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The piece of work I have chosen is Agnes Martin's Happy Holiday painted in 1999. The square shaped piece is divided into 14 different sections which alternate in colour between white and peach, with pale blue used for the top one and bottom two bands. They coloured paint strays beyond the pencil lines that separate the different bands making the work feel more hand-made. Art historian and curator Ned Rifkin has observed these works: ‘Geometry is an abstract system of order concerned with the relation between shapes. It is also an ideal. It refers to a perfection of form that does not actually exist within the natural world. In contrast, the rectangles Martin describes within the square format of her canvases are irregular and imperfect.’ (Rifkin 2002). This quote supports the idea that imperfection is perfection even Agnes Martin herself has said that ‘the work is about perfection as we are aware of it in our minds but... the paintings are very far from being perfect – completely removed in fact – even as we ourselves are.' The reason I explored this idea is because I believe that perfection is subjective and dependent on your unique perceptions. Although this theme doesn’t directly link to my project title of Ocean Pollution I want to incorporate these ideas for my final piece. I have begun to make my final garment which consists of netting and knotting with plastics and I have encountered some problems such as plastic bags ripping or my knitting unravelling.

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'Then & Now', Lorna Simpson, 2016

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My critique was to respond to my artists research through draping and fabric manipulation.

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This is a piece by Peter sedgley
It’s called colour cycle lll and was made in 1970
It is an acrylic on canvas piece that explores how light effects our perception of colour. Sedgley was quoted saying ‘he noticed how the cool light would intensify certain colour and mute others’ the piece changes colours due to having three coloured lights on it  I thought this linked back to error threw how it exposed the error of the human eye to see what is actually there and I felt this was abit of a metaphors for society and how the same thing can appear completely different depending on your perception I felt this visually represention of this idea was very powerful and it felt very real to me as the simplest shift in colour would dramatically change the emotions the piece made me feel this piece has also gone on to inspire how I explore error from a visual stand point as it has given me the idea to explore how both colour And perspective can be manipulated and altered

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This piece of work I have chosen is created by Cildo Meireles in 2001, called Babel. It consists of a tall cylinder-shaped tower of stacked radios starting from the first radio up unit the year 2001. All the radios are turned on but at a low volume and are all on different stations in different languages. This creates a continuous but unclear sound since there all playing at the same time. The colours consist of neutral colours like brown, beige however with the room being dark and with one source of light being blue giving off a glow. This stood out to me the most out of all artworks I had seen on my trip because of the I liked that it was a sculpture and not a painting. During my week doing 3D we did a lot of structure making and I felt like this related a lot. It also related really well to the theme of error because with all the muffled sounds I. the background and repeated use of radios gives of a glitch/error to me.

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in this work the outline of the figure is roughly gouged into the thick paint, the face and the body scarred and crumpled. when I  first saw  my first impression was this looked weird but as I looked closely  I saw the facial expression and it looks like his frowning and angry and I wanted to linked this to my theme pain and suffering to show metaphorically that people try to hide but eventually your true feeling starts to show

The fact that the images is not a perfect images it is a picture of someone frowning their face this tells me that there is agony and trying to shy away from scrutiny the background looks muddy and very dark this represents the factors that contribute to towards racism.

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I have named my error project 'Dysfunctional Beauty' which connects to the aspect of mental health. As well as compromising with Tacita Dean's gouache photograph, "Majesty". Dean's has exhibited an aspect of Dysfunctional Beauty regarding to the title of the piece. Which is derived from the tree with the same name that resides in Fredville Park. From my own perspective, the title of the piece complements the appearance. The word 'Majesty' itself expresses "impressive beauty, scale and stateliness", which basically describes the tree's own individual form of beauty. Which is what I want to be able to convey within my own project of "Dysfunctional Beauty" by not going with something that is not usually seen as THAT standard of beauty; which soo many people aspire to reach. And also links to error because of its own abnormal form of beauty.

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This particular painting has caught my attention because of the how beautifully detailed the leafless branches of the 'old deformed trees' within the photograph. The photograph consists of the eldest oak tree in England, which transmits the emotion of curiosity, and memory from the artists' perspective. Dean's Gouache on photograph which is mounted on paper mainly uses the colour grey. The symbolism behind grey conveys neutrality and balance from a positive viewpoint, however the negative point of view conveys depression and loss. which refers back to the emotion Dean is transmitting. In addition, a tree itself represents physical and spiritual transformation and growth, along with folk religions referring trees to the 'Home of Spirits' which can link back to the artists reflection of her own memory of Fredville Park, which was close to where Dean grew up. This piece of art makes me feel a sense of deja vu since trees are linked to memories of the past.

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Mrinali Mukherji

The first glance at the art work I could relate it to have an Asian touch knitted in an incredible manner creating extraordinary sculpture. The Colour’s and the lighting are dark shades which resembles the artist’s darkest of days bringing out the best form of art work. The drapes, folds and the placement to fabric which is physically not wearable but however that’s the beauty of the form the artist is trying to convey.

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Graciela Iturbide- Our Lady Of The Iguanas

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Agnes Martian- Happy Holidays created in 1999 'Tate Modern'

The simplicity and faint use of colours is what drew me in. The white acrylic frame  covered with faint pastel stripes and pencil markings show the delicate nature in the artwork itself. At a distance the artwork looks like regular lines, however if you look at a closer view you can see the imperfections. for me this relates to people and how socially influences beauty and fashion in general. This applies to anything in life but in the fashion and beauty industry its most prominent. the façade of beauty and perfection is used as a standrd to achieve when we all know we can never be perfect.

