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August Sander Remarks on my Exhibition Week 32 Annotated 

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Week 32 Reading - August Sander Remarks on my Exhibition

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Week 32 Reading - August Sander Remarks on my Exhibition

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Man Ray On Photographic Realism Week 32 Annotated 

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Week 32 Reading - Man Ray On Photographic Realism

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Week 32 Reading - Man Ray On Photographic Realism

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Contemporary realist still lifes in colored pencil and oil by Cecile Baird

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Coloured pencil works of astonishing modern realism by Cecile Baird are often mistaken for oil paintings. She is undoubtedly a pioneer in the effort to establish coloured pencils as a viable medium for fine art. In order to highlight the brilliant radiance and inner beauty of her subject, she frequently backlights the still-life situations she paints in her work.
She finds it fascinating how light can have such a big impact on turning ordinary things into amazing pieces of beauty. In her artwork, Cecile employs stark tonal contrasts to highlight the astounding transparency of her subjects and to bring them to life in all their radiance! I sincerely hope you find this conversation with Cecile and her incredible works of art as much as I do. She is a great master of the coloured pencil medium, I'm sure you'll agree.

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Contemporary realist still lifes in colored pencil and oil by Cecile Baird

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Bold, colorful, dramatic contemporary Still Life paintings in colored pencil and oil by realist artist Cecile Baird

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Jean-François Millet, a prominent member of the Realist Movement, favoured portraying members of the working class in his works. Similar to Delacroix, Millet frequently used pastel to outline ideas for his "peasant paintings." But he would also employ the technique to produce delicate depictions of the natural world, such as sunny landscapes, serene seascapes, and charming studies of flora, like his amusing Dandelions.

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Millet excelled in the medium of pastel, and his skill as a draftsman and colorist are evident here in the rich variety of greens that set off the flowers and in the airy delicacy of the dandelions, which are shown in all phases from bud to seed.

Provenance 1868-1875, acquired from the artist by Emile Gavet (b. 1830 -d. 1904), Paris (commissioned in 1867); June 11-12, 1875, Gavet Sale, Hôtel Drouot, Paris, lot 94, sold to Carlin. Quincy Adams Shaw (b. 1825 - d. 1908), Boston; 1917, gift of Quincy Adams Shaw through Quincy A. Shaw, Jr., and Mrs. Marian Shaw Haughton to the MFA. (Accession Date: March 29, 1917)

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Millet excelled in the medium of pastel, and his skill as a draftsman and colorist are evident here in the rich variety of greens that set off the flowers and in the airy delicacy of the dandelions, which are shown in all phases from bud to seed.

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3D coloured pencil drawing

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iPad drawing

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Ink and soft pastels

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iPad drawing

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Coloured pencils

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Oil pastels and a craft knife

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Baudelaire 20C 20 1863 20The 20Painter 20of 20Modern 20Life 201 20Week 2016 20ANNOTATED

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Sadie Benning’s ‘Unibrow guy” is a great work that represents modern life, as we know it. The mixed media collage was created in 2014, using Medite, aqua resin, casein, acrylic and photography.

In my opinion, this piece represents modern life because of its monochrome colour palette, various lines and boxes throughout the piece. Additionally, the photograph in the middle of the piece is also important.

This piece overall seems to represent the mundane routine of the working class, with the photograph looking as if he is taking an id photo for company. His stoic expression, emphasised by his unibrow, is impactful in the piece, acting as the focal point for viewers and further emphasising the hardships of modern life.

This piece itself lines up with Baudelaire’s idea of modern art with him saying, ‘for any ‘modernity’ to be worthy of on day taking its place as ‘antiquity’, it is necessary for he mysterious beauty which human life accidentally puts not it to be distilled from it’. This means that ‘modern’ forms of art must be toned down significantly in order to beck a recognised ‘antique’, which is exactly what Benning has done, with the monochrome palette.

