Category: Year One – Contextual and Professional Studies

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Ronald Hunter 1973-present

“Through multiple layers of paint and texture Ronald aims to evoke a sense of depth, of being submerged. The color layers shine through and bring a distinctive appeal, the viewers will see something new every time they look at it. Each painting evokes its own mood through the color composition and texture patterns.” 

– Singulart

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I feel I am influenced by this contextual artists way of producing paintings. In some of my pieces I like to apply paint thickly as can be shown is Hunter’s example paintings shown above. When I stumbled across this artists work it reminded me in particular of my May 2020, Moorland Misery. In particular the use of green pigment in contrast to shades and the way in which the paint is applied.

In some ways I still am inspired by this particular artist in my current practise. For instance in Isolated, November 2020 I used the contrast of cold colours to warm colours which is similar to some of this artists work, an example of this is Architectured no. 1.

Henri Matisse
1869–1954

“His mastery of the expressive language of colour and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art.”

– Tate

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I think subconsciously I am largely influenced by Matisse’s use of colours, lines and mark making. Having reviewed my previous paintings in the last few years and my current paintings, I viewed the similarities to his work. I didn’t initially realise his work was an influence to mine but having viewed my work in general I noticed this.

For instance, in my previous paintings I use quite realistic colours in relation to the subject matter and use dark outlines which can be viewed in Wilson, March 2019. Later this influence can also be viewed in Isolated, November 2020 where I use the darker blue to outline the figure.

Henri Matisse’s work features a rhythm in the compositions that are very fluid and beautiful. I feel my work reflects elements of a similar rhythm across the pieces, which can be viewed Koi Carp, October 2019 within the subject matter and composition.

References:

https://www.tate.org.uk/search?aid=1593&type=artwork

https://www.singulart.com/en/artist/ronald-hunter-3467

https://www.saatchiart.com/account/artworks/630570?page=3

https://ronaldhunter.com/

Bees. December 2020. Lauren Allred

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My artwork currently is related to cultural issue that are not mainstream issues. Bringing focus to issues that the average person may not have considered.

For this series of works my practice is using Sculpture, ranging from recycled materials to woodwork and plaster. Within this series I formed a range of 2D drawings that formed into a 3D works. I explored abstraction and symbolism for my works, enabling me to show messages to a viewing audience in subtle ways.

I was inspired from the habitation confinement humans put upon bees that result in diseases for the creature. By forming a series of work inspired by this to enlighten people on the repercussions of bee farms.

This project is still ongoing and I am planning to explore these concepts further within my practice.

Stephanie Sarley

What is this artists material? Video, Performance, Social Media or Fruit?

Stephanie Sarley became a viral sensation with her ‘Fruit Fingering’ series, in which she films herself stroking and prodding pieces of juicy and flesh-like fruit … sexually provocative videos became the subject of censorship and copyright disputes after her work was repeatedly removed, stolen and appropriated online. These videos even resulted in Instagram disabling Sarley’s account three times in one month.

Feminism and Fruit Article/ Interview

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Is this porn being portrayed as contextual feminist art?

Personally, having researched this artist I have come to the realisation that I do not consider this art. Yes, art is subjective but I feel Stephanie Sarley is using shock value to get attention on social media. I would suggest this is a form of porn which is being portrayed as contextual, feminist art. Sarley sometimes uses sexual sound effects within her videos, forming the conclusion to me that this is not about art or feminism. I would suggest this is a cover up to allow this type of content on instagram, being posted under the umbrella of feminism, who have strict guidelines for content. Feminism modern times, is a very sensitive subject, which people are afraid to question in fear of offending. Resulting in this ‘art’, being allowed on social media fueling the motive of popularity and monetary value for the ‘artist’.

Banana on Wall

“Bananas! Art world gone mad—this duct-taped fruit sold for $120K.”

The New York Post Front Cover Headline

“A ripe banana duct-taped to the wall, all in the name of art. But this is conceptual art. He made several models: first in resin, then in bronze, and in painted bronze (before) finally coming back to the initial idea of a real banana. Whether this qualifies as art, well, that’s up to you! Art is subjective. The price tag—paired with the work’s absurdity—got the attention of social media.”

Vogue Article

Is this ‘art’?

Art is subjective, so you could argue that anything is art. Having researched into this I realise that this piece of art has more substance to it than initially preserved via the media. Resulting in a more contextualised work than made out to be. However, I still don’t personally view this as art. But I do admire the creativity behind the concept and the money the artist would have produced from the controversial ‘art’ piece.

Summary

To summarise, I think the relation of shock value in art is a medium in the sense of performance. The physical medium may be video, instillation, photography etc but the performance is really the medium. As performance is what makes these works relevant.