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Michael Buthe
This particular art work caught my attention, the first reason is the fabric and Colour , size of the art work and the haphazard composition of a canvas spoke a lot. The art work resembles a feeling of confusion, sadness, arising questions, the empty spaces relating the current situation of COVID which can be one of he reasons to display the art work at this point of time.

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Ellie

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The British Library, 2014

Upon viewing this artwork was amazement at the vividness of the colours, the individual uniqueness of each specific article within the “Library” and the familiarity of prints, deeply significant in both mine and the artist’s ethnic roots, which in this case is African, especially Nigeria. It also further struck my initial reaction due to initially not thinking each piece of the Library was an individual book, but upon noticing and seeing how each print was carefully attached allowed me to further reinterpret how I understood the description of the art and how the artist wanted to convey his message.

The British Library is an art display portraying 6000+ books, in which 2700 have been detailed with golden leaf printed names of both first and second-generation immigrants who’ve each had a significant impact, contributing to British culture and history. Each book having been covered by Dutch wax print fabric, which in itself has a history of adaptation through different cultures, Europe, Asia and Africa. The journey of the fabric itself having a commonality with the theme of immigration, a journey from one end of the world to another carrying a story, history and a the goal to start a new story in the land they’re heading to.

I compare this piece to my work and ideas, due to the approach to colour, contrasting patterns from each book and adding context behind a visual display that otherwise at first glance may not be noticed. My concept of deconstruction, manipulating colours and repairing ties in with the use of taking books and reconstructing the cover print, mixing colours and prints, turning a plain, blank collection of books, into a assortment of stories, not to mesh in a colour-coordinated fashion but in a varied assortment that needs no order, that doesn’t conform to a specific standard of being placed, such as the immigrants should not, so should the work also.

What I took from this is how each unique distinct pattern is no similar to the next, as how immigrants are sometimes painted with a broad brush, in this instance it shows how this is not the case, how each story, each person, each print, each immigrant not only by different exterior carries their own beauty, but also a unique story to them only that makes up The British Library(Britain).

Furthermore, the fact that not every book in the library has a name attached, how I took this was that there are still many untold stories of immigrants that came to make this country what it is, but despite them being somewhat unknown, their existence is etched into the Library through the numerous un-named books and in line with the named, shows their efforts and impacts is not any less significant than those who have been mentioned.

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Haegue Yang

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The Title of this piece is F  and was made in 1960. this piece relates  to my main focus Pain and Suffering because as you can see there is a battle going on with police and civilians. She does these harsh black lines  to communicate rage and confusion .

The fact that the bottom is cut in half  with paint dripping to make it seem like it  a whole image emphases the complexity and fear that must be running though the people's mind  and the half image suggest that there is damage that can't be fixed or go back to how it was.

The texture of the image looks like its quite rough and rugged and this symbolizes being broken or people trying to fight back   but not getting the results they need  this also symbolizes hurt because their voice is not being hurt and the only way is to result to anger  and so much violence.

The different shades of black, grey and white does capture the distress  and intensity of the images this relates to my theme because it really shows how racism can  get

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Atul Dodiya
“With eyes open”
I really how each object is assembled and the different size of each object and how they work together.

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Heaven Preserve Your From Dangers & Assassins
Mark Bradford’s ‘May Heaven Preserve You From The Dangers On Assassins’ is largely monochromatic using black and white in a collage-like way originating from pest-control flyers. I was drawn to this because of the scale of the piece as well as the chaotic nature of the materials and the ambiguity of the structures. Writing is used with the word “BUGS” written across the canvas as well as question marks - lustrous silver, foil-like material is also used across, merging with the black and white tones. Lines appear towards the bottom showing cracks in the paint and lines. 


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Kinga RachwolMar
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Kinga Rachwol
Mark Bradford
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Jeneba Jabbie -Mrina
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Jeneba Jabbie -Mrinalini  Mukherjee
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Tacida Dean - Majesty 2006
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Th Queen 1962 by Lenore Tawney
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Th Queen 1962 by Lenore Tawney
The artwork  was hung up in teh corner of the f
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Babel 2001
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Babel 2001
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Klaudia Chilinska
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Mrinalini Mukherjee - ‘Jauba 2000’
I was particularly drawn to this piece as it had a deadness to it - it was held up using one singular metal rod almost human in scale and fell to the floor lifeless.  Mukherjee rejected conventional materials and began to work with hemp rope It was very organic but the weaving and knotting was complex and created interesting shapes. The colours used were very neutral and earthy a dark tone green alongside a maroon.

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Mark Bradford - May Heaven Preserve Your From Dangers & Assassins

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Mark Bradford - May Heaven Preserve Your From Dangers & Assassins

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Mark Bradford’s ‘May Heaven Preserve You From The Dangers On Assassins’ is largely monochromatic using black and white in a collage-like way originating from pest-control flyers representing the socio-economic issues infiltrated in LA. I was drawn to this because of the scale of the piece as well as the chaotic nature of the materials and the ambiguity of the structures. Writing is used with the word “BUGS” written across the canvas as well as question marks - lustrous silver, foil-like material is also used across, merging with the black and white tones. Lines appear towards the bottom showing cracks in the paint and lines. I really like the abstract collage technique and the tones used which I think reflects the fast-paced disorder of a struggling city infected with disease. His use of recycled materials is appealing, as he created art from the mundane using scraps to convey a deeper meaning and commentary on the state of his world. For my error project, I'm researching into my personalised utopia, and what this would look like, referencing imagined cities such as Metropolis, and so Bradford's piece strikes me as useful in terms of subtracting such socio-economical problems from a potential utopia - this piece could be viewed as a form of activism in the sense that its materials are used to start a conversation about systemic inequalities in poorer communities.

