Author: Rayvenn Shaleigha D'Clark
New Direction
In light of the new year I have decided to take a new direction. Although I feel I will always remain interested in the process of drawing, I am nervous to put distance between myself and the 2D plane. I was inspired by an article i saw in the new year, and really feel like this… Continue reading New Direction
Equipment
Kryolan Red Head Head shaped plastic block, layer with latex or cap plastic to create & mould bald caps. PlatSil® Gel-10: Silicone (2KG) This is the Silicone system that delivers flesh like results unlike any other silicone product, it is quick easy to use has a nutreul translucent colour and when mixed with mouldlife skin pigments a skin… Continue reading Equipment
Head Casting
https://youtu.be/EMDmbZLHioI Instructions: Kryolan Red Head Gel 10 LifecastingGel 10 Bald Cap| Latex Glove – Cover hair – requires Red Head (to make bald cap) Plastil Gel 10 – mixed 1:1 ratio pasting a couple of layers (2) mixed 1:1 and brushed over head form (second coat after 10-15 minutes depending on temperature) Powder form with… Continue reading Head Casting
Neither Text Nor Image – 18.01.16
Christopher Wool; Untitled (2001) Silkscreen ink on linen (measuring approx 228.6 x 152.4 cm) What happens when text and image overlap? The event of the process Grasping a reality – the things seen and be recognisable, he moment of an experience and this ‘detachable’, but yet, relatable to the experience Naming/categorising language The dimension of death… Continue reading Neither Text Nor Image – 18.01.16
Photography as a Fine Art| Graham Clarke in The Photograph, 1992
The Peeling Paint on Iron Bench, Kyoto; 1981 Notes: Pg 167 …under the auspices of Alfred Steiglitz extolled photography as an art form in its own right. For De Zayas, however, ‘photography is not Art, but photographs can be made into Art’. The statement is of significance because its puts into play so many assumptions regarding… Continue reading Photography as a Fine Art| Graham Clarke in The Photograph, 1992
The Portrait in Photography| Graham Clarke in The Photograph, 1992
Untitled No.122 1983 Colour photograph 220 x 146.7 cm Notes: The Portrait in Photography Pg 101 The portrait in Photography is one of the most problematic areas of photographic practice. …. ‘at virtually every level, and within every context the portrait photograph is fraught with ambiguity. And part of this ambiguity relates to the question… Continue reading The Portrait in Photography| Graham Clarke in The Photograph, 1992
Lightbox + Shelf + Research Catalogue = End-Of-Term Exhibition
We took the opportunity on Tuesday morning to set up out of the way of the confusion of the chaos that will ensue on Wednesday (day of the deadline). Throughout the morning Heeding and I did most of the preparation measuring out our space (equal lengths between the wall and the opposing work, as well… Continue reading Lightbox + Shelf + Research Catalogue = End-Of-Term Exhibition
Merchandising
An added part of my collaborative work was experimentation with materials. At the initial conception of the Group Exhibition we had in mind a Gallery Gift Shop idea in which we planned to mass-produce our artwork onto everyday objects. Although out exhibition proposal has changed significantly since then, we still felt it was necessary to… Continue reading Merchandising
Artist Lecture: Anne Hardy – 08.12.15
Notations, 2012 in-studio set up Incidence 2009 PHYSICS the intersection of a line, or something moving in a straight line, such as a beam of light, with a surface. Anne Hardy’s photographs depict fictional spaces which have both a magical and naturalistic quality.Constructed within the studio using a range of materials, from disintegrating found objects to… Continue reading Artist Lecture: Anne Hardy – 08.12.15
Year 1: Symposium| End of Term Exhibition
The First Year Exhibition was very eye opening, looking at our previous experience of putting on our first exhibition. The works remind very varied and there was a keen exploration of a lot of topics, as well as with materials. I felt that the curation was a lot more sophisticated then ours in the first… Continue reading Year 1: Symposium| End of Term Exhibition
Selfie Series| New Imagery| Lizzie
Lizzie Lizzie’s images remain much more playful, and these images are in a new direction from the previous images. Appealing to the personality of the sitter there are many more images to select from which I am looking forward to going through and editing accordingly. Obscured Faces Hair Tousling
Selfie Series|New Imagery| Ruby
Ruby’s images remain much more relax and simple. Much less about here personality is revealed (it must be noted these are test photographs), however there is a condition and connection to the camera that I enjoy. These images remain more relax and unposed and this is the direction I am interested in heading into towards… Continue reading Selfie Series|New Imagery| Ruby