References:

https://stephaniesarley.com/work/

https://www.berlinartlink.com/2018/03/21/food-fruit-and-feminism-an-interview-with-stephanie-sarley/

https://www.vogue.com/article/the-120000-art-basel-banana-explained-maurizio-cattelan

https://www.theguardian.com/artanddesign/2019/dec/09/the-art-world-is-bananas-thats-what-maurizio-cattelans-been-saying-all-along

https://www.moma.org/learn/moma_learning/glossary/#p

https://www.merriam-webster.com/dictionary/shock%20value

Visionary Anatomies Exhibition Review – Article

This particular exhibition catalogue was reviewed in the USA 2004 and is now currently an archived exhibition at present. When looking into this article I became interested in the art involved yet while doing so I became intrigued in how the article was written and the elements involved in doing so.

Throughout the article Ione uses quotations from the artist work during the exhibitions to develop her own opinions based upon their work. The author uses this to add context to the visual artworks being viewed. Helping me to realise, that when reviewing exhibitions personally, it would be beneficial to add historical context, societal/cultural influences and quotations to inform my opinions.

I found this article very informative, not necessarily to the exhibition but more so to the way the author wrote her review. I was able to see the context in which her ideas came from as well as how she linked these external factors back into the content of the article. I am very glad I found this article when browsing the online De Montfort University Library and I hope to use similar analytical features when reviewing exhibitions in the future, like Amy Ione.

Ione, Amy, et al. Leonardo, vol. 39, no. 2, 2006, pp. 171–172. JSTOR, www.jstor.org.proxy.library.dmu.ac.uk/stable/20206201

https://www.sites.si.edu/s/archived-exhibit?topicId=0TO36000000TzVeGAK

Anna Medieta, Self Portrait, 1973

Formal Analysis

The colour of this piece is natural to the human body, yet included contrast of blood. The tones of this piece are very dark and show imperfect organic forms. The face is centrally composed in an unnatural position with the focal point being the nose. The medium appears to be photography, placed into a frame.

Analysis from Research

The medium of this piece is ‘photograph on coloured paper’, with a scale of ‘398 × 310 × 32 mm’. This piece was from a set of 9 experimental photographs.

‘Mendieta’s use of blood carries a strongly political message in the form of a call to awareness of violence against women.’

Ana Mendieta’s meaning on the piece

John Millais, Ophelia, 1851-52

The colour of this piece is very natural to the scene depicted, colour matched perfectly as if it was a picture. The tones of this piece are light and inviting, showing organic forms. The body is centrally depicted to draw the viewer to that element of the piece. The medium appears to be oil paints. The piece seems very emotional, I would suggest the female is deceased in the lake. Yet it is a very peaceful scene with the foliage. The artwork could have been inspired by the pre-raphaelites as their is elements similar to this art society.

Analysis from Research

After further research I realise the reason it reminded me of the pre-raphaelites as it was part of this art society. The medium is ‘Oil paint on canvas’, with a scale of ‘Support: 762 × 1118 mm, Frame: 1105 × 1458 × 145 mm’.

‘The plants, most of which have symbolic significance, were depicted with painstaking botanical detail. The roses near Ophelia’s cheek and dress, and the field rose on the bank, may allude to her brother Laertes calling her ‘rose of May’. The willow, nettle and daisy are associated with forsaken love, pain, and innocence. Pansies refer to love in vain. Violets, which Ophelia wears in a chain around her neck, stand for faithfulness, chastity or death of the young, any of which meanings could apply here. The poppy signifies death. Forget-me-nots float in the water.’

Symbolism within the Painting

References:
https://www.tate.org.uk/art/artworks/mendieta-untitled-self-portrait-with-blood-t13354
https://www.tate.org.uk/art/artworks/millais-ophelia-n01506

The History of National Gallery

‘In 1831 Parliament agreed to construct a building for the National Gallery at Trafalgar Square. There had been lengthy discussion about the best site for the Gallery, and Trafalgar Square was eventually chosen as it was considered to be at the very centre of London. The new building finally opened in 1838.’

History – About the Building

‘With a commitment to free admission, a central and accessible site, and extended opening hours the Gallery has ensured that its collection can be enjoyed by the widest public possible, and not become the exclusive preserve of the privileged.’

History – About the Building

And so the National Gallery was formed by the Government to provide a space for free education, no matter of social class or economic boundaries.

Online Presence

The National Gallery obviously has the famous London location yet in modern times, the galleries artworks are available to a much wider audience via its online presence. Their website enables viewers from all over the world to access and educate themselves or artworks, with a few clicks on the internet. Due to this modern fenominon the ideology of providing free education, no matter of social class/ economic boundaries lives on today.

With the amazing access to the gallery and its online resources, staying up to date on exhibitions and artistic events has never been easier and its all down to the Parliament of 1831 wanting to provide the gift of education.

Providing the Gallery Service

Yet with this amazing access and facilities brings great pressure to the people who provide this service. Resulting in the role of Director, ‘with the responsibility to shape the collection and manage the Gallery.’

“The Director has responsibility, under the Board, for the overall organisation, management, and staffing of the Gallery and for its procedures in financial and other matters, including conduct and discipline.”