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Kinga Rachwol
Mark Bradford

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Mrinalini Mukherjee

Jauba 2000

This piece is by an Indian artist who is known as Mrinalini Mukherjee. This artwork features a dark colour scheme(dark green, red and grey) featuring heavy knitwear (made from Hemp fibre and steel) that looks like clothing. Which appears to be hanging on its own. This piece connects to my project through the error of excess, which is presented by the layering of the materials.

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Tacita Dean - Majesty 2006

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This Piece of art work by John Stezaker caught my attention because of the unusual face covering in the portrait. I was intrigued by the contrasting themes he has put together.The post card suggests a free, tropical and spirited environment, in contrast to a basic portrait in black and white of a movie star. His work closely links to what is going on in the world today, in terms of face coverings. With all that is going on in today's modern society, face covering is mandatory in most places.  He wanted his viewers to fill in the portrait with their eyes, of what they think the person behind the post card could possible look like. Placing the post card on top of the portrait could imply a deeper meaning to what is being displayed. Looking deeper, other than stating the obvious, i think the destination of the post card has something to do with that celebrities personal life, which could be something that has happened in the past. For example the dark areas could suggest death and for its partial appearance, it could suggest death that is to come.

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Agnes Martian- Happy Holidays created in 1999

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Babel 2001- This piece of work is created by Cildo Meireles in 2001. This piece consists of stacking radios on top of each other to create a large tower of different sized radios. The colours used are neutral however with the surrounding lighting causes the piece to look blue. This piece is a very tall cylinder shape which focuses on technology and second hand analogue radio. all the radios are turned on and tuned in on a very low volume which creates a continuous sounds, resulting in inaccessible information, voices and sounds. My first impression on this piece was that it related well to the physical shape of my project because of the way it has been structured. The lines and squares created refer well to my project and computer errors. I like the fact that with all the radios playing it create a muffled sound which is hard to distinguish such as a computer error image. The different sizes of the radios creates irregularities within the shape of the piece. This piece, even though its only one group of neutral colours, it gives off another depth through the lights given off by the radios. The meaning of this piece is a 'tower of babel' relating it to the biblical story of a tower tall enough to reach the heavens.

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I WAS

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Nancy Martin -Sarah sze - seamless 1999 

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Nancy Martin -Sarah sze - seamless 1999 

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Sze incorporates designed for the human scale,often tools fro installing sculpture such as a ladder and a spirit level. Other components, for instance tiny wooden bridges could imply an imaginary scale. was drawn to this because of scale of piece as it took up nearly half of room. And Sarah’s use of creativity combining these daily/everyday objects into a masterpiece.

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Yinka Shonibare, ‘The British Library’ 2014 (Joan Dzyma)

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Yinka Shonibare, ‘The British Library’ 2014 (Joan Dzyma)

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This installation consists of over 6,000 books covered in a ‘Dutch Wax print’. Nearly half of the hard back books were named with first or second generation immigrants which gives recognition to the people who’s names were mostly disregarded but also notable names that changed the course of British history. The choice of the prints used to wrap the books has significance to cultural identity, colonialism and cultural appropriation where these similar fabrics were manufactured in Indonesia in the 19th century which at the time was a Dutch colony. It didn’t receive popularity from Indonesia however, these textiles were appreciated by Western and Central African regions. I was drawn to this piece because I typically like installations as they are usually three dimensional and therefore more interactive. Given it’s size and and the bright lighting, the colours from the wrapped books appeared as vibrant as they should be. Given the historical context of the Tate this piece is particularly relevant to ongoing issues in our society but also the Tate’s response to the re-ignited Black Lives Matter movement. The use of books to almost depict a person’s life and story in its self creates a narrative which I thought was very clever. With white walls surrounding the piece the work was unaffected and the colours and prints remained harmonious. In addition to the shelves and books being to scale to a person, walking along the room and past the books in itself was a small journey the same way the named books metaphorically condense the lifespan of the subject.

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Ellie.                                           Yinka Shonibare "The Swing"

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Ellie.                                           Yinka Shonibare "The Swing"

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The swing is a three dimentional artwork that is a recreation of a "Rocco painting" of which it is based off. The artwork is of a life-size  headless manequin dressed in an ornate 18th century African dress. Our immediate gaze is drawn to her  vibrant Petticoat and gown creating a very flirtatious image. The colour palette is based off the traditional African dress; very ornate, colourful and traditional.The medians she used were cotton costume, 2 slippers, swing seat, 2 ropes, oak twig and artificial foliage. At first glance it appears odd she has no head but this is a reference to The "Reign of Terror" in the 1790's where the French aristocracy were publicly beheaded. This makes us a viewer question history and force us to think of the deeper meaning. This is what initially drew me to the artwork as I had so many questions about the figure. Yinka was raised in London and Lagos making her especially aware of nationalism and cultural appropriation which she expressed in her artwork by the use of where her fabrics came from. Dutch wax fabrics have been prodominant in his artwork and represent a cultural fusion. Indonesian batik techniques were copied by the Dutch during the colonial period. British manufacturers copied the Dutch model, creating the same fabrics using the Dutch wax style in Manchester. The designs were copied from traditional African textiles. She uses dutch fabrics in her work to highlight the appropriation caused in her culture. The piece made me feel intrigued and captivated, the sheer beauty of the image brought me joy. Further research taught me "In imaging this particular moment in European history, Shonibare wishes to forge connections between imperialism, the aristocracy, and the “colonized wealthy class.” In The Swing (After Fragonard), which is loaded with references to the French Revolution, the Age of Enlightenment and colonial expansion into Africa, Shonibare asks us to consider how a simple act of leisure can be so controversial."