Selfie Series| New Imagery| Gaia
Gaia Gaia’s images are significantly different to the previous images. However I maintain they reflect the personality of the sitter. What I enjoy about the image is what they reveal about the sitter (from my perspective) as well as their larger capacity to wok as standalone photographs. These images point to Gaia as being very… Continue reading Selfie Series| New Imagery| Gaia
Collective Exhibition| UPDATED
There have been many changes to the idea of our collective exhibition, but as of this week we have finally settled on an idea that will satisfy the entire group and not be too rushed or ill considered the week before the exhibition. After a secondary 2:1 meeting with Theory Tutor (JDM) and Tutor (Elizabeth… Continue reading Collective Exhibition| UPDATED
Drawing| UPDATED: DECEMBER
Research Catalogue| UPDATED:
Artist Lecture: Edwin Zwakman – 01.12.15
Later… (2001) at Aperture Gallery’s Nature as Artificeexhibition A visual artist from the Netherlands whose works explore the interaction between reality and photography, either with staged photography, either in his studio or in public space. Works in the studio include a long-running series of pictures showing scale models of Dutch landscapes and interiors. And this landscape… Continue reading Artist Lecture: Edwin Zwakman – 01.12.15
Theory Tutorial| JDM|
Collaborative Presentation The theory tutorial meting on Thursday 26th yielded another set of interesting changes to the exhibition outcome. Essentially, we need a deeper investigation or specificity in what sort of ‘institution critique we will be making in the exhibition. Although John (JDM) was excited about the prospect of the gallery gist shop, he feels that ‘it can be made… Continue reading Theory Tutorial| JDM|
Drawing| UPDATED: NOVEMBER
(Base layer of drawing; tonal elements), much more pictorial detail still to complete — comparative image (below) as seen in Collobarative Research Catalogue close-up
Collaborative Research Catalogue
An important part is of the collaborative outcome is the production of the Collective Research Catalogue. something that above all unites all of our efforts, both together and individually we are exploring the research (images, quotes, videos’ etc.) that have universally contributed to our practise. To do this we are binding a book (100 pages, dedicating 16 pages to… Continue reading Collaborative Research Catalogue
End of Term Exhibition
There have been significant chagges to the proposed set up of the end of term exhbition. Taking on board various comments from tutors and theory tutors, we have simplified our outcome to a number of factors: Room Placement: We were not granted the space we asked for in our proposal, but nebvetheless we have tried to… Continue reading End of Term Exhibition
Evaluative Report
500-700 Word Evaluation on Collective work and Personal Studio Practise Rayvenn Shaleigha DClark 15-16 Unit 5 Evaluative Report Changes made post 2:1 Theory Tutorial (below) Rayvenn-Shaleigha-DClark-15-16-Unit-5-Evaluative-Report
Uncreative Writing| Kenneth Goldsmith| Chapters 5 & 11
Chapter 5 Why Appropriation pg 109 The greatest book on uncreative wiring ha already been written (The Arcades Project, 1927-40 by Walter Benjamin) Many argued that its nothing more than thousands of pages of notes for an unrealised work of coherent thought, morosely a pile of shards and sketches. But others have claimed it to be… Continue reading Uncreative Writing| Kenneth Goldsmith| Chapters 5 & 11
Uncreative Workshop Critique
…on presentation of Selfie Series Image from audio Will it ever exists as a Digital Photograph? Our attraction to the human face is endless Lighting and Expression is incredibly engaging Authentic presentation of self Authenticity of materials – what the feeling that one will ascribe to the express; which is very enigmatic and could range from confusion, anger, arrogance remains… Continue reading Uncreative Workshop Critique
Collective Exhibition
We have decided there need s to be a real emphasis on the theoretical research element of the exhibition. A lack of physicality is something very difficult to achieve in that it needs to be done in just the right measure to really communicate the stance we are aim at, whilst not looking as if we have neglected to do… Continue reading Collective Exhibition
Uncreative Practise Workshop | Theoretical Research
Arnaud Desjardin The Book on Books on Artists Books (2013) The Book on Books on Artists’ Books is a bibliography of books, pamphlets and catalogues on artists’ books. It takes stock of a wide variety of publications on artists’ books since the early 1970s to draw attention to the kind of documentary trace of distribution,… Continue reading Uncreative Practise Workshop | Theoretical Research
A0 Print – Sometime A Photograph is All You Need!
