 American artists during the twentieth and twenty-first centuries.

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At the very start of the year, Hockney makes a photographic collage of Ann Upton, David Graves, and his mother caught at various moments-variously lost in thought-over a game of Scrabble. In February, in Japan to speak at a conference about paper in art, he takes photographs, turning them into photographic collages when he returns to England.

Walking in the Zen Garden

To compose a picture of a fifteenth-century Japanese rock garden, Walking in the Zen Garden at the Ryoanji Temple, Kyoto, Feb. 1983, [NESTED]Hockney applies obsessive concentration to collaging a field of pebbles: "I had to count and really look at those pebbles to link one with another." Hockney's own feet appear walking across the bottom of the picture plane-upending the fixed-point perspective of the observer in Western art.

I began looking at photography from various points of view. They said perspective was built into the camera. But my experiments showed that when you put two or three photographs together, you can alter perspective. The first picture I made where I felt I had done that was in Japan where I photographed Walking in the Zen Garden at the Ryoanji Temple, Kyoto, Feb. 1983. I made it into a rectangle by moving around myself and taking shots from different positions, whereas any other photograph would show it as a triangle .... I was very excited when I did that. I felt I made a photograph without Western perspective. It took me a while. I didn't know much about Chinese art, even when I went to China. The photography I did took me to Chinese scrolls.

I began looking at photography from various points of view. They said perspective was built into the camera. But my experiments showed that when you put two or three photographs together, you can alter perspective. The first picture I made where I felt I had done that was in Japan where I photographed Walking in the Zen Garden at the Ryoanji Temple, Kyoto, Feb. 1983. I made it into a rectangle by moving around myself and taking shots from different positions, whereas any other photograph would show it as a triangle .... I was very excited when I did that. I felt I made a photograph without Western perspective. It took me a while. I didn't know much about Chinese art, even when I went to China. The photography I did took me to Chinese scrolls.

Hockney becomes engrossed in Chinese scrolls, in large part because they offer an alternative to the Western approach to perspective. [NESTED]He spends considerable time studying them at the Metropolitan Museum of Art in New York and at the British Museum in London, and reads Principles of Chinese Paintings (1959) by George Rowley, the founder of Princeton University's studies in Far Eastern art.

It was an attack on perspective-it was all about the spectator's being in the picture, not outside it-an attack on the window idea, that Renaissance notion of the painting's being as if slotted into a wall, which I'd always felt implied the wall and hence separation from the world. The Chinese landscape artists, with their scrolls, had found a way to transcend that difficulty. In my own photocollages, some of the ones I'd done on my trip to Japan earlier that year, I'd been pushing the notion of the observer's head swiveling about in a world which was moving in time, but I'd really only just begun to try and deal with how to portray movement of the observer's whole body across space. And that's precisely what these Chinese landscape artists had mastered, according to Rowley.

It was an attack on perspective-it was all about the spectator's being in the picture, not outside it-an attack on the window idea, that Renaissance notion of the painting's being as if slotted into a wall, which I'd always felt implied the wall and hence separation from the world. The Chinese landscape artists, with their scrolls, had found a way to transcend that difficulty. In my own photocollages, some of the ones I'd done on my trip to Japan earlier that year, I'd been pushing the notion of the observer's head swiveling about in a world which was moving in time, but I'd really only just begun to try and deal with how to portray movement of the observer's whole body across space. And that's precisely what these Chinese landscape artists had mastered, according to Rowley.

A lecture, "On Photography"

Hockney, more and more preoccupied with the challenge of representing different moments in time as another aspect of multi-perspective image-making, delivers a lecture in November at the Victoria and Albert Museum in London, which argues for a multi-viewpoint and multi-temporal approach to photography, to better reflect the lived human experience.

I made pictures of a walk in a Zen garden where I attempted to show the experience of walking, so that one might see the entire experience, in time. It means that you must look with your memory. Then it led me to believe that we're always looking without memory .... I came to the conclusion that there is no such thing as objective vision. There never can be, because even the memory of the first instant of looking is then part of the perception, and it adds up and it adds up. It brought me closer to the way we actually experience the activity of seeing, and it actually led me back to drawing and painting, with a whole new sense of the possibilities to be found there.