Current responsibilities of the Director from the Trustees Handbook

There has been a long list of 15 directors since the role began to present day. The current Direction of the National Gallery is Dr Gabriele Finaldi.

Dr Gabriele Finaldi has had lots of experience in exhibitions and art, curating exhibitions all over the world. As well as writing historical academic resources on artwork in general. Meaning that the organisation of exhibitions and the art placements are academically constructed. Forming the best outcome to reflect the artists work as well as being visually appealing to the viewing audience.

As well as the role of Director for the museum, curators have a huge impact on the exhibitions within the gallery. The role of curators is to use informed thinking to position the artworks of a particular exhibition, enhancing the artists work and the overall outcome of the display.

‘Sin’ Exhibition

7th October 2020 – 3rd January 2021

The National Gallery isn’t afraid to exhibit controversial ideas ‘The first exhibition in the UK exploring sin in art will be staged at the National Gallery this autumn.’

‘Sin will bring together paintings from the National Gallery’s collection dating from the 16th to the 18th century with loans from important private and public collections including modern and contemporary works by Andy Warhol, Tracey Emin, and Ron Mueck. There will be 14 works on display.’

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This particular exhibition is available to view from the 7th October 2020 to the 3rd January 2021, in Trafalgar Square, London. Yet it is also available to view online and well as press-releases that are available online. Which is great for me currently as I am not able to travel to the gallery but I can still learn about the exhibition and get an online experience.

‘Sin’ invites visitors to reflect on a fundamental concept that pervades our lives and history, but also to marvel at the ingenious ways artists have addressed the subject across time.’

Dr Joost Joustra, Howard and Roberta Ahmanson Research Curator

This particular exhibition explores a wide range of debateable concepts, you only have to look at ‘An Allegory with Venus and Cupid by Bronzino, which is featured in the collection. This painting is very controversial and has a range of disturbing themes to the modern day critic, such as ‘Sin’, ‘Incest’ and ‘Satanism’.

Yet when curated in a particular way by historically, religiously informed individuals. It allows the combination of art to bring forth debates and learning, whether viewed online or in person. Reflecting the original 1831 purpose of the gallery to provide a space for free education, no matter of social class or economic boundaries.

References:
https://www.nationalgallery.org.uk/exhibitions/sin
https://www.nationalgallery.org.uk/paintings/bronzino-an-allegory-with-venus-and-cupid
https://www.nationalgallery.org.uk/about-us/history/about-the-building
https://www.nationalgallery.org.uk/about-us/history/directors

Cecily Brown

“My process is really quite organic and starting a painting is one of the best parts for me. I always start in quite a loose and free way. I often put down one ground colour to begin with and then play off that. For the first day or two, everything moves very quickly – sometimes almost too quickly – then there’s often this very protracted middle period of moving things around, changing things, editing.”

Cecily Brown Website

From Cecily Brown’s description of how she creates her works I assume she needs a large working space to loosely apply the paint. Meaning that her studio space will be adapted to her way of working which most possibly is a large room.

Having researched further into Cecily Brown’s studio space I can assess that my assumptions where correct. Reflecting in a larger scale, that all artist’s working studios (whatever location/space) is directly linked to the work they create.

Cecily Brown’s Studio

As previously stated Cecily Brown has a large sized studio, which can be viewed below. The scale of her paintings in relation to the artist, reflects the mass size of her studio which ultimately enables Brown to complete large scale artworks at ease.

Rachel Wetzler (Apollo Magazine) on Brown’s Studio:

“Cecily Brown’s studio – an airy, light-filled loft overlooking the bustle of New York’s Union Square – is, at any given moment, home to as many as 50 works in various stages of completion. When I visit one afternoon in July, paintings and drawings of loosely defined figures emerging from energetic arrays of sweeping, abstract strokes seem to line almost every available surface, propped up in stacks against the walls or lying on the floor to dry. In spite of the summer heat, the studio is busy with activity.”

– Apollo Magazine, 3rd November, 2018

Summary

Celily Brown appears to use her studio as visual inspiration showing her own artworks and well as a practical way to create her humongous paintings. From observation of her studio she appears to use brushes, paints, palette, tissues, inks, easels, stationary and a trolley. As a result of both of these factors, Brown adapts her studio space to enable the creation of her works to be completed at ease.

My Studio

For my studio I set up the desk in the corner facing the wall so that I wasn’t distracted by the beautiful view yet still able to take inspiration from it. I then attached imagery to my working area from artists work which I am inspired by. These vary from Tracey Emin to Dante Gabriel Rossetti.

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References:
https://news.artnet.com/art-world/marco-anelli-artist-studios-new-york-1874775
http://www.cecilybrown.net
https://www.apollo-magazine.com/now-i-can-steal-from-myself-as-much-as-from-other-artists-an-interview-with-cecily-brown/
https://library.artstor.org