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Agnes Martin’s Happy Holiday created in 1999 is a square art piece that explores our natural desires for 'peace and serenity' (Straine, 2020).
White acrylic gesso is partially covered by lines of diluted blue and peach paint, each separated by unsteady pencil lines.
From a distance, the painting looked almost perfect, but at closer inspection I could see the wavering lines and the paint’s textures, proving that the art is imperfect. This reminded me of my error project and how we may want and expect everything to be perfect but in reality, nothing is, especially when you examine it closely.
The small, faint pencil lines on this painting seem out of place, given the size of the artwork and the fact that it has been painted on - Briony Fer, art historian, mentioned that it is ‘striking that Martin does not draw a distinction between drawing and painting. On the contrary, she collapses it’ (Straine, 2020). I agreed with this observation and thought it was an effective detail because it includes the rough and imperfect sketches artists do before they attempt to create their desired products with paints and other mediums.

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I was drawn to the scale of the piece as it fills the whole room as you enter and surrounds you. It makes you immediately want to  know what it’s about as you feel submerged by the missiles and almost a part of it. The bright colours and patterns make it seem fun and happy, at first glance I thought it would be about a lighter topic, once I realised it was the opposite I was more drawn in and wanted to know more.  The work relates to my Error project as I want to create big scale work that will surround the viewer and draw them in through this similar to Xiuzhen.

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My error project is based on deconstruction and reconstruction and this painting is relatable. Twombly has seen and reflected in a   Deconstructed society in terms of humanism and classism. He learnt from his teachers and from there took part in an American humanism revision that provided a basis for his lifelong devotion to humanist discourse. His work is diverse and open to attentive audiences. His also focuses on classism ( class discrimination) which still exists today . It’s is a true but unnoticed problem. It’s occurs in all aspects o It’s occurs in all aspects of society. I believe that the institution/ location is important because in the Uk class I’m I’ve very common when it comes to jobs. Job agencies like Indeed make presumptions about the socio-economic status of a nominee. Some candidates do not get to advance within the hierarchy at their work place because they lack of a privileged background.  This stood out to me because that is the main error in society that is pushed to the side and not spoken about as often.

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Bradford's piece is a large scale collage of pest control advertisement flyers that have been arranged on a canvas. The monochromatic colour choices of his work reflects the grim state of his environment living in his neighbourhood in Los Angeles. Bradford's work initially drew my attention due to it's scale and the fact that it was isolated on the wall helped it to stand out. As I had been researching dystopia for my error project, the chaotic and disturbing nature of his collage intrigued me.

Bradford discovered his materials locally, sourcing the flyers on hoardings surrounding derelict buildings. This part of the city where he lives is known as the work and business area for the poorer inhabitants of Los Angeles. Bradford's inspiration for this piece was his interest in the way that street signs relate to the social and economic circumstances of the community. From Bradford's perspective the layers of paper from his collage allow the viewer to read the streets through the signs.

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The artist I was most drawn to was Agnes Martin. When first looking at the painting the band of colour initially appear steady but when looking closer, faint brush strokes and pools of paint emerge. I selected this painting because of the meaning behind it. It links with the idea that imperfection is perfection.

Agnes martin has said that ‘the work is about perfection as we are aware of it in our minds but... the paintings are very far from being perfect – completely removed in fact – even as we ourselves are.'

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Claudia Andujar’s choice of using 12 striking black and white portraits stood out to me as they were placed on the wall alone. The photographs were taken to show identity, the people in the pictures are part of the Yanomami communities who are identified using number and photographs instead of names. Andujar uses the photographs to “examine the boundaries between artwork and activism”.

The use of having only these 12 photographs on the wall catches the eye of anyone walking past and compels them to look deeper at the artwork to see the people as more than just a face on the wall. The identical blank expressions on all 12 people’s faces shows that the photographer is trying to capture the idea that they are being made to all have the same identity and expels the idea of individuality.

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This painting caught my eye because at first glance, it looks fun and colourful but as you take a closer look at the painting it has quite sinister and gruesome details such as figures with sharp teeth biting each other and figures covered in blood. The juxtaposition of the use of bright colours to depict such a gruesome scene is interesting especially when reading the story of what the painting portrays. This painting represents the extent of suffering that was endured by locals in Mozambique during the 10 year War of Independence from Portugal from 1964 to 1974. Depicted in the painting, figures are crammed together and overlapped, sometimes merging into each other which suggests the sense and importance of community and social relationships which were broken down and challenged during the war. The artist, Malangatana Ngwenya, was imprisoned for eighteen months, three years before painting this piece. This could also suggest that his time imprisoned influenced the emotions illustrated in the piece since he was arrested for his involvement in FRELIMO (The Front for Liberation of Mozambique).