For the exhibition Hockney Paints the Stage at the Walker Art Center in Minneapolis, planned as an exhibition of his theater design sketches and models, Hockney decides new works must be made. He builds nearly full-scale tableaux of select scenes from past productions, which are, in some cases, fresh departures. When the exhibition travels to London, John Russell Taylor notes in the that the work shows "brilliant and unflagging inventiveness to be sure, but also every evidence of the blood, sweat and tears which must have gone into the creation of these apparently effortless designs."

Theatrical design is about creating different kinds of perspective, but the perspectives can't be quite real in the theater, because they have to be made in such a way that they create an illusion. That's why I liked designing operas, although I enjoyed the music as well.

Punchinello on Canvases for 'Parade Triple Bill' from "Hockney Paints the Stage" Large-Scale Painted Environment with Separate Elements based on the Stage Design for 'Auction Scene' from 'The Rake's Progress' from "Hockney Paints the Stage" Large-Scale Painted Environment with Separate Elements based on the Stage Design for 'Bedlam' from 'The Rake's Progress' from "Hockney Paints the Stage" Large-Scale Painted Environment with Separate Elements Based on the Stage Design for Stravinsky's Opera 'Le Rossignol' from "Hockney Paints the Stage"

For six weeks in the autumn, Hockney makes scrutinizing self portraits at an unrelenting rate. In Marco Livingstone's appraisal,[NESTED] "It is curiously comforting to know that even someone with such a sunny disposition sometimes experiences such moods .... What I value above all in these drawings is Hockney's avowal of our common humanity. His readiness to depict himself with the same honesty and casual forthrightness that has always marked his portrait of others."

They were drawn mostly early in the morning. I noticed if you did this they were always different: not only did you have different expressions, you also had totally different moods and feelings, and that affects your mind. I realized that your mood is reflected in the way you draw the lines and marks. You also try to pick up the mood of the sitter, so in a portrait of someone else there are two moods. In a self portrait it is the same mood .... The self portraits do reflect the fact that even I was beginning to panic a little bit about the massive amount of work I had taken on.

They were drawn mostly early in the morning. I noticed if you did this they were always different: not only did you have different expressions, you also had totally different moods and feelings, and that affects your mind. I realized that your mood is reflected in the way you draw the lines and marks. You also try to pick up the mood of the sitter, so in a portrait of someone else there are two moods. In a self portrait it is the same mood .... The self portraits do reflect the fact that even I was beginning to panic a little bit about the massive amount of work I had taken on.

Self Portrait with Tie Self Portrait with Cigarette Self Portrait with Watch Self Portrait with Check Jacket Self Portrait with Striped Shirt Self Portrait October 31st Minneapolis Self Portrait from the Side Self Portrait 28th Sept. Self Portrait with Striped Shirt and Tie Self Portrait 11th Sept. Self Portrait Oct. 24th Self Portrait without Shirt Self Portrait without Glasses Self Portrait with Mouth Open Self Portrait Looking Over Glasses Self Portrait with Head on Hand Self Portrait with Bow Tie Self Portrait 25th Oct. Self Portrait with Plain Jacket (& Verso) Self Portrait (Check Shirt) Self Portrait with Eyes and Glasses (& Verso) Self Portrait 8th Sept. Self Portrait 12th Sept. Self Portrait 13th Sept. Self Portrait 13th Sept. Self Portrait with Hands Self Portrait with Watch Self Portrait with Shirt and Tie Self Portrait 9th Sept. Self Portrait Chin on Hand II (& Verso) Self Portrait with No Shirt (& Verso) Self Portrait with Eyes Screwed Up

Solo

Drawings for the Theatre, Nishimura Gallery, Tokyo, Japan (Feb 14-Mar 12).

New Work with a Camera, André Emmerich Gallery, New York, NY, USA (May 7-Jun 3).

New Work with a Camera, L.A. Louver, Venice, CA, USA (May 14-Jun 25).

New Work with a Camera, Richard Gray Gallery, Chicago, IL, USA (May 14-Jun 30).

New Work with a Camera, Knoedler/Kasmin Gallery, London, UK (Jul 5-Aug 30).

Kasmin's Hockneys: 45 Drawings, Knoedler/Kasmin Gallery, London, UK (Jul 5-Aug 31); catalogue.

New Work with a Camera, Nishimura Gallery, Tokyo, Japan (Oct 3-29); catalogue.