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Hockney's pictures, whether in the form of painting, drawing, print, stage design, or iPad, have continually challenged the way we see the world as one of the finest figurative artists of the twentieth century. Hockney has challenged the orthodoxies of picture-making and the idea of a signature style, much like his hero Pablo Picasso, whose art evolved through multiple phases and diverse methods and styles with tremendous frequency, with each direction and a new body of work.
Between 2008 and 2009, Hockney worked from sketches and, increasingly, memory, much like the romantic landscape painters before him. These paintings were created concurrently with his initial usage of the Brushes software on his iPhone and later his iPad, which he began using to sketch vistas from his bedroom window or take his device outside to work directly from a motif. When viewed on screen or from subsequent digital prints, these works have the luminescence of stained glass, and Hockney quickly discovered that the tablet's instant qualities could solve the problem, faced by artists throughout the ages, of depicting the constantly changing light and seasons of the landscapes.

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David Hockney exhibition at Tate Britain 9 February – 29 May 2017

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This sculptured started with sketches with multiple different ideas. I wanted to expand on the previous sculptures and make the piece 3d and stand without a base. This whole piece is roughly 70cm tall and began with reinforced wire which I bent into the general shape of the sculpture. I then built clay around the sculpture, giving it structure and the shape and thickness I wanted. Then, I mixed plaster and used skrim to build up the piece to give it a hard exterior. once the plaster dried, I carved out some of the clay from the inside, making holes in the piece as I went on to show the hollowness on the inside.
Although I wanted to completely carve the clay out of it, I ended up leaving some in, giving the piece a more organic effect.

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Ink and Pastels on A2 paper.

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Ink, Charcoal and Pastels on A2 paper

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Ink, charcoal and pastels on A3 card

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Hans Arp is a well-known artist from classical modernism who was instrumental in the creation of Dada and Surrealism in the early 20th century. Arp developed his own 'object language' by focusing on everyday things and utilising a nonsensical vocabulary: plate, fork, knife, tie, moustache, lips and breasts. He juggles the prominent art currents of the early 20th century with a lighthearted hand, blending seemingly conflicting geometrical and organic formal idioms with the creative 'isms' of his period.

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Hans Peter Wilhelm Arp (16 September 1886 - 7 June 1966), better known as Jean Arp in English, was a German-French sculptor, painter, and poet. He was known as a Dadaist and an abstract artist.

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Artist page for Jean Arp (Hans Arp) (1886-1966)

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Artist Research Drawing - Vincent Van Gogh

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Artist Research Drawing - Vincent Van Gogh

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Although Van Gogh's paintings are more well-known, he also created over 1,000 sketches, which are among his most inventive and stunning works. He engaged in a profound interaction between drawing and painting, allowing him to fully appreciate the creative potential of both mediums.
He drew for a number of different reasons. He felt it was vital to master black and white before attempting to work in colour at the start of his career. As a result, drawing was an inseparable element of his evolution as a painter.
I want to try and understand the shapes of things when drawing rather than the whole picture and I believe Van Gogh's drawings, specifically his ink pieces, will be a good source of inspiration for me to execute this.

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Explore 1000+ paintings, drawings and letters by Vincent van Gogh. As well as many artworks by his contemporaries and other 19th-century artists in the Van Gogh Museum’s free digital collection.

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Nicola Hicks is a London-based artist who enjoys constructing animal characters with bold aims as a form of expressive play. She is a sculptor recognised for her loosely formed sculptures of animals, humans and mythical creatures.
Her drawings are incredibly realistic representations of animals created using charcoal and pastels.
She was chosen as an artist to inspire me because of her excellent use of charcoal and pastels combined. Her sketchy approach is interesting, and the highlights are nicely executed with the few gaps inside her pieces. Furthermore, the pastels complement the charcoal well, and the subtle pops of colour throughout the composition providing dimension to her artworks.

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Works by Nicola Hicks: Grey, 2012 , Being an Owl, 2020 , Pretty Horse, III, ed. of 3, 2020 , Walking Bear, 2018 , Baby Elephant, 2021 , Moose, 2020 , Deer, 2022 , Horse Head, 2022 , White Tail Doe, 2022 , Wolf, 2022 , Horse, Untitled, 2021 ,...

