It's not that I feel sorry for them, it's just that people go by and it doesn't really matter to them that someone unknown was killed so I thought it would be nice for these unknown people to be remembered by those who, ordinarily, wouldn't think of them. 
When l read magazines l just look at the pictures and the words, I don't usually read it. There's no meaning to the words, l just feel the shapes with my eye and if you look. 

the photograph, because it has such a miserable existence even thought it is such a perfect picture, I would like to make it valid, make it visible - just make it.'
He uses real photos and analogue photography tecnhiques durind his artistic process, binging together abstract painting and  photographic figuration. He begins his photo pictures by painting a figurative

analogue of a photograph. He then uses a blurring device to produce

an abstract analogue of this figurative analogue. 

Her photographic works are often shown illuminated on lightboxes. Given this sense of tridimensionality and transcendency to the viewer.

Her distinctive photographic style began accidentally when a colour film loaded incorrectly was processed as a negative. By combining a colour negative with a positive image in single transparency, Yass’s photographs create a hyper-real world. 

Since 1995, Yass has been photographing empty spaces as varied as a steel factory, psychiatric hospital, meat market, and the backstage area of the Barbican Theatre in London. The vivid colours created by her photographic technique suggest the psychic energy of these overlooked spaces. 

its action, the poetic image has an entity  and a dynamism of its own; it is referable to a direct ontology.

Visual imagery (sight)

Auditory imagery (hearing)

Olfactory imagery (smell)

Gustatory imagery (taste)

Tactile imagery (touch)

Robert Rauschenberg’s enthusiasm for popular culture and his rejection of the angst and seriousness of the Abstract Expressionists led him to search for a new way of painting.
A prolific innovator of techniques and mediums, he used unconventional art materials ranging from dirt and house paint to umbrellas and car tires. By 1954, Rauschenberg completed his first three-dimensional collage paintings—he called them Combines—in which he incorporated discarded materials and mundane objects to explore the intersection of art and life. “I think a picture is more like the real world when it’s made out of the real world,” he said.

 Buffalo II, one of the largest in his celebrated series of silkscreen paintings that captured the social, political and artistic zeitgeist of the decade.
the series he made between 1962 and 1964 saw Rauschenberg challenge preconceived notions of what art could be.

Buffalo II  brings together disparate images and motifs that, for Rauschenberg, defined modern life in 1960s America. The canvas is dominated by a large image of the then Senator John F. Kennedy, and includes iconic consumer products and patriotic symbols of America — the Coca-Cola logo, an army helicopter, a Bald Eagle and an astronaut — alongside images of the urban landscape and personal objects, such as a set of keys.

Rauschenberg made this monumental assemblage of appropriated images collected from newspapers and magazines, along with his own photographs, using the silkscreen printing technique — regarded as ‘low art’ at the time, and employed most commonly in commercial advertising.

Light is an element that represents reality and defines, shapes and forms the Reality dimension, shape of a space.

As we will see the gap between what is real, what is imagined, in suspending our disbelief allows for a range of feelings and thoughts to arise.

For example some artists may use certain mediation strategies to bring an awareness or attention to pressing issues of our time; such as climate change, environmental concerns, cultural / social critique and disputed territories.  

Over the next few weeks you will be asked to explore both practically and intellectually mediation strategies and concepts of interest to you through workshops, SDS self-directed study and research leading towards a more fully resolved artwork.

 

Source: https://www.familyfriendpoems.com/poem/solitude-by-ella-wheeler-wilcox

- understand the artist's style (Abstraction/ Figurative)

- important elements of the artwork (beauty, mortality, life, nature)

- constant or mainly used colours

- the scale of the artwork ( the importance of the scale for the artwork and for the viewer/ why the artist uses this scale)

- the surface used have also a deep importance in the work

- influences in the artwork that i can connect, relating the artwork but also making the distinctions

- why the artist does it practice

- elements in the painting suggesting something related to the artist culture or experiences (gender, sexuality (femininity), reference to other art makings

- atmosphere transmitted by colours, the mood

- the change of subject matter through painting/Art 

- mediation and subjectivity - what the colour palette and the subject suggest to the viewer, what are the considerations (mood, feelings, 

- the theme and actual issues - bring a conversation- influence by the mass media 

make a statement

- interpreting the modernism through history in a different way.

- some artists are making a question about culture

- art should have a meaning, some connection and after the aesthetic beautiful.