Hockney Paints the Stage, Walker Art Center, Minneapolis, MN, USA (Nov 20, 1983-Jan 22, 1984), travels to Museo Rufino Tamayo, Mexico City (Feb 19-Apr 15); Art Gallery of Ontario, Toronto (Jun 9-Aug 12); Museum of Contemporary Art, Chicago (Sep 16-Nov 11); Fort Worth Art Museum, TX (Dec 16, 1984-Feb 17, 1985); San Francisco Museum of Modern Art (Mar 25-May 26, 1985); and Hayward Gallery, London (Aug 1-Sep 29, 1985); catalogue.

David Hockney: Posters, Royal Festival Hall, London, UK (Dec 10, 1983-Jan 8, 1984).

Group

Eight by Eight to Celebrate The Temporary Contemporary, Margo Leavin Gallery, Los Angeles, CA, USA (Oct 25-Nov 26).

American/European Painting and Sculpture Part II, L.A. Louver, Venice, CA, USA (Nov 12-Dec 23).

Publications

David Hockney - New Work with a Camera, Nishimura Gallery, Tokyo.

Kasmin's Hockneys, Knoedler Gallery, London.

David Hockney in America, by William L. Beadleston, New York: William Beadleston Inc Gallery.

Hockney Paints The Stage, by Martin L. Friedman, New York, Minneapolis: Abbeville Press / Walker Art Center.

David Hockney on Photography, by David Hockney, New York: André Emmerich Gallery.

Hockney Paints the Stage, by David Hockney, London: Thames & Hudson.

Hockney's Photographs, by David Hockney, London.

David Hockney, by Peter Weiermair, Frankfurt Am Main: Frankfurter Kunstverein.

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Makes photographic collages, studies Chinese scrolls, delivers lecture on photography at Victoria and Albert Museum, Hockney Paints the Stage&nbsp;opens...

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A series of photographs put together like it's one image, suggestion of movement adds the needed tension

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Martha Rosler, Photo Op, 2004. © Martha Rosler. Courtesy of the artist, Nagel Draxler Berlin / Cologne, Mitchell Innes & Nash / New York.

Martha Rosler thinks that Vietnam anti-war literature of the 1960s and '70s was hideous. "It would be these long texts that looked like they'd been translated from a foreign language, and they didn't have images," the artist remembered during a recent conversation with Artsy. The pamphlets and other materials, she said, looked like they were made by people who were somewhat demented. Rosler decided the cause needed a makeover.

These days, it's difficult to imagine a political position without a strong graphic identity, not to mention a cohesive social media presence. The Women's March on Washington created a simple logo comprised of three silhouettes of female faces. The National Rifle Association has a circular logo with with an eagle standing on guns. Most groups now recognize the need for impactful visuals; in 2002, the Design Action Collective was formed to create unique visual languages for clients ranging from Greenpeace to Black Lives Matter.

Yet Rosler was ahead of her time when she reconceived the printed matter distributed at marches and protests. As part of her art practice, she was already making photomontages to counter women's representations in the media. Her series "Body Beautiful" (1966-72) unites pictures of female bodies with those of appliances ( Hot Meat links a bared breast with a stove, Damp Meat a bare ass with a dishwasher).

Rosler decided to apply the formal concepts and techniques she'd developed in that series to one with an antiwar undercurrent. She used a Xerox machine to create new collages, which she handed out at rallies. Entitled "House Beautiful: Bringing the War Home" (1967-72), they juxtapose Time magazine's shots of the Vietnam conflict with images culled from House Beautiful, a home décor publication.

Martha Rosler, Isn't it Nice..., or Baby Dolls, from the series Body Beautiful, or Beauty Knows No Pain, c. 1967-72. © Martha Rosler. Courtesy of the artist, Nagel Draxler Berlin / Cologne, Mitchell Innes & Nash / New York.

Martha Rosler, Bathroom Surveillance or Vanity Eye, 1967-1972. © Martha Rosler. Courtesy of the artist, Nagel Draxler Berlin / Cologne, Mitchell Innes & Nash / New York.

In Cleaning the Drapes, for example, a slim woman with a fashionable haircut appears to steam elegant, paisley-patterned curtains. Outside her window, we might expect to find a well-manicured suburban yard; instead, we see a harrowing black-and-white scene of helmeted soldiers and their guns amid a rocky fortification. In another work from the series, House Beautiful: Giacometti, the windows of a regal sitting room with a floral sofa and pricy-looking artwork (including an ominous Alberto Giacometti sculpture) look out onto a black-and-white beach filled with immobilized bodies.