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River side view in charcoal and ink

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A revision of week 21s drawing on A3 paper

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Bodies 20of 20Desire 20text 20Week 2024 20ANNOTATED 20

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Week 24 Reading - Bodies of Desire (2021)

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Week 24 Reading - Bodies of Desire (2021)

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MANIFESTO 20OF 20SURREALISM 20Week 2024 20ANNOTATED 20

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Week 24 Readings - Manifesto of Surrealism (1924)

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Week 24 Readings - Manifesto of Surrealism (1924)

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This sculpture was an adaptation of the cardboard one. Despite its wavy nature of it, I wanted to emulate the feature of the material I used, which was metal. I did this by making the seaweed-like pieces come straight out from the base but cutting them into a wavy shape to still look like what I imagined when I saw the made-up word.

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Week 24 Artist Research Sculpture - Larry Bell

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Week 24 Artist Research Sculpture - Larry Bell

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Larry Bell is one of the most well-known and influential artists to come from the 1960s LA art movement, having achieved international acclaim by the age of 30. Bell's major oeuvre ranges from painting and works on paper to glass sculptures and furniture design. he is well known for his sophisticated surface treatment of glass and studies of light, reflection, and shadow through the medium.
Bell's grasp of the possibilities of glass and light enables him to expand the visual and physical realms of perception, allowing his sculptures to transcend the medium's traditional limitations. He has said: 'Although we tend to think of glass as a window, it is a solid liquid that has at once three distinctive qualities: it reflects light, it absorbs light, and it transmits light all at the same time.'
Bell's usage of commercial industrial methods in his Venice, California studio since the 1960s reveals his extraordinary expertise and attention in each phase of the manufacture of his sculptures. His studio has run its own high-vacuum coating equipment since 1969, allowing him to deposit tiny metal coatings onto his glass surfaces, utilising a little-known method developed for aeronautics to create an unprecedented body of work.

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Larry Bell (born 1939) is an American contemporary artist and sculptor. He is best known for his glass boxes and large-scaled illusionistic sculptures. He is a grant recipient from, among others, the National Endowment for the Arts and the Guggenheim Foundation, and his artworks are found in the collections of many major cultural institutions. He lives and works in Taos, New Mexico, and maintains a studio in Venice, California.

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Larry Bell (born 1939) is an American contemporary artist and sculptor. He is best known for his glass boxes and large-scaled illusionistic sculptures. He is a grant recipient from, among others, the National Endowment for the Arts and the Guggenheim Foundation, and his artworks are found in the collections of many major cultural institutions.

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Week 24 Artist Research Sculpture - Phyllida Barlow 

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Week 24 Artist Research Sculpture - Phyllida Barlow 

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British artist Phyllida Barlow has used her environment as inspiration to create massive installations that can be both ominous and entertaining. She makes anti-monumental sculptures out of low-cost materials like cardboard, fabric, plywood, polystyrene, scrim and cement. These structures are frequently painted in industrial or vivid hues, with the seams of their construction sometimes exposed, showing the means of their making.
Barlow's restless imagined shapes push the boundaries of mass, volume, and height as they block, straddle, and balance precariously. the audience is challenged to form new relationships with the sculptural piece, the gallery environment, and the world beyond.
'There's something about walking around the sculpture that has the possibility of being reflective, like walking through a landscape'.

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For more than 50 years, British artist Phyllida Barlow has taken inspiration from her surroundings to create imposing installations that can be at once menacing and playful. She creates tactile, seemingly precarious sculptures that resonate with emotional intensity and the urgency of their creation. These constructions are often painted in vibrant colors and the means of their construction left visible, revealing their inexpensive, industrial materials: cardboard, fabric, plywood, polystyrene, scrim and cement.

Barlow studied at Chelsea College of Art (1960 - 1963) and the Slade School of Art (1963 - 1966). She later taught at both schools and was Professor of Fine Art and Director of Undergraduate Studies at the latter until 2009.

In February of 2019, Barlow created an entirely new exhibition in our Gabrielle Jungels-Winkler Galleries, which she conceived as her own interpretation of a residential cul-de-sac. By closing the exit door in the final room, Barlow forced the viewer to turn around and revisit each sculpture anew, from the other side. She created forests of seemingly precarious structures, exploring the full height of the gallery space with looming beams, blocks and canvases.