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in studio 8 Helen frankenthalers post war expressionism work particularly drew my attention. the "soak satin" technique was created by using thinned out oil paints, to almost create the impression of a watercolour medium, these pigments were then poured and dripped down raw canvases to create her final outcome and abstract image.The colours present in the artwork I have chosen are all moody from the deep maroon purple to the khaki green, these colours then mix and bleed as the oil seeps into the raw canvas, the context of helens work is using inspiration taken from natural sources and turning there natural and precise form into something abstract .i was drawn to Frankenthaler work as her style and context were unlike those of her time, she set the bar for a move away from abstract expressionism and towards colour field painting, her work despite being dated to 1952 still seems modern and relevant and in this way i see it as timeless and poignant my other reason for choosing Frankenthalers work is its connections to my error project, through my error project I have explored the error is spills and mistakes and how as humans we made small and large mistakes everyday, I see connections in my work as the paint disperses naturally across a canvas, for me and my final development as my ceramic plates smash and the  portrayal of when they hit the floor , I see mistake in Frankenthalers work as well as intended error similarly to how my project has progressed and will in my final piece.

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in studio 8 Helen frankenthalers post war expressionism work particularly drew my attention. the "soak satin" technique was created by using thinned out oil paints, to almost create the impression of a watercolour medium, these pigments were then poured and dripped down raw canvases to create her final outcome and abstract image.The colours present in the artwork I have chosen are all moody from the deep maroon purple to the khaki green, these colours then mix and bleed as the oil seeps into the raw canvas, the context of helens work is using inspiration taken from natural sources and turning there natural and precise form into something abstract .i was drawn to Frankenthaler work as her style and context were unlike those of her time, she set the bar for a move away from abstract expressionism and towards colour field painting, her work despite being dated to 1952 still seems modern and relevant and in this way i see it as timeless and poignant my other reason for choosing Frankenthalers work is its connections to my error project, through my error project I have explored the error is spills and mistakes and how as humans we made small and large mistakes everyday, I see connections in my work as the paint disperses naturally across a canvas, for me and my final development as my ceramic plates smash and the  portrayal of when they hit the floor , I see mistake in Frankenthalers work as well as intended error similarly to how my project has progressed and will in my final piece.

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Alicia Lake

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I’ve selected this particular painting because the aggressive marks of paint brush on the canvas, gave me an emotional insight of what the artist was attempting to portray. He used acrylic red paint , red is a bright colour that often symbolises blood . However in this case it could have symbolised wine , as the painting is named after the Roman god - Bacchus. A god of fruitfulness and vegetation ( known as the god of wine). He was inspired by the Iliad poem about a the Trojan War - the facts that the red acrylic paint was painted aggressively shows that he was truly showing that in this Bacchus series.  I was first introduced about Twombly’s work with his “ Four seasons” (1993) artwork. Which is totally different from this artwork in terms of context. This artwork makes me feel that war and killings are repetitive as he drew circles of red paint. Almost like it’s an ongoing cycle.  To better my research I would have to look into the poem and history of the Trojan War.

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Context

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I was drawn initially to Shonibare's work due to the vastness of the piece of art and how it has taken up the whole room in which it was placed in. The way in which this piece was curated is very powerful because the artwork is tackling the narrative of immigration in western society and therefore by placing the artwork in a rooms of its own really forced me to concentrate fully on the context and meaning behind the artwork which I think is particularly important during the political and social climate that we are currently in, in regards to Brexit and the BLM movement. Shonibare's artwork tackles the way in which immigrants are perceived, by printing the names of first and second generation immigrants onto the spines of thousands of books, while these books are covered in vibrant patterns made of dutch wax print which made me think that there is a bigger story and a more positive story about these immigrants than what is put forward in society. I was also drawn to this artwork because it relates to my error project which is based on the impact of colonialism and the slave trade but how there is so much more to POC in western society than what is portrayed in the media, and I think this piece of artwork was a good example of how POC of misperceived and how there is so much more context to the individual immigrants and how they are not defined by their past. Considering that Tate Modern is an art gallery which was founded by a company that relied on the slave trade for its start up, it really stood out to me how the Tate is now using its platform in order to speak up about the problems which in the past it was a part of. It also highlights the way in which our society has progressed since the days of colonialism but I also think it highlights how we still have a long way to go considering art galleries and artists still feel the need to speak on the subject matter and try to go against how society portrays POC. I was also drawn to the way in which the artist used dutch wax print in order to present his work in because he is a Nigerian artist and so by using patterns and cloth which are a key part of his culture, I think, help supports the narrative that POC shouldn't be ashamed of where they come from and in fact should embrace their identity and roots.

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When I first saw Iturbide's work, my first impressions of the work was that I found it striking and powerful. As the image of the woman makes me think that she's faced many hardships living in Mexico. As immigration is still a big issue in todays world, I believe it was much more difficult from the 1970s - 2000s. Iturbide captures images of women and indigenous people in outdoor settings, and gives me the sense that feminism is important to the artist. I liked the use of no colour in all of Iturbide's work, as you can really see the emotion and expressions of the people photographed, it also allows us to see more contrast and patterns. Where as if colour was used I feel like it could have been a distraction.

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Malangatana Ngwenya, Untitled  1967

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Agnes Martin

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Dóra Maurer, Stage II 2016. Acrylic, canvas.

Overlapping different contrasting colours, creating new nuances and contrasts, Maurer appears to have created an optical illusion where the colours look as if they are dancing off the gallery wall. The uncomplicated abstract shapes experiment with placements of colours which creates an optical illusion.

As soon as I walked into the room my eye was drawn to the strong colours, which is another reason why Maurer’s work made such a strong impression on me.
Furthermore, this relates to my own Error project since I am researching how optical illusions could be applied to clothing.  Maurer creates a meaning of how shapes and ever so slightly colour changes can make a huge difference to the eye.