"She decodes how images work by taking them apart," said Darsie Alexander, who's curating an upcoming retrospective of Rosler's work at New York's Jewish Museum, "which is what a collage structure does-quite literally taking them apart and putting them back together again, often in really jarring configurations." The power of "House Beautiful," she suggested, lies in how the series merged international and domestic tribulations.

"I saw the clear reference to the home itself as being central to our ideology of why we were fighting people abroad," Rosler said. American capitalism-and its glorification of all the domestic goods, appliances, and finery that money could buy-contributed to our grave fear of Communism. North Vietnam posed a purely ideological threat to the United States. We were fighting-and killing millions of people-over divergent economic conceits.

Rosler circulated her pictures at public protests and in underground newspapers, including Goodbye to All That (named for the Robert Graves autobiography about fighting in World War I, not the popular Joan Didion essay about leaving New York for Los Angeles-"No one I knew really liked Joan Didion," Rosler said).

The artist, of course, wasn't the first to employ photomontage techniques for political ends. In fact, the originators of the medium-German Dadaists such as George Grosz, Raoul Hausmann, and John Heartfield -used collaged images to impart timely messages as early as the 1910s.

One of Heartfield's most famous works, Adolf, the Superman, Swallows Gold and Spouts Tin (1932), depicts Adolf Hitler's face atop an X-rayed body, revealing coinage hiding inside his organs. The figure has a swastika for a heart. Heartfield transforms Hitler into a machine whose party affiliation has co-opted his humanity.

Martha Rosler, Cleaning the Drapes, 1967-72. © Martha Rosler. Courtesy of the artist, Nagel Draxler Berlin / Cologne, Mitchell Innes & Nash / New York.

"Collage has always been about disrupting realities," said Alexander, "often with an edge of satire or critique." Scholars consider Dada itself to be the first art movement explicitly devoted to upending societal norms. As Tristan Tzara wrote in his 1918 Dada Manifesto, "Every product of disgust capable of becoming a negation of the family is Dada; a protest with the fists of its whole being engaged in destructive action."

Rosler's layouts are similarly impactful and unsubtle, aimed at denying broadly accepted American structures and ways of living. Though Rosler doesn't recall how the public responded to her collages, history has served them well: Over the past 10 years, the J. Paul Getty Museum, the International Center of Photography, and the CCA Wattis Institute for Contemporary Arts have all exhibited them. They're instantly digestible, making them perfect for our high-speed digital times.

In 2003, Rosler returned to her "House Beautiful: Bringing the War Home" series after the United States initiated the Iraq War. She feared that people would condemn her work as tired, thinking she simply lacked new ideas. "Well, what are we doing that's different?" she said, defending her choice to revisit old strategies. "This is exactly the same scenario." She points out that the Iraq conflict has lasted even longer than our engagement in the Vietnam War; there are still American troops in the country.

Between 2003 and 2008, Rosler created new photomontages with a distinctly 21st-century feel. Photo-op (2004), for example, features two identical blonde women, who at first glance resemble Paris Hilton or Ashley Tisdale, screaming at their flip phones. Behind them, apparently hurt and tired children (refugees, maybe) sprawl in two chairs. Outside the windows of the modernist home, fire rages. Narcissism, narrow-mindedness, and wealth contrast with nearby destruction.

Despite the repetition of American folly, Rosler still believes in protest. "Being out in the street is what gets attention from actual governments," she affirmed, noting that Henry Kissinger-who served as a political consultant during the war, and then Secretary of State-admitted that "we couldn't keep bombing because the kids were in the streets."

Martha Rosler, Balloons, 1967-72. © Martha Rosler. Courtesy of the artist, Nagel Draxler Berlin / Cologne, Mitchell Innes & Nash / New York.

Martha Rosler, Red Stripe Kitchen, 1967-72. © Martha Rosler. Courtesy of the artist, Nagel Draxler Berlin / Cologne, Mitchell Innes & Nash / New York.

The absurdist photomontage aesthetic of Rosler and the Dadaists, once intensely provocative, has begun to seep into the mainstream-including the news media, long a target of the artists' angst. On May 14th, the New York Times published an article that featured side-by-side photographs of violence in Gaza and elegantly clad state officials at the opening of the United States Embassy in Jerusalem. In another piece that same day, the Times juxtaposed a photo of a gas-masked man running from a fiery blaze with one of Ivanka Trump and Benjamin Netanyahu clapping. Together, the images imply that the pair are applauding the mayhem itself, not the opening of the embassy. The illustration looks like something Rosler could have made (and also recalls a particular Eric Fischl painting).