Profile
Royal Academician
Born: 1944 in Newcastle-upon-Tyne, England, United Kingdom

Elected RA: 26 May 2011

Elected Senior RA: 1 October 2019

Gender: Female

Preferred media: Sculpture

Works by Phyllida Barlow in the RA Collection

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My work is about drawing attention to the way the world around us frustrates and surprises us. All sorts of things happen that make me intrigued about our everyday choreography within the urban landscape.

Phyllida Barlow RA

Selected CV

Recent solo exhibitions

2019 Royal Academy of Arts, London, England
2018 Jupiter Artland, Edinburgh, Scotland
2017 British Pavilion, La Biennale di Venezia, Venice, Italy
Turner Contemporary, Margate
2016 Kunsthalle Zurich, Zurich, Switzerland
2015 Nasher Sculpture Center, Dallas, USA
Fruitmarket Gallery, Edinburgh
Lokremise, St. Gallen, Switzerland
2014 Tate Britain, London
Hauser & Wirth, London
Hauser & Wirth Somerset, Somerset
2013 Des Moines Art Center, Des Moines
Norton Museum of Art, West Palm Beach
Contemporary Art Society, London
2012 New Museum, New York
Henry Moore Institute, Leeds
Ludwig Forum für Internationale Kunst, Aachen Hauser & Wirth, New York
2011 Hauser & Wirth, London
Kunstverein Nürnberg, Nuremberg, Germany
2010 Studio Voltaire, London
V22, London
BAWAG Contemporary, Vienna, Austria

Selected collections

Tate, London

Henry Moore Institute, Leeds
Carnegie Museum of Art, Pittsburgh
Hessel Museum, Bard College, Annandale-on-Hudson
Museum Ludwig, Cologne
Ludwig Forum für Internationale Kunst, Aachen
Kunsthaus Zürich, Zürich

Selected publications

Franzen, Brigitte (ed.), 'Phyllida Barlow: Brink', Cologne: Walter König, 2013
Phillips, Lisa, Carrion-Murayari, Gary [et al.], 'Siege', New York: New Museum, 2012
Le Feuvre, Lisa (ed.), 'Essays on Sculpture: Bad Copies: the drawings of Phyllida Barlow', Leeds: Henry Moore Institute, 2012
König, Kaspar, Trummer, Thomas D. (eds.), 'Before the Law: Post-War Sculptures and Spaces of Contemporary Art', Cologne: Museum Ludwig/Verlag der Buchhandlung Walther König, 2012
Munder, Heike, Trummer, Displaced Fractures. On the Break Lines of Architecture and its Bodies, Thomas D, Migros Museum für Gegenwartskunst, 2011

Phyllida Barlow and Fiona Macdonald, Phyllida Barlow and Fiona Macdonald, Coexist Publications, 2011

Christine Kintisch, Phyllida Barlow: STREET, BAWAG Contemporary, 2010

Kathryn Rattee and Melissa Larner, Nairy Bagramian & Phyllida Barlow, Serpentine Gallery and Koenig Books, 2010

Ronnie Simpson and Phyllida Barlow, Phyllida Barlow: STINT, Mead Gallery, Warwick Arts Centre, 2008

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Phyllida Barlow | Artist | Royal Academy of Arts

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For more than 50 years, British artist Phyllida Barlow has taken inspiration from her surroundings to create imposing installations that can be at once menacing and playful. She creates tactile, seemingly precarious sculptures that resonate with emotional intensity and the urgency of their creation.

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A dandelion and an unopened one done in ink and pens

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Week 20 -Sculpture 1 Cardboard sculpture and Plan

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Week 20 -Sculpture 1 Cardboard sculpture and Plan

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This sculpture was made from the idea of a made-up word, which was Fihame. with this word, I imagined wavy pieces coming up from a base, all of different shapes and sizes.