Speaker's Corner has a long history in the public imagination, whether as a popular site for political demonstrations or as a symbol for unregulated free speech. It is a location renowned for entertainment, madness, and outrage, but particularly for extremes of religious or political belief. Today it appears somewhat an anachronism, with the almost biblical feeling of a souk. Passion, anger and laughter run high among this temporary community. Emotion and conviction are on the surface in a rather unfashionable way: this is not the apathy or irony of the times. Yet despite this sense of a backwards connection with history, the site is a model for the sort of free speech supposedly so central to the 'information age'. Communication flows freely here, without the mediation of machines.

and Counting… addresses this double standard as Bilal turns his own body — in a 24-hour live performance — into a canvas, his back tattooed with a borderless map of Iraq covered with one dot for each Iraqi and American casualty near the cities where they fell.

The 5,000 dead American soldiers are represented by red dots (permanent visible ink), and the 100,000 Iraqi casualties are represented by dots of green UV ink, seemingly invisible unless under black light. During the performance people from all walks of life read off the names of the dead.

In his paintings, he explores themes of memory, identity, and multiculturalism. Many of his subjects refer to history and place, as well as the Caribbean landscape and his childhood.

Photographs are also often used rather than memories, which reinforces the feeling of distance that is woven through his work. His approach disrupts figurative practices by applying abstract patterns. His paintings are representational while simultaneously exploring the properties of surface and colour. As a result of his dedication to painting, his work sheds light on the complexity of growing up in England while simultaneously seeking to reconnect with his roots.

His paintings are built by overlapping numerous layers, not only in terms of images but also as a pure act of overlaying paint and testing testing different materials on the same surface with the aim of achieving what interests him the most: expressing the complexity of nature, their atmosphere and its countless possibilities.
A valley, a swamp, a dense jungle or a flower are not painted to project the image of themselves, these are instead tools Lu Song uses to express feelings, memories and emotions.

So you can observe this as a kind of stage for experience. Or you can really enter that space and take active participation, which actually bring you much closer to the artist, and this presence, and to your own experience.

If you sit on this chair opposite of me, it's extremely important to actually find a very comfortable position and you don't move. Just sit motionless, and see what happen if we connect with our eyes. And I really think that it’s going to be something quite special to go into this unknown territory.

 

Has the space / site been specifically chosen ?

Will the piece in some way refer to the history of the space ?

 

As with Brush with the Real project it may be relevant to research the history of the place. 

What events have taken place in the past? 

 

If temporary what time of day /year will the intervention take place. 

Experience may be very different depending on different times of the day; early in the morning, midday, at night. 

 

Are there fluctuating activities that take place at different times of day in site chosen eg. Rush hour in a city, rural / urban encounters that may play a part.

 

Could there be interactions with the piece : will there be some direction control over these, any influence or could it work better left to chance ? 

 

Will it be a ‘happening’, existing in specific duration of time ?

If a happening…choices in documentation – reasons to/ reasons not to?

 

Will there be anything left after the initial intervention has taken place ?

 

Will the ‘artwork’ change over time ?

Will it be exposed / affected by external forces ( climate, social, political) ?

Will this be integral to the artists overall intentions ?

 

Will it exist in a real or virtual space ?

 

Will it invite audience participation / interaction ? if so how possibly ?

 

Consider the different types of interventions introduced; could you direct someone, stage a performance, create a situation , place an object , project a film, in the place?

 

Think of documenting / filming a private place/ situation and public place, how can these be brought together in an interesting way?

 

You may be interested in exploring the tensions, dynamics and contradictions that arise through the intervention.

this is a tribute to people who live likes this in the streets, and I could reflect that normal people don’t even pay attention to people who live in the streets or don’t care about them, simply because they are too busy or in a rush to do what they have to do, or they simple don’t care about this people.

Interior I was based on a magazine photograph, but it was embellished with brushstrokes that echo painterly gestures, playing with the expectations of the viewer concerning the media used.

In this piece, the perspective has been exaggerated, making the basket appear much larger than the door or table.  

Shanty towns often begin as squatted lands with improvised shelters. Generally, shacks are constructed using whatever materials are readily available, such as wood or mud.

Swiss journalist Georg Gerster has noted (with specific reference to the invasões of Brasilia) that

These same images were to serve as a form of mediation for the drawings and paintings, which, due to their old appearance, already had a sense of nostalgia that I could further emphasize. Additionally, I want to convey a space filled with life, happiness, and ambition, in which the viewer is placed. 

The used photos had no artistic value and they are part of a colonial documentation, part of the past. Since they judge the slum by its external appearance, I did not want to replicate these images. 

Instead, these images take a representational role and to depict a narrative within painting that rewrites the History of this space.

In his work, Gaston Bachelard uses the phenomenological method to demonstrate how creative consciousness interacts with a poetic image to create a reverberation that creates harmony within the individual. 

In order to do so, he selects spaces and cites various authors and poets who reference such spaces and images in addition to presenting his own exploration of them. 

Bachelard focuses on the intimate places of memories, habitations, our childhoods, examining how these images have influenced our daydreams and contributed to our sense of happiness and well-being. 