Another artist, Thomas Hirschhorn, takes Rosler's aesthetic to an extreme with his juxtapositions of graphic war imagery (a gruesomely disemboweled man, a bloody victim on the sidewalk) with figures from fashion publications. Employing photographs too harsh for most newspapers, his exhibitions turn the gallery into a site of confrontation and potential outrage.

And the logic of radical photomontage is rampant in an everyday context, as well. In fact, it's become a familiar media tactic (ironically, since artists such as Hirschhorn and Rosler target the very media that's adopted their style). This week, placed pictures of David Lynch and Donald Trump side-by-side for a piece on Lynch's views of the president ( clarification: he's not a fan). The surreal setup juxtaposes the film director with the daftly grinning, flag-hugging, America First politician next to him. The latter looks like a readymade villain for Lynch's next installment; Twitter had a field day, comparing Trump to Blue Velvet crook Frank Booth and Photoshopping the president's head onto the body of one of Lynch's most bizarre characters, Henry Spencer (from Eraserhead).

Indeed, such digital tools and social media platforms have made the photomontage readily accessible to the masses (Rosler herself is active on Facebook, reposting and disseminating writing and pictorial content outside of the usual institutional and fine art contexts). Memes, with their appropriated images and wry text, are the form's heirs, apparently. These days, it's often up to the internet-not just artists - to find the jarring configurations that might expose the lunacy of our times.

Jenna Gribbon, Luncheon on the grass, a recurring dream, 2020. Jenna Gribbon, April studio, parting glance, 2021. Jenna Gribbon, Silver Tongue, 2019

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Martha Rosler's Powerful Collages Are a Wake-Up Call to America | Artsy

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Martha Rosler, Photo Op, 2004. © Martha Rosler. Courtesy of the artist, Nagel Draxler Berlin / Cologne, Mitchell Innes & Nash / New York. Martha Rosler thinks that Vietnam anti-war literature of the 1960s and '70s was hideous.

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Maybe add texture? Cardboard? Toilet paper? etc.

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Medium

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Notes/input from others

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Subject matter/theme

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Ideas

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Start collecting materials around you!

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Try printing one picture like 5 times and see what happens

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?Rip up old drawings? (bit scary lol)

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Origami?

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Water

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Process of collage combined with painting

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I don't really think this is something you can find in my work, but it is something that's happening to me when I work. It happens in the process more than in the result of a project.

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I love autumn so much. I have always dealt with seasonal depression, but now that I am slowly getting less depressed, I can really start to appreciate this beautiful refreshing weather. I love feeling the wind around my face while being tucked into my warm coat, I love feeling the rain land on my skin, I love the orange and yellow of the trees, I love the gray clouds building up above me. Nothing of this gets to me in a bad way anymore, I can find the beauty in this wihtout having to feel like shit.

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Dag Petra

In ons gesprek zaten we verschillende opties uit te testen: wat je mogelijk kunt onderzoeken voor je essay.  Er kwamen verschillende dingen naar boven, is er bijvoorbeeld een relatie met de romantiek. Die is er volgens mij wel, alleen is de romantiek gericht op een betere toekomst met behulp van de verbeelding en gaat het bij  jou om het zijn in het moment. Zie artikel Jos de Mul om mogelijk verbanden te vinden, maar misschien is dit ook een doodlopende weg, en minder interessant.

Wat zaten er ook aan te denken om het essay als logboek te benaderen, waarin je gebruik kan maken van een beeldverslag en aantekeningen over wat je hebt uitgeprobeerd en in kunt gaan wat werkte en wat niet werkte en welke mogelijke vervolgstappen je wil maken en hoe dit weer uitmondt in beelden en vervolgens weer een reflectie.

Daarnaast hadden we ook over het belang van het alledaagse om deze als het ware te romantiseren, waarmee je bedoelde die dingen te zien die het leven waard maken om te leven. Dit beschreef je mooi als schoonheid, ook hoe dit als remedie kan werken tegen neerslachtigheid. De relatie tussen het alledaagse, schoonheid en zintuigelijke beleving die ons doet opveren. Mogelijk kun je daar ook over schrijven. Hoe jij dit relatie ziet en wat schoonheid daarin voor je is.