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A Garden walkway done with ink and pens

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Communication 20Week 2022 20ANNOTATED 20

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manifesto futurista 20Week 2022 20ANNOTATED 20

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matisse 20 20notes 20of 20a 20painter 20Week 2021 20ANNOTATED 20

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I wanted to create more of a darker concept, taking inspiration from the modern day, common tattoo style, art nouveau and morbid art.

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Nochlin 20L 20 1991 20The 20Imaginary 20Orient 20ANNOTATED

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Hargreaves is an example of a contemporary artist who engages in art from the past as seen in his response to American citizens rallying for Oprah Winfrey to become president in 2018.

One of the panelist’s suggests that creativity depends on looking around. Hargreaves took inspiration from another artist; Giovanni Battista Tiepolo, who is seen by some to be the greatest painter of the eighteenth century. Tiepolo’s artwork combines ancient history with myth, ultimately creating timeless pieces of art.

Hargreaves is almost adapting Tiepolo’s work to fit current issues in society, making sure to include Oprah Winfrey herself as well as many other important figures in American politics and pop culture.

In the painting, we can see a monster under president Putin’s cave and celebrities cheering Oprah on. Although Hargreaves has successfully engaged with are of the past as well as modern American culture, this could be interpreted as something hateful by art critics. This is again because Tiepolo has been recognised as one of the best artists in history and many think he creates timeless, unique pieces of art. However, many will cheer him, on due to his ability to combine both historical art with current affairs.

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2022 Manifesto:
Art is art! Why should you go to a school and conform to a particular art style? Why should you keep to the style of your time?

Art is the expression of human creative skill and imagination. Art techniques and style should be individual to the artist, therefore keeping to the style of the time would be counterproductive when creating.

For example, my processes include various methods and mediums, constantly changing and developing. My style changes with the weather or my current mood and usually centres around what’s going on in my life.

Modern education focuses on teaching students many different styles of art from many different periods as well as the artist’s inspirations, a lot of which do not have anything to do with the period they are creating art in. Later, students are asked to simply take inspiration from the artists they have studied and create pieces of work that are unique to them.

Why should we conform to modern art when students are encouraged to express themselves using art from a variety of periods?

There isn’t much of a point in learning several traditional techniques, including charcoal, oil painting, sculpting and print, if people are meant to only use techniques of their period, for example, digital media.

The whole premise of art is to express oneself in all ways, so why must we adapt and limit our expressive abilities simply because they don’t fit into the era we’re living in?

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Readings 20for 20Week 2010 20Baroque 20Art 20ANNOTATED 20

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Much like Tuyman’s approach to his exhibition, both looked at the baroque period and “re-visioned” it in their own way.  Bal establishes quite early on in the text that “the Baroque, then, is not seen here as a ‘style’ but a perspective”, with the style emerging in a time of political uprising and the Protestant reformation and the Catholic counter-reformation. This same point is later solidified when she goes on to say, “it refers to cultural attitudes and states of consciousness which encompass intellectual and aesthetic, political and scientific, assumptions and thoughts”. However, Tuyman wanted to show the Baroque style through an art practitioner's point of view rather than a historian’s, “it is not based on an art historical viewpoint but rather on a visual interpretation since I am an artist as well”. Rather than a biased view, Tuyman used his exhibition to show an interpretation of the Baroque based on modern juxtaposition and surprising associations of work by contemporary artists and old masters.

Both Bal’s and Tuyman’s understanding of Baroque is somewhat different. They both understand the origins of Baroque and the overall history of it in both an artistic and historical sense ,however, Bal focuses heavily on the historical background of the Baroque, whereas Tuyman takes a more literal approach to it and compares the work of the old masters to contemporary art.

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Out of the three texts from this week and last, I feel that essay by Madsen helped me understand the painting the most. The overall format of it wasn’t confusion at all and was very straight forward to read, compared to the poem by Ashley and the extract by Updike.