Yet not needing all of that information to comprehend or appreciate who or what the person is. 

Whether it is clothing, fabric, or furniture, these everyday objects, coupled with singular sculptures by Bourgeois, create an almost theatrical barrier between the artist's interior world and the exhibition space that surrounds it.  

Bourgeois consciously used the term 'cell' when describing these multipart works due to the diverse ways in which the word could be interpreted. Se wanted to convey this voyeuristic sensation, since the viewer is kept at a distance from the central sculpture while still able to observe it through opaque glass or steel mesh.

These installations display the artist's numerous fears related to both the physical and abstract worlds.  
As a child, Louise Bourgeois struggled with traumatic experiences that connected her to these concepts, in order to exorcise the painful memories of her past.  

- A way to relate Space to the viewer
- Works are removed from their context and engaged with the space installed  

This exhibition drew its inspiration from Stuart Hall, who viewed identity as a rich source of options. A key point of this display is that identities of ethnicity, gender, sexuality, and class do not operate around a singular axis of 'difference' rather, they undergo constant change. Rather than present diasporic cultures and identities as binding or singular, they are presented as complex, unfinished conversations.

The connections between the featured artists are shaped by collective memory and networks forged within and across diasporic communities. People and communities still find a way to express themselves in a way that is true to their own individual understanding of the world. This is even when ruling classes and dominant cultures attempt to restrict their world views.  

 https://www.museumofthehome.org.uk/whats-on/rooms-through-time/a-front-room-in-1970/  

 Life Between Islands traces the extraordinary breadth and impact of Caribbean British art, spanning visionary paintings to documentary, photography, fashion, film and sculpture.

This exhibition celebrates how people from the Caribbean have forged new communities and identities in post-war Britain – and in doing so have transformed what British culture and society looks like today.

McMillan's installation is inspired by the front room of a politically active single woman from the 1970s.

Each of the objects, from doilies to wall hangings, has been chosen with a specific time and character in mind. These are supplemented by larger items, such as soft and large furnishings, furniture, fixtures, and appliances. These items speak to migration, religion, status, identity, as well as transitioning from the colonial to the postcolonial eras.

- The artist arranged a group of objects and furniture into a space in order to set a narrative that would relate to the viewer's culture and experience

- His work explores the multicultural nature of British society that is infused with an African-Caribbean heritage

- A political and socially engaged artwork produced in an innovative way.

- McMillan focuses on the under representation of black narratives in gallery space, and he criticizes the trend to search for narratives about black struggle and history.  

The Unfinished Conversation explores the memories and archives of Stuart Hall (1932 - 2014), a Jamaican-born cultural theorist and sociologist. The film shows Hall's personal, ethnic, and political routes to his identity. The film combines news footage from the 1960s with Hall's own videos and photos. 

 The interplay of image and sound over multiple screens mimics the collision of history, culture, and politics that shaped Hall's identity.

The non-linear narrative unfolds across three screens, weaving ideas of cultural identity through the use of jazz and gospel music in a poetic soundscape. 

In addition to the Soviet invasion of Hungary, the Vietnam War, and the British uprising, Akomfrah addresses larger international political changes.

In The Unfinished Conversation identity is presented as a meeting of the outside and the inside, where individual perspectives are formed in both real and fictive spaces.

- Hall, S. (1986) Gramsci's Relevance to the Study of Race and Ethnicity. Journal of Communication Inquiry.

- Hall, S. (2005) The Deluge – and After in: Bailey, D., Boyce, S. and Baucom, I. eds. Shades of Black: Assembling the 1980s' Britain, pp.1-20. New York: Duke University Press.

https://www.writingcities.com/2017/05/14/gaston-bachelard-phenomenology-and-the-poetic-image/

https://theconversation.com/explainer-the-ideas-of-foucault-99758 

Throughout history, there has been an 'endlessly repeated show of dominance', where the events of history have arisen as the result of the overlapping of multiple, competing forces. It is based on the premise that power is more radically dispersed than conventional thinking admits. The theories of Michel Foucault also focus on the connections between power and knowledge and how that power is used as a form of social control in societal institutions. 

In its location, directly outside the Town Hall, the structure also referenced the absurdities of town planning decisions.
The installation explored issues surrounding themes of sustainability, industry and the pioneering spirit of the homesteader.

 I learned that an image can depict a new sense of space and uncanny, communicating with the viewer new approaches to see Reality, transforming what can be seen as normal to us and add a new meaning to it.

and drawing history out; 

-        and about the opening out that occurs when history goes public. and the transnational circuits of exchange economic, social, political, affective - that take British colonial history for a ride.

-        this book is about the ways in which

history is unhoused when narratives, performances, and exhibitions of the

colonial past, once consolidated in the archive, are constellated for public

culture.