Je vindt ergens nog een artikel over schoonheid en de every day. Je kunt in je essay ook in je eigen bewoordingen omschrijven wat het alledaagse en schoonheid voor je betekent en hoe van daaruit dit zich verhoudt tot de omschrijving van schoonheid in de kunstfilosofie zoals beschreven in de docu van Scruton (niet alles is goed uit deze docu, maar er zitten mooie omschrijvingen tussen), zit ook algemene artikel bij over schoonheid. Ook heb ik er verschillende artikelen en boeken bij gedaan over het alledaagse, mogelijk kun je dan je eigen omschrijving (na zelf woorden te hebben gevonden tussen relatie schoonheid/alledaagse/opveren) van het alledaagse vergelijken met hoe vanuit een kunstperspectief het alledaagse door een ander wordt beschreven.

Groetjes,

Hille

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Roger Scruton - Why Beauty Matters (2009)

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Philosopher Roger Scruton presents a provocative essay on the importance of beauty in the arts and in our lives.

In the 20th century, Scruton argues, art, architecture and music turned their backs on beauty, making a cult of ugliness and leading us into a spiritual desert.

Using the thoughts of philosophers from Plato to Kant, and by talking to artists Michael Craig-Martin and Alexander Stoddart, Scruton analyses where art went wrong and presents his own impassioned case for restoring beauty to its traditional position at the centre of our civilisation.

Presenter: Roger Scruton
Director: Louise Lockwood
Producer: Andrew Lockyer
Executive Producer: Andrea Miller

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Stephen Johnstone - The everyday. Documents of contemporary art

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Summary Writings on the “turn to the ordinary” in contemporary art examine the various ways artists have engaged with the everyday since 1945. Numerous international exhibitions and biennials have borne witness to the range of contemporary art

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Rita Felski (2000, p. 77) describes 
everyday life as “the essential, taken-for-granted continuum of mundane 
activities that frames our forays into more esoteric or exotic worlds. It is 
the ultimate non-negotiable reality, the unavoidable basis for all other 
forms of human endeavor”

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Het alledaagse is hetgeen wat het moeilijkste is om te ondervinden.

Omdat het binnen 4 muren gebeurd beschouwd als a-politiek en a-filosofisch.

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On a theoretical level, forgetting about everyday life also meant for philosophy to forget something about its own origins. The everyday is where the lived experience constituting both material reality and subjective consciousness is located. It is the incubator of most of the ideas that have nourished our culture and society, a reservoir of insights for philosophical investigation not provided by politics, science, or art. And, contrary to common belief, the everyday is imbued with diverse strands of thought and beliefs, from the scientific to the religious to the philosophical.

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Can ‘the everyday’ be taken as synonymous with ‘the ordinary’. Does everydayness correspond strictly to what is ordinary, commonplace, and mundane or does it also include exceptional occasions, practices, or activities?

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What approach is the most appropriate to investigate the 
aesthetic properties of everyday life, however we choose to define them? 
In the literature, a distinction emerges around two main positions. Either 
having an aesthetic appreciation of the ordinary is construed as implying 
a process of distancing, defamiliarization, or estrangement; or it is seen as 
requiring an attempt to aesthetically appreciate the ordinary as such. 

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The aesthetic potential of our daily life can only be discovered if we capture the ‘extraordinary in the ordinary’ by raising “the everyday above the ordinary and the routine” (Puolakka 2018) and by giving it “heightened significance”, what Thomas Leddy (2012) calls an “aura”.

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Het alledaagse gaat verloren in pogingen om het alledaags extraordinair te maken.

Ben ik het hiermee eens? Feitelijk op zich wel, maar daarnaast heb ik niet het idee dat het romantiseren van het alledaags afneemt van de waarde die het alledaags op zichzelf heeft. Het alledaagse blijft onderbouwd door dezelfde handelingen, interacties en waarnemingen, de keus om dit als extraordinair te gaan beschouwen staat daar los van naar mijn mening.