Not only did this piece of text help me understand the painting more but it also allowed me to enjoy the painting itself. The idea of if we should leave paintings the way they are or restore them to their original state was very interesting to me. With Vemeer’s ‘Girl Reading a Letter at an Open Window’  the cover up of the Cupid panting in the background was very interesting. Having only been revealed recently. The painting initially showed a plain white wall , but the x-ray examination in 1979 showed the painting of Cupid behind it. At first, it was thought that Vemeer covered up the painting himself. But as technology improved, they realised that the overpainting was done several decades after Vemeer’s death. There doesn’t seem to be a reason on who and why the painting of Cupid was covered up, but it is known to be taken by the soviets after WW2 but then returned to Dresden after Stalin’s death.

To the point of whether a painting should be restored to the original state or left the way it is, I believe that it depends on the painting. With Vemeer’s painting as an example, if it were to be intended to be covered up by the painter then it should be left that way. Like the goblet that was painted over with the green curtain.

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A peaceful pond filled with waterlilies,
The refection of the sky and trees, purple and green
A peaceful pond, with a gentle air.
Wispy brushstrokes of sunrise yellow.

Writing this poem was quite difficult as I found it hard to describe the painting and what features of it I like. The structure of a poem is tough to wrap my head around when beginning to write my poem. I found it helpful making the list of features of the of the painting and colours to include in my poem, but putting them into proper sentences, was a little hard.

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Week 203 20 20Chinese 20Painting 20ANNOTATED 20

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Calligraphy, poetry and painting are described as the ‘three perfections’ all coming together in Chinese Art. The art of calligraphy became high art with the innovation of Wang Xizhi in the 4th century. Both calligraphy and painting were highly sort after skill during the 11th century, ‘a good hand was one criterion- together with a command of history and literary style- that determined who was recruited into the government through civil service examinations’. In Chinese Art, painting and calligraphy where usually showcase together in a piece, however only one of these styles would be a main subject in a piece.

‘Night-shining White’ by Han Gan is an example of this. It is a monochrome ink-n-paper painting created in the mid 8thcentury. It depicts a cavalry horse owned by the emperor Xuanzong of the tan dynasty. This painting combines both painting and calligraphy, with the various ownership seals throughout the piece. Although here are a lot of seals everywhere, they don’t abstract the main feature of the painting, which s the cavalry horse. This piece is a lot different than a modern piece of art you would see, as the painter focused on only using lines, no colour and didn’t cover up any f his mistakes.

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I want to take a more peaceful approach to the idea of a post-apocalyptic society, including a lot of greenery and the 'nature taking over' aspect of it.

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Explore a hand-picked collection of Pins about Themes research: Reimagine on Pinterest.

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My idea of reimagining is to imagine the world in a post-apocalyptic state. One of my inspirations for this is James Chadderton's recreations of Manchester in this fashion.
He is a British Mixed-media artist whose work consists of post-apocalyptic landscapes. These nightmarish and dark pieces bend the lines between reality and fiction.

These pieces are inspired by horrific scenes from many well-known dystopian films ad video games ( Godzilla, Pacific Rim, the Fallout series, and the walking dead).
James' take on post-apocalyptic scenery is very interesting as he takes a much darker approach it than I would, however, the idea of taking well-known places and reimaging them interests me.

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Bell 20Julian What 20is 20Painting 20Week 202

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Are images reliable? When asked this question, context is something you would need to consider before answering it.

On one hand, images can reliable as they tell a person what is happening at the time it was taken or painted. It can tell historians what life was like hundreds of years ago, or what places looked like a couple of minutes ago. On another hand, they can be, in the sense that they could represent the person in the image and remind someone of what they mean to them, being someone they know personally or even a god.

Plato theorised that images are a source of evil, ‘poetic mimesis corrupts the soul, weakening the rational impulse’. He speculates images inhabit some kind of power, spellbinding us to ignorance and that they are threatening.  Whereas, his student Aristotle states, ‘images belong to the rational soul in the manner of perceptions, and whenever it affirms or denies that something is good or bad, it pursues or avoids. Consequently, the soul never thinks without an image’.  Images are the representation of the subject and the individual’s point of view. He suggests that people can only think through images, and this can only be acquired through experience.

In my opinion, images are reliable as in the modern world because they help with globalisation as it helps us stay interconnected.