Showing posts with label writing and words. Show all posts
Showing posts with label writing and words. Show all posts

Sunday, 8 January 2012

Art I like: Idris Khan

Still thinking about my pathway project, I looked up Idris Khan, photographer, who produces work which overlays lots of images on top of each other, such as the full score of a piece of classical chamber music, so that the finished image is almost indecipherable, while representing the totality of the sound s inherent in the piece of music.  He does the same with images of buildings, or pages of text.  The effect is to produce interestingly complex but strangely familiar images, which seem to shave the depth and gravitas of the original, through the continuous build-up of lines as layer upon layer is put together.

Like this.....

Thus Spake Zarathustra... after Friedrich Nietzche(2007)
Digital C type print mounted on aluminum 
85 x 70 inches 
© Idris Khan ... After Ludwig van Bee
Image copied from Yvon Lambert Gallery here.



Idris Khan
Title Struggling to hear... after Ludwig van Beethoven sonatas
Medium lambda digital color coupler print
Size 102 x 70 in. / 259.1 x 177.8 cm.
Year 2005 -
Edition 5/6

Copied image and text from ArtNet website here.


More about Idris Khan in a  Guardian article here and here.

I like the way he crease something almost skid from these repeated images - and they are on a huge scale., so why was perhaps previously a duty volume of sheet music, is now a massive piece of photographic image, perhaps 2 or 3 metres long, demanding attention and reflection.  

Wednesday, 4 January 2012

Pathway Project 2: Writing/Word

In theory our second pathway project began in December, as soon as the first one was done.  But in practice things never go quite as smoothly as planned and since then life, builders, kitchen re-fitting, Christmas, a bout of mild flu and a long-overdue commitment to produce an article for Llafur all got in the way.

So although over the holiday period I have done a fair bit of research into artists using words and text in their work, some of it recorded on this blog, and a bit of thinking both conceptual art, post-modernism, and the meaning of life, I haven't actually focussed on why my project is going to be about.  The deadline is Monday 29th January, so I have almost a month, well, three whole Mondays in terms of college facilities.  But joy of joys, yesterday we were told that we have access to the Life-drawing room on Tuesday mornings too.   So there should be plenty of time and space to do whatever...

The missing bit, therefore, is to decide what to do.  

I've had two tutorial discussions about this so far, with Abi and Harriet, both useful in forcing me to think out loud about the topic and what I might do with it.    I found myself thinking about how much of my working life has been concerned with the written word, reports, papers, research, etc, etc.  I've left that world behind me now, and perhaps I might make something to represent the end of that chapter, the transition from my old office life to the new world of creativity.

Another thing I've been grappling with is to identify my preferred pathway.  I am still not sure about this.  I have enjoyed printmaking although I haven't been very adventurous with that so far.  I've also enjoyed making things from paper and card, books, and small paper sculptures.  Is that a pathway?

One recurrent idea so far has been about making something (i.e. a construction, not a print or a painting); and making something quite large, in contrast to my practice so far, which (apart from huge quilts) has all been fairly small pieces, nothing much bigger than A4.

I quite like the idea of physically re-cycling some of the products of my old working life,.  My first thought was to create something using papier mache, perhaps some large-scale letters or text built out of this.  Another possibility is making some hand-made a paper, using old Welsh Government report as the base material, and then using the paper as the foundation for print or text.

I have in the past made things from textiles, mainly quilts and a little embroidery.  I am trying hard not to turn to this at present - I see Foundation as an opportunity to try different media, and to extend my horizons beyond the familiar.  However, one idea which emerged talking to Abi was the notion of making some kind of quilt-based text.  But as time goes on, I'm not sure about this.

Then there is the question of finding or creating a text.  Do I need specific words and should they be deeply meaningful?  Or could I just use letters and random words...and if so, what would that "mean"?

But the really important question is: why was I drawn to this theme in the first place?

My affection for book arts is the main draw, I think, and that has two strands - firstly the sheer ingenuity of manipulating old books to create new objects - in which case the content of the books doesn't hugely matter.  Add to that a happy fascination for the process of making little books such as these


and a growing interest in print, enhanced by a week at Cardiff School of Art this summer making prints like these


and the experience I gained at UWE summer schools last year in book binding like this

and letterpress printing like this

and there is a strong thread emerging of my interest in books and the written and printed word and in print more generally.

But the other attraction is the idea of text in art as a way of drawing attention to a concept, an idea, a perspective - where the words are absolutely central and crucial to the overall work.  But you can't get meaningful words out of thin air: they have to relate to something that matters to me.  ell, lots of things matter to me, but right now I'm not itching t spend hours stitching phrase about conservation or the ozone layer.  So perhaps I'll not try too hard to be deep and meaningful, but will make something with words which are reasonably accessible and perhaps a bit playful.

I also like the idea of making words which are more than 2D on a paper and for reading only.  Word which ask to be touched or felt or held.  Words which require some engagement by the viewer more than simply reading and decoding their meaning.  Words and writing play a massive role in our lives: why not touch and feel them, as well as see and read and hear and understand them.

In fact, thinking about re-cycling my old life, constructing playful words which reflect on change, retirement, leaving things behind, etc, etc, would be best.