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Het belang van het alledaagse romantiseren is voor mij vrij persoonlijk, maar ik kan me goed voorstellen dat dit ook voor anderen zou kunnen helpen. Zonder het romantiseren van het maken van mijn ontbijt, mijn fietstocht naar school, mijn kopje koffie in de middag

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Depression and mindfullness

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The Relationship Between Wandering Mind, Depression and Mindfulness - Mindfulness

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This study examined the relationship between wandering mind, depression and mindfulness. We used the Sustained Attention to Response Task to assess the wandering mind, while the online thought probes were employed as the subjective marker for mind-wandering. The Beck Depression Inventory and Mindfulness Attention and Awareness Scale were used to assess depression and dispositional mindfulness respectively. The results revealed that the wandering mind even without awareness was not only positively associated with depression, but also negatively related to dispositional mindfulness. Depression was negatively related to dispositional mindfulness. These results might provide evidence that a wandering mind is positively associated with depression and mindfulness.

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Living in the here and now: interrelationships between impulsivity, mindfulness, and alcohol misuse - Psychopharmacology

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Rationale Impulsivity and mindfulness both emphasize orientation to the present, and both have been linked to alcohol misuse, but the relationship between the two is not clearly understood. Objectives The objectives of this study are to examine the relationships between elements of impulsivity and mindfulness and to examine both variables in relation to alcohol misuse. Method Young adults (N = 116) were assessed for alcohol use, mindfulness, and impulsivity using psychometrically validated measures. Results Numerous significant associations were present among the facets of impulsivity and mindfulness. All impulsivity facets and three facets of mindfulness were related to alcohol consumption and adverse consequences from drinking. After controlling for other variables, only the impulsivity domains of Negative Urgency (NU), Positive Urgency, and delay discounting were significantly related to alcohol consumption and only Lack of Premeditation and NU were significantly associated with drinking-related consequences. Conclusions There was considerable overlap between some elements of impulsivity and mindfulness while the overlap was negligible for other facets. The associations between mindfulness and alcohol misuse were entirely a function of impulsivity. In particular, acting on impulses while experiencing a negative affect was significantly associated with level of alcohol consumption and level of alcohol-related risk. Steep discounting of future rewards was associated with alcohol consumption while poor premeditation was associated with adverse drinking consequences. These findings illustrate the importance of jointly studying impulsivity when examining mindfulness traits.

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More than forty years ago, Dr. Aaron T. Beck’s pioneering Depression: Causes and Treatment presented the first comprehensive account of all aspects of depression and introduced cognitive therapy to health care providers and patients struggling with one of the most common and devastating diseases of the modern age. Since that classic text first appeared, the appreciation of the multifaceted nature of mood disorders has grown, and the phenomenological and biological aspects of psychology are increasingly seen as intertwined. Taking these developments into account, Beck and his colleague Brad A. Alford have written a second edition of Depression that will help patients and caregivers understand depression as a cognitive disorder.The new edition of Depression builds on the original research and approach of the seminal first edition, including the tests of Freud’s theory that led to a new system of psychological theory and therapy, one that addresses the negative schema and automatic thoughts that can trap people in painful emotional states. Beck and Alford examine selected scientific tests and randomized controlled trials that have enhanced the cognitive approach since the time it was first introduced.Incorporating accepted changes in the definitions and categories of the various mood disorders into its discussion, Depression addresses the treatment role of revolutionary drugs, such as the selective serotonin reuptake inhibitors (SSRIs), electroconvulsive therapy (ECT), and transcranial magnetic stimulation (TMS) in relation to cognitive approaches. Beck and Alford explore research on neurotrophic and neurogenesis theories of depression. They also report on advances in psychosocial treatment of depression, including the value of cognitive therapy in the prevention of relapse.

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A link to my onedrive portfolio. All the work featured in my Silex is also stored on Onedrive, this Silex is more a collection of highlights of my practice.

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First ever digital collage work (September 2024)

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I thought it would be cool to try to work on a digital collage, but it took me way more time than I would have liked, so I am not sure if I will continue with this medium. It was fun to try out though! But I like to work my collages a bit quicker, without too much thought behind them

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Reflectie is een onderwerp dat vaker terugkomt in mijn werk, ik vind het fascinerend wat voor bijdrage een reflectie kan hebben in een foto. Naast dat de ramen bovenin deze foto een gebouw reflecteren wordt er onderin het werk ook een rijdende auto zichtbaar gemaakt door de weerspiegeling van een raam.

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In deze foto zie je op dezelfde manier de gelaagdheid/diepte/stapeling die ik in mijn collages terug wil brengen

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Kampvuur afgelopen zomer (acryl op karton, 50x70)