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Image 1 Graciela Iturbide.
taken in 1998

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Cildo Meireles 1948
Babel 2001

This installation is made with hundreds of radios and metal. The radios are all switched on at the same time, some can hear information and others have poor communication. None of the radios are on the same station. This sculpture relates to the biblical story of the Tower of Babel, a tower so high that one could reach paradise. God was offended by this and to cause the builders to speak in different languages. No longer able to understand each other, they became divided and scattered across the earth, and so began all mankind's conflicts.
This tower is never the same because voices and music change, so you won't have the same experience twice. The room is plunged in a darker atmosphere than the others. Blue tones came out of the lights which allowed some reflections on the radios and made the sculpture even more impressive.
Cildo wanted to talk about globalisation. He responded to the idea of a universal language. The idea that today certain references are understood by everyone on this planet, that certain symbols and even certain words have become universal. Cildo gives the illusion of a tower of Babel standing upright when in fact no one on it really speaks the same language. He wanted to say that we must stop trying to put the whole world into one big community. If we continue to want to build the same world, in spite of everything that separates us, the tower will collapse.
These mass media are vectors of globalized information and culture. Cildo looked for this reference in his childhood memories, radio was the easiest medium to access.
I chose this work because the atmosphere and its large size make you want to learn more. All radio stations that create a buzz intrigue the viewer. This work is very significant in our time - globalisation is going on all the time and we have a problem with the mass creation that we create. I have only positive reviews on this work. I am fascinated by the materials around it, I love this work very much. It plunges us into a reality and a disturbing atmosphere. The lighting accentuates the grandeur of the tower and allows us to see in more detail all the lights that are turned on on the radios. This is just impressive. We realize that we are creating en masse and that is an error.

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Axell's multi-media piece caught my eye immediately as it stood out in the brightly lit pop-art room due to the gold background of the piece. The curator created a room displaying images which borrowed from mass media techniques (for example comic strip style paintings) to reflect on the socio-political issues of the 1960s and 1970s. Therefore, I was interested by the fact that the curator only chose to display one artwork which engaged directly with gender politics considering the mass rejuvenation of the feminist movement at this time, especially in America. The painting itself shows an idealised female silhouette with the title referring to Russian astronaut, Valentina Tereshkova who was the first woman in space. As the viewer changes perspective, walking around the canvas, the functional zipper reveals more angles of the woman's body, revealing a highly idealised and "sexy" form. This made me think about the artist as a female artist and how she could possibly be trying to replicate the "male gaze". Despite the sexualised depiction of the woman, Axell takes a feminist stance through referencing the first woman in space in her title of the artwork, thereby linking the female form to success and power.

In relation to links to my "Error" project, this piece has very similar underlying themes to what I aim to explore, being the over-sexualisation of woman. The critic John Yau described Axell as "never [having] shied away from calling attention to. women's breasts and genitalia. She wasn't interested in dividing the head from the body or in being subtle." This idea is very interesting to me because, like Axell, I aim to show that female sexuality does not deter from female success and intellect. The fact that Axell displayed female sexuality through a garment component (the zip fastening) is interesting to me and could inform some of my design work when I consider necklines etcetera. Unlike Axell I will obviously be using textiles design to engage with this theme and I plan to use knitting as my fabrication method. Despite the different choices of media my desired effect is similar to Axell's in some ways as the finished garment will be tight fitting, so like Axell's painting will display the female silhouette.

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Artwork created by Michael Buthe in 1969 who was born and worked in Germany, The art piece was created using wood, cotton, gesso and steel. The process  The use of colours are very dull and neutral and overall first glance of the art piece suggests a very distorted and unfinnished effect. 'His work was carefully composed in order to achieve a dynamic relationship between the grid of the stretcher and the looser, more irregular arrangements of the fabric.' The process behind the making of the art piece is what caught my eye as he not only uses techniques to create fluidity and precision in the piece, but also uses ' irregular ' and free hand techniques. The wooden stretcher bars were painted with white gesso to 'unify the composition.' He uses various techniques to create the piece such as, stitching lengths of cloth together and folding, tying, and wrapping sections around and underneath the stretcher of thr bars to 'emphasise the space in front, within and behind the stretcher.' First impressions of the artwork inflicted the emotion of both fluidity and agression within the piece of work and the way it was made. It made question the artist and his intentions behind the work and how he wanted to portray his piece. The use of empty spaces between the bars creates a strong meaning to the work and creates a feeling of emptyness and un answered questions to the compleation of the artwork. 'through it initially suggests the haphazard slashing of a canvas.' I am facinated by the thought process behind the work as at first glance it looks as though the canvas has been manipulated on purpose although there were direct intentions as to which sections of the canvas need to be distorted.

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The artwork was made out of everyday materials, it consists of a series of sculptures suspended from the ceiling. The shape of the objects was inspired by the Beijing Central Radio and Television Tower that dominates the city’s skyline, the tower shows the importance of China’s broadcast media. The piece represents the ‘soft power’ and control through the economic and cultural means rather than the ‘hard power’ of the military force. The shapes are supposed to be missiles made from second hand clothing fabric. The textiles are stretched over a frame of extendable curtain rods and metal hoops to create the look of a missile. The soft and domestic materials contrasts the harsh violence of the missiles to the safety and security of the home. The governments control tries to suppress the people’s voices so by the artist creating the piece they’re going against this and speaking up through their work.

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Ysabel - happy days 1999 day Agnes Martin

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Image 2 ( close up ) CY Twomblys 2008 untitled series of Bacchus has a use of red acrylic paint on a off white / cream canvas.