I will let this simmer for a day or two, but I think I have enough ideas here to work from:

  • re-cycling and change
  • re-using old words for new purpose
  • making new paper or things from old words
  • words which reflect my personal change
  • words which encapsulate the concept of life-changes
  • something constructed, rather than sewn or printed or painted
  • something not too small
  • something tactile, to be handled not just looked at


Friday, 30 December 2011

Ed Ruscha: Annie, Poured from Maple Syrup

An interesting reflection from the Guardian Art Blog here about Ed Ruscha's painting Annie, Poured from Maple Syrup.
Gold standard ... Annie, Poured from Maple Syrup, 1966, by Edward Ruscha. 
Photograph: Edward Ruscha/Norton Simon Museum, Gift of the Men's Committee
Copied form the Guardian blog spot


JOnathan Jones suggests it is a post modernist satire on the syrupy nature of the story of Annie, but is also a skilfully executed painting which represents the glossy, sticky look of poured treacle.   It was painted at a time when there was a vigorous debate in American art about the purity and flatness of abstract painting, while Ruscha's image here does exactly the opposite, portraying the shiny, silky, stickiness of treacle.  It may also be saying something about the meaning of language, or the lack of meaning.  Why "Annie"?  Why not? 


I like the painting, it is witty and playful but also serious, and also very cleverly painted.  So far, among the many images and artists whose work I've looked at in relation to the use of writing and words in art, there are very few which use text but present it in such a polished and painterly way.  

Thursday, 29 December 2011

Art I LIke: Tom Phillips

I came across Tom Phillips' Humument this summer while doing a letterpress printing course at UWE, Bower Ashton, and rummaging in the wonderful library there.  I was interested in the whole idea of altered books, and how people can play around with not just the physical form of a book, but also with the text.  The Humument does this to extremes.  Here is a single page as an example of the whole book, which is over two hundred pages long.


Now that I'm thinking about words and writing in art for my pathway project, I looked up Tom Phillips again.  His work is rich and varied, and appeals to me on several levels - the works with words and writing, the colours he uses and the way he uses paint; his sculptural pieces; and his interest also in quilts.


There was a significant exhibition of his works at the Flowers Gallery in 2010,  more info and lots of images to be found on their website here.


His output is huge and diverse, with a great many portraits and large and small paintings.  He has played around with systems paintings and series, and with process for its own sake.  He has, for years, regularly collected up the paint on his palette at the end of each day or week and used this to slowly fill in pre-drawn slots on prepared canvasses.  More recently he has used disposable palettes, and then cut them up and reassemble the pieces as a sort of mosaic of colours and a record of his painting.  More about this on his blog here.


He does a lots of work with words.  Some is 3D, such as his word sculptures like this one: Miami Beach link here.   
Word Sculpture: Miami Beach
Wood and acrylic, 25 cm, 1986





Tom Phillips has also produced three quilts, which began from his collection, for their design quirkery, the 'business' cards left by prostitutes in London phone boxes.  The result, after a lot of experimentation, was a quilt made from sections of the cards.  


Women's Work
Cotton fabric and paper, 204 x 204 cm, 1997



This led to a second quilt, around the arrival of medical Stealth Bombers at the farnborousgh Air Show but using the same 'calling card' materials.








Manpower (work in progress)
Cotton fabric and paper
204 x 204 cm (finished size), 1997



More about his quilts on his website here.


The idea of a patched quilt recurs in some of his word-based paintings, such as this one,
Had I The Heavens' Embroidered Cloths, 1997-2001
Oil on canvas
184 x 123 cm / 72½ x 48½ in



His recent work includes commercial and PR applications such as this design for the British Heart Foundation which cleverly uses text as a verbal message about the healing power of art, as well as a visual image of a cracked and broken heart being mended.




In other work he plays around with the get to such an extent that the words are almost impossible to read, but the viewer is nevertheless aware that there is script within the overall design, which appears to be a series of irregular geometric shapes in muted colours.  




Here We Exemplify, 1969 
Oil on canvas
30¼ x 30¼ in / 76.5 x 76.5 cm
AFG 43798





Some of his work just uses simple text, in beautiful typefaces, to repeat a borrowed text ro one he has created himself.  He uses these in different materials, including screen print onto transparent perspex cubes, or in wire sculptures designed to be wall mounted like this one.




After Henry James, 2009 
Wire
18½ x 24¼ x 2 in / 46.5 x 61.5 x 5 cm



I really like the range and humour in Phillips many and varied works, and I am inspired by his ability to play around with very simple text and typeface forms to create beautiful and balanced pieces.  







More art I like: Mel Bochner

Mel Bochner's paintings explore words, and their meaning.  His website is here.  Mel Bochner was born in Pittsburgh, PA, in 1940.  He lives and works in New York.  A valuable review article about his work, locating him firmly in the emerging conceptual art movement from the mid 1960s, is taken from Frieze magazine in March 2007, and can be found here.  He worked closely with friend and fellow conceptual artist Sol Lewitt,  exploring drawing, measurement, spatial relationships and colour.  

HIs word paintings are many and concentrate on a single word or phrase, or more recently on related words and phrases, rather like a thesaurus entry, bringing together words which have similar meaning, and in the process exploring the texture behind emotions or descriptions like "Unnameable" or "Useless".  He uses very simple script, capital letters, no frills, often in multi-coloured canvases, so the first impression is of a child-like randomness.    But on closer reading, the words have coherence and emotional force.  The simplicity is compelling, as is the use of often vivid odours.  Sometimes the works are in repeated handwritten script, sometimes large, sometimes quite small in scale.   Here are two of his thesaurus paintings from 2008






He also explores concepts and short phrases, about language, in a variety of media and scales, such as these.

LANGUAGE IS NOT TRANSPARENT, 1969
Rubber stamp on graph paper, 9.75 x 7.25 inches




LANGUAGE IS NOT TRANSPARENT, 1999
Oil on paper, 22 x 30 inches

Or these......


BLAH, BLAH, BLAH, 2008
Oil on canvas, 18 x 24 inches




BLAH, BLAH, BLAH, 2008
Ink on paper, 11 x 8.5 inches


BLAH, BLAH, BLAH, 2008
Rubber stamp paper, 11 x 8.5 inches



BLAH, BLAH, BLAH, 2008
Oil on canvas, 60 x 45 inches