As a follow on from the Uncreative Practise Workshop I feel that I have to make a lot more of the the photographic side of my practise. As it is such a large part of my process and the way I translate and re-translate my work into drawings, I plan to create an A0 Matte Print of the original image. There is a level… Continue reading A0 Print – Sometime A Photograph is All You Need!
Institutional Critique – 23.11.15
Usually, not always site specific Activating spaces Working alongside institutions (intertwined into questioning within the art piece) Miwon Kwon – One Place After Another (2004) Framework: Site as an actual and physical location (Phenomenological) Site as a cultural framework define by institutional of art Site as a mobile , discursive narrative Beatrice Con Bismarck Game:… Continue reading Institutional Critique – 23.11.15
Collective Research Book
A Part of our Exhibition will see my group p create a collaborative Research catalogue that details our collective research (through John Baldessari as well as any movements made within the collective process), as well as research from our individual practise (single focus practise, alongside images of our semi-completes/completed work). Despite concerns from tutors, we… Continue reading Collective Research Book
“To Be, or Not To Be, That is The Question…”
There have been many ups and downs too the exhibition proposal but as I group I feel that we have really come together to overcome the challenges that are afflicting our exhibition. Going from making a quasi-gallery gift-shop, to the complete obliteration of this idea, not the challenges that face our group is how to make… Continue reading “To Be, or Not To Be, That is The Question…”
The Selfie Monologues
As an extension of my drawing, I plan to create a A0-sized photographic print of my photographs. I feel that there is a strength to my photos that should be reflected upon more within my practise, removed form the finished drawing. In many ways, can the photograph not act as an accompaniment to the drawing,… Continue reading The Selfie Monologues
Correspondances – 16.11.15
Die Baba [The Baby], 1985; Oil on canvas Bathed in sickly blue-yellow light, Marlene Dumas’s baby is almost repellent. Instead of an instant love affair, Dumas paints an alien encounter, the unnerving presence of an ‘other’, the realisation of an individual with a will and determination of his own. Marlene Dumas confronts the reality of motherhood, with… Continue reading Correspondances – 16.11.15
Large Glass Gallery| Arnaud Desjardins: ‘Don’t Forget!’
Uncreative Practise: Week 3 I enjoyed the simplicity of the works house within the Large Glass Gallery. There was a very homemade feel to the works that celebrate themselves as what they are: somebody else’s I particularly enjoyed the drawings and their presentation. Used and unfolded, they were scraps, stuff, but still works of art in… Continue reading Large Glass Gallery| Arnaud Desjardins: ‘Don’t Forget!’
Science Fiction – 09.11.15
Benjamin, W – A Small History of the Photograph – “the mere reflection of reality tells us nothing about reality” Bertol Brecht – illusion in theatre, show its artificiality in order to reflect on reality [Science Fiction] – “Defamiliarises the past in order to reaffirm the present” … Continue reading Science Fiction – 09.11.15
By George, we did it!
5th Nov Crits Morning Forming a meeting alongside a number of other groups to not only assess the viability of the groups, but to discuss and assess the ideas that unit other groups. Not only can this lead to further changes in groups (esp. for those not in a group yet), but also allows the… Continue reading By George, we did it!
Political Aesthetics: A New Beginning
The aestheticization of politics was an idea first coined by Walter Benjamin as being a key ingredient to Fascist regimes. In this theory, life and the affairs of living are conceived of as innately artistic, and related to as such politically. Politics are in turn viewed as artistic, and structured like an art form which reciprocates the artistic conception of life being seen as art.… Continue reading Political Aesthetics: A New Beginning
WHY IS BALDESSARI NOT OUR COURSE LEADER, AND TUTOR!?
Sorry Ben! #BANTS YOLO
WHIS IS BALDESSARI NOT MY FATHER!!!
NOTHING TO SAY, JUST THOUGHT YOUU SHOULD KNOW HOW MUCH I LOVE JOHN BALDESSARI, AGAIN!