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Horizontal 2 1981-3

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In this room are a variety of artworks and sculptures created by many different artists. This is the gallery room where the 'Death of Sun' was placed created by the artist Ku-lim Kim.

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Yinka Shonibare - Image 2

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Dóra Maurer, Stage II 2016. Acrylic, canvas.

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CY Twomblys 2008 untitled series of Bacchus has a use of red acrylic paint on a off white / cream canvas.

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Yinka Shonibare - Image 1

This work was originally commissioned in 2014 by HOUSE and  Brighton Festival.
Materials used: Dutch wax print, 6,000 books and gold print.

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Horizontal 2 1981-3

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Evelyn Axell: "Valentine": oil paint, zip fastener, and helmet on canvas, 1966

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Death of Sun - 1964

Materials used: Oil paint and plastic on plywood

As I walked into the room, I felt instantly attracted to this piece of art work created by Ku-lim Kim. He spent many of his years in military services and witnessed many young men losing their lives in military hospitals. Kim uses his experiences of death to create this piece, when at this point he felt that ‘human existence was extremely insignificant’, due to the lack of medicine and proper medical care. Kim has filled the surface with charred cracks, which was achieved by burning plastic. It could be said that this reflects the 'insignificance' of human existence and wearing away of the human existence throughout his experiences being in military services.

It was small in size compared to many of the sculptures and pieces that were positioned in the same room, but I had never seen anything like this before. The markings and textures created on this piece signify this idea of being destroyed. A lot of the work within this room had very dark colour pallete, which I believe demonstrates a sense of anger, death and negative connotations.

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Sarah Sze’s choice to use multiple medias such as ladders, toothpicks and wire in different scales across the piece has importance, as the overwhelming essence created by all the different parts references the modern, industrial world and its impact on us in everyday life. Specifically, how overstimulating it can be, especially when made in the turn of the century when technology seemed to be evolving so rapidly. Sze herself states about this piece ‘You mark time through art’ (Tate Interview, 2019), showing her own emotions processing into ‘Seamless’, and how this changing world, which seems rather positive at first glance, can have detrimental and overwhelming effects on the individual. The sculpture inhabits an entire room alone, which reinforces this point as walking amongst it allows to you be submerged, undistracted by anything else in the space. The structure stretches out through the walls, creating a looming feeling of feeling trapped in a modernist world that will only continue to progress. By using primary colours, Sze also makes reference to De Stijl and modernist art, once again presenting the shift into the modern world instead of an appreciation for more traditional art and life.

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At first glance, I found Seamless 1999 very striking and overwhelming as a piece, as it stretches across the entire room, including through the ceilings and the walls which makes it feel never-ending. The curator’s choice to use very dim lighting also focuses you in onto the very small aspects of the piece rather than glance upward or around, highlighting the artists use of a range of scaled objects.

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As Elevation (1912) by Gaston Lachaise was made in the early 1910s, ideas of how women should look and act are much different to present day. The sculpture does not have the same "body" as the "perfect body" of today, which makes it much more empowering as it shows how the ideas of how women should look has changed throughout many years. This body type was intentional from Lachaise as he wanted to relate to ancient fertility godesses. The title itself derives from the elegant pose the model is doing, which can also symbolise how women were supposed to be elegant, and maybe still are to this day. I do believe Gaston Lachaise intended for the model to look elegant as it was based off of his wife who he told he wanted to make a sculpture "as great as you". After looking and researching the work, I see Lachaise's intention as him glorifying women, which makes me like the sculpture more.

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white painting
-The use of composition and sizing throughout the study is used evenly to create proportionate layers. The various different materials layer over each other to create a contrast in textures.The work includes stitching lengths of cloth together and folding, tying and wrapping sections around the stretcher bars.By doing this Buthe draws focus to the space in front inside and behind the stretcher. My first impression of the work was that it was incredibly plain and meaningless, however after researching the meaning and thought behind it I found it to be very subtle yet effective .Texture is such a strong theme in the peice however I feel it could have been used even more to highlight and define the change through materials that are used.I believe the work comes across as very fixed however by using the the cotton gesso that hangs and folds over the canvas the artist is able to communicate fluidity.

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'Then & Now' (2016), Lorna Simpson. This was created by screen printing 2 found photographs that were taken in 1967 when police attempted to arrest customers in an unlicensed bar, leading to 43 deaths, and 1189 injuries. These photos were taken 53 years ago but is still very relevant to the police brutality in society today and this shows how long these issues have been around for but still have not changed. I think this has a very powerful message and shows how much there needs to be real change, and it makes you question how this was happening so long ago and as a society we have allowed it to continue. I found that the size of the artwork along with the ink that has been brushed over the photos is what draws in attention and is very effective in conveying the message intended.

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I chose Elevation (1912) by Gaston Lachaise. He has used the medium of bronze to develop a sculpture of a nude woman that is apparently “weightless’. It is life-size as the women was around as tall as I was, and I believe as it was made in 1912 the “perfect body” was much different to the one of present day, it is symbolic for empowerment of women.

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This Sarah Sze piece is called ‘Seamless 1999’ references the modern world that we live in, dominated by industry and construction. The multi-media sculpture inhabits the entire room and almost overwhelms the viewer, with small and large scale items for example ladders and bridges.