I JUST CAN’T GET ENOUGH OF FRICK*N’ BALDESSARI
https://youtu.be/LVAw1muBt_k http://www.interviewmagazine.com/art/john-baldessari/#_
Serpentine Sackler Gallery| Rachel Rose: Palisades
As a part of my Uncreative Practise Workshop we went offsite to the Serpentine Sackler Gallery to visit the Rachel Rose Exhibition: Palisades Palisades meaning: forming an enclosure or defence American artist and winner of the 2015 Frieze Artist Award, Rachel Rose discusses visual and sound techniques in which her works engage with appropriation, collage and memory recall,… Continue reading Serpentine Sackler Gallery| Rachel Rose: Palisades
A Conversation with John Baldessari
My practise this year is an exploration of contemporary modes of portraiture and photography by analysing historical examples and theoretical discourse relating to appropriation and copyright. I an very much interested in the ‘deconstruction of traditional modes/form/notions surrounding portraiture in its most formal sense, and feel that the theoretical discourse of John Baldessari has been… Continue reading A Conversation with John Baldessari
Body/Building – 02.11.15
Emily Speed The relationship between the human body and architecture Gordon Marta Clarke – Splitting (1974) Architecture as monolithic Active destruction of buildings Architectures as both boundary and a structure What is a boundary? No boundaries in nature that isn’t porous on some nature How this this related to human nature? Permeated from every direction –… Continue reading Body/Building – 02.11.15
Unit 7 Essay| Photography- “The first time as tragedy, the second as farce”; The infinite plurality of readings with specific reference to Martin Lister’s ‘The Photographic Image in Digital Culture’
Photography- “The first time as tragedy, the second as farce”; The infinite plurality of readings with specific reference to Martin Lister’s ‘The Photographic Image in Digital Culture’ With specific references to pages 220-224 of Martin Listers ‘ The Photographic Image in Digital Culture’ (1995), throughout this essay I will dissect how the digital-technological revolution associated… Continue reading Unit 7 Essay| Photography- “The first time as tragedy, the second as farce”; The infinite plurality of readings with specific reference to Martin Lister’s ‘The Photographic Image in Digital Culture’
Zines
In response to some group discussions about the collective exhibition at the end of the term, I have decided about the style of my work and how it could be adapted to wrk as a Zine. A Zine is a: zine/ziːn/ noun (informal) plural noun: ‘zines; plural noun: zines 1. a magazine, especially a fanzine. Urban Dictionary:… Continue reading Zines
An Ode to Baldessari
Final (End of Year) Collective Exhibition “The digital image is a copy—but the event of its visualization is an original event, because the digital copy is a copy that has no visible original. “- Boris Groys My Collective and I have been discussing the possible look of our final Exhibition that s required in Week… Continue reading An Ode to Baldessari
ToP Workshops: Uncreative Practise
AIM: In this workshop we will look at extended notions of art practice within contexts not traditionally seen as fine art. The title of the workshop itself comes from Kenneth Goldsmith’s book Uncreative Writing, an artist turned writer who founded and runs the website Ubu.com. We will explore appropriation within practice, leading to archiving and… Continue reading ToP Workshops: Uncreative Practise
The World Goes Pop – Tate Modern (26.10.15)
Equipo Realidad Collective – Joan Cardells (1948)/Divine Proportion or Le Divina proporción (1967) The Equipo Realidad was formed by Joan Cardells and Jorge Ballester in Valencia in 1966, during Francoist developmentalism, and was voluntarily dissolved ten years later when, against the new background of the transition to democracy, the members thought it necessary to close… Continue reading The World Goes Pop – Tate Modern (26.10.15)
Art’s Critical Function – 26.10.15
The Death of Doctor David Kelly, 2008 Keyword – what does ‘critical’ mean? Work as revelatory – revealing as a critical value Everyone (artist, audiences, society etc.) is ‘colluding’ on where art lies, its critical value Dexter Dalwood Heavily politicised work, engaging with the socio-political work asking questions about what the status of painting is/and… Continue reading Art’s Critical Function – 26.10.15
Expanding Materials
In order to improve the quality of my images this year, I have significantly expanded the types of drawing materials and implements I am using to create my drawings. From research over the summer, I know that more then the standard Graphite Pencils are often used in highly detailed images. To this, I have invested… Continue reading Expanding Materials
Collectives: Political Aesthetics
https://www.facebook.com/groups/436967606489665/ POLITICAL underlying commentary and discussion of ‘what is art’ and ‘what makes good art’ AESTHETICS Doesn’t everyone like beautiful art The idea of a ‘collective’ or ‘shared interest’ group is a strange thing to me as I feel much more comfortable working on my own. However, despite this i feel that it will be… Continue reading Collectives: Political Aesthetics
360 degrees Photoshoot
This year I have have decided to start developing and expanding the use of primary imagery within my work. Although appropriation is and will continue to a large focus within my work, I still want there to be similar emphasis on there being a strong primary image element to my work. This is made more important by the ongoing online image… Continue reading 360 degrees Photoshoot
National Portrait Gallery Visit – 19.10.15
I decided to start the year by visiting the National Portrait Gallery. I often use this gallery (and its many free exhibitions) as a starting point for the work in the beginning of the school year. More than anything, I use it to generate visual imagery and ideas about the approach I hope to take in my… Continue reading National Portrait Gallery Visit – 19.10.15
The Poetry of the Human Face
In line with my discussion at my recorded Tutorial I have bought a A2 portfolio that will house my on-going sketched throughout this year. As I work slow, this will be useful in allowing me to produce continual work within one place (removed from a sketchbook or closed booklet). It will also encourage me to… Continue reading The Poetry of the Human Face
The Shape of Behaviour – 19.10.15
The relationship between ‘things’ and ‘meaning’ Prehensile (capable of grasping) vision Contemplation and tactile (of or relating to sense or touch) contemplation The difference between (active) ‘involvement’ and (passive) ‘observation’ Does physical shape have precedence over contextual meaning – which comes first? Does ‘shape of behaviour’ affect meaning? THE MEANING OF A WORD IS ITS USE!… Continue reading The Shape of Behaviour – 19.10.15
Online Portfolio
Much like sites such as Tumblr, Instagram and Pinterest, I aim this year to simply develop as site solely dedicated to displaying imagery that directly informs my practise. This I feel is useful for me as throughout the year I sift throughout so much imagery that I can barely mention in my practise due to… Continue reading Online Portfolio
Franz Gertsch
http://thisistomorrow.info/articles/franz-gertsch-seasons large-format paintings and woodcuts by Franz Gertsch – one of Switzerland’s leading contemporary artists. his works from the period between 1983 and 2011, culminating in the recently finished ‘Four Seasons Cycle’. Gertsch rose to international fame in the 1970s with his hyper-realist paintings, yet his outstanding reputation stems equally from his woodcuts, unique both… Continue reading Franz Gertsch
Recoded Tutorial
15.10.15 Franz Gertsch One outcome from my tutorial on Thursday was to research the work of Franz Gertsch. A photorealist/hyperrealist painter, our conversation were centred around the woodcuts that form a large part of his practise. This may be a direction that my work ca got into in term of fining other ways to translate my work.… Continue reading Recoded Tutorial
Course Recommended Reading
http://moodle.arts.ac.uk/mod/book/view.php?id=94914&chapterid=7477 Appropriation: Evans, D. (ed.) (2009) Appropriation. London: Whitechapel. Hoy, A. H. (1987) Fabrications: staged, altered, and appropriated photographs. New York: Abbeville Press. Marincola, P. (1982) Image scavengers: photography. Philadelphia: Institute of Contemporary Art. http://site.ebrary.com/lib/arts/detail.action?docID=10648686 Authorship: Barthes, R. (1977) ‘The Death of the Author’ in Image Music Text. London: Flamingo. Burke, S. (1992) The Death and Return of the Author. Edinburgh: Edinburgh University Press… Continue reading Course Recommended Reading
Dissertation Question(s)
Topics: The lost art of drawing Why drawing is more important then ever Why photography matters A Copy is a Copy is a Copy is a Copy Art, Appropriation and Everything In-between Art in the Digital Age/Drawing in the Digital Age Drawing, Post-Art Modernity The Drawn Image
Unit Briefing – 12.10.15
Essay across 2 units 2pm Monday Lecture weekly Unit 7: 2000 word essay (25th Jan 2016) Essay 2: 3000 words (slightly longer than initial essay) More specificity in essays Dissertation beginning in the summer term Unit 7: ***Due Jan 25th 2016 Ability to articulate theoretical context with confidence and vigour More general line of enquiry… Continue reading Unit Briefing – 12.10.15
Critical Keywords in Literary and Cultural Theory| by Julian Wolfreys
Deconstruction: which is never single or homogeneous, but which can here, at least provisionally, be identified….. …is concerned with the lucid, patient attempt to trace what has not been read, what remains unread or unreadable, within the elaboration of concepts and workings of institutions
Internal Exhibition
A ‘Deconstruction’ of Traditional Modes of Portraiture – ‘A Sculptural Drawing’
Reflecting on my trend of my work last year, I really want to resist and explore further the idea of a deconstruction of a traditional portrait. Working on a larger scale this time, I plan to create another, more detailed layered drawing/sculpture. Much of the preparations were done in the summer period, but I am… Continue reading A ‘Deconstruction’ of Traditional Modes of Portraiture – ‘A Sculptural Drawing’