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Georgii Kibardin -  We Are Building a Fleet of Airships in the Name of Lenin 1931

A propaganda poster from the Soviet Union. The poster itself is relatively small, less than a meter squared in area. It sits in a small room that is dedicated to Soviet propaganda. This poster spoke to me specifically as my error project is based upon brutalist architecture, which the leaders of the Soviet Union were major proponents of. I found it to be the most effective piece of propaganda in the room as it balanced the amount of information it was attempting to give with the clarity with which that information was being presented. The piece itself is lithograph on paper - which allowed the government to circulate the poster widely, as lithography aids itself to mass-production.

Personally, I find the poster strangely powerful. I am in a position to the view the poster relatively objectively. I have never lived in a country ruled by a dictator, so have sufficient dissociation from the struggles of that reality to have the powerfully emotive response that inevitably millions of people did when they viewed the poster for the first time.

The image is busy but not distractingly crowded. Lenin is the primary focus, and the meaning behind the image is conveyed without the need to understand the writing on the poster. In 2020, the poster has gained a certain stylistic quality. The kind of collaging effect with the bright background has a real memorability. Posters from the same era, specifically those with propaganda as their purpose, have a continuity with this image. A clear style that creates an impact while also immediately conveying the intention of the piece.

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Seamless 1999, Sarah Sze

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Seamless 1999, Sarah Sze

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Yinka Shonibare, the British library, 2014. This artwork contains 6000 books, bound in African wax print. It links to the relationship between colonialism and national identity. The colours and prints of the fabric instantly caught my attention and made me want to read further into what this particular room was about. Shonibare intention was to show how first and second generation immigrants that have made significant contribution to the British culture and history but they often are not celebrated. I think the meaning behind this particular piece is  to show how individuals are often dismissed and forgotten about in todays society but also to highlight those who oppose immigration.

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Gaston Lachaise Elevation 1912

A sculpture of a woman that is made from bronze but is apparantly "weightless"

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Dia al Azzawi
Sabra and shatila Massacre
1982-3
- ink and wax crayon on paper mounted canvas

-the media used could symbolise the emotions and fragility of the people killed within the work. The busyness of the piece encourages me to envision how violent and chaotic the massacre would of been which leads me to feel sympathetic.

- the main themes of the piece highlight violence, differences, opposition between the people in the refugee camp in Beirut and christian Lebanese right wing party.

my first impressions of the work were a mixture of positive and negative thoughts, as the piece was quite large making me feel quite overwhelmed. I also got the impression that the piece was illustrating violence due to how expressive the work was.

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Through his work, Shonibare comments on immigration and identity. It is a instillation piece of books with the names of who opposed immigration. The bright colours of the books overwhelm the viewer to get the message across of how serious the issue of immigration is in our society.  Through his work, Shonibare comments on immigration and identity. It is a instillation piece of 6000 books with the names of those who opposed immigration.

The bright colours overwhelm the viewer as it makes us question how important the issue of immigration actually is and how little we are exposed to it. Even though the instillation itself as one whole piece is massive, the books itself are very small reflecting how there are many stories putting an emphasis on how big the issue is. Some of the books are unnamed which reflects the idea that there still are many stories that have not been told. Immigration is still a very huge issue in our society today and I personally can connect to this as I know the struggles that people have faced which instantly overwhelmed me when I first saw this instillation.

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Michael Buthe
-white painting
created with wood, cotton, gesso and steel.the peice highlights the relationship between the grid of the stretcher and the cotton fabric.

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I chose ‘The Strobe’ by Aldo Tambellini (born in 1930 in USA). Media used - oil paint on canvas, nylon string, plastic ball and flashing light. Created around the time Tambellini also was doing his first film and projection experiments. With ‘The Strobe’ he created a 3D optical effect.

What first attracted me to the artwork was the sensation of blindness you would get every time the lights would flash.
The use of concentric circles gave me a sense of cosmic energy which is heightened by the flashing lights, almost inducing me into a state of transcendence.

In 1965 multiple cosmic study events happened which might have influenced Tambellini to give The Strobe that sensation of cosmic energy (Alexei Leonov became the first person to walk in space, NASA launched Ranger 9, NASA launched the USA’s first 2 person crew into Earth orbit).

It almost feels like that moment when your life flashes before your eyes but instead of your life ending, when you face away from the artwork you go back to being alive, free from that time trap, and if those seconds of flashing light opened your eyes wide enough, you might realise that there is indeed a bigger world out there that you cannot see, and how lucky you are to be able to walk away from the flashing light and carry on with your life.

“The ability to understand something before it’s observed is at the heart of scientific thinking.”
The Order of Time, Rovelli (2017):

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Peter de Francia
The Execution of Beloyannis 1953-4

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lorna simpson foucs' on race a lot

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Yinka Shonibare- ‘the British Library’

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Michael Buthe
• dynamic relationship • irregular arrangements • wood cotton steel

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Frances stark - behold man!

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Untitled (Two women and a baby) - by Graciela Iturbide

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Untitled (Two women and a baby) - by Graciela Iturbide

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White Fence, East LA 1986

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CY Twombly - Studio 10 - Curated by Mathew Gale and Helen O'Malley

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CY Twombly - Studio 10 - Curated by Mathew Gale and Helen O'Malley

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How does light affect our perception of colour?

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How does light affect our perception of colour?

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acrylic on canvas with 3 lights that change its colour also known as optical art

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"Moving Images" By Dora Maurer

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Bram Bogart 1974 - cement on canvas on board

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Abstract, Death, Grief

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Another view of the installation at The Tate, including the interactive technology visitors can access.

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This installation is called 'The British Library' and it is made up of 6,328 books covered in fabric. The theme is immigration and the book spines have names relating to this theme.