Author: Beccy

These are my chosen works to display for the assessment. I was interested in learning how to prepare my space and process my paintings for an exhibition. I tried to include artwork that worked together and shared cohesive skills throughout. I did find it challenging to line up and measure the pieces as my exhibit situated in a corridor, and I couldn’t take a step back to measure up.

I enjoyed taking a closer look at the details found in my larger pieces. I reprocessed all I had learned over the past few weeks into these larger images. I wanted to combine Richard Serra’s verb list, and then create some studies from images I had chosen previously. i enjoyed how the breif flowed from week to week it allowed me to build up a better responce to the breif.

Hernandez, Ciel. ” A Closer Look at Adam Donnelly and David Janeko’s Site Specific Cameras.” Apr 18, 2016. Accessed on Aug 7, 2022, https://medium.com/@lomography/a-closer-look-at-adam-donnelly-and-david-janeko-s-site-specific-cameras-6486c301c6fe.

Matthew Brown, Adam Donnelly and David Janesko. Sight Specific: INSTITUTE OF ADVANCED UNCERTAINTY, 2017. published following the exhibition site specific at the institute of advanced art gallery, Minnesota.

Spencer, nancy. “Rituals.” Accessed Aug 7th 2022, https://nancyspencerphoto.com/section/183954.html.

The Wallace art trust. “INVESTIGATIONS 101, JILL KENNEDY”. Accessed on 02/06/2022, https://www.wallaceartstrust.org.nz/exhibitions/investigations-101

Circuit. “Ringatoi Jill Kennedy”. Accessed on 02/06/2022, https://www.circuit.org.nz/artist/jill-kennedy

VIELMETTER LOS ANGELES “Amy Sillman Landline”. Accessed on 02/06/2022 https://vielmetter.com/exhibitions/amy-sillman-landline

Gerald Scarfe. ” Others on Scarfe”. Accessed on 02/06/2022, https://www.geraldscarfe.com/about-gerald-scarfe/others-on-scarfe/

Art review, Simonini Ross. 06/10/2020. https://artreview.com/i-can-begin-to-learn-again-turner-prize-winning-artist-helen-marten-on-writing-her-first-novel/

Artsy, Helen Marten. visited 07/05/2022. https://www.artsy.net/artist/helen-marten

Mcwhannell Francis, Encounter and exchange. 03/10/2016. https://francismcwhannell.com/?p=587.

Art21, Jessica Stockolder. 2022. https://art21.org/artist/jessica-stockholder/

Ropac Thaddaeus Galerie, Imi Knoebel: Liaison Astéroïde. 2016. https://www.galleriesnow.net/shows/imi-knoebel-liaison-asteroide/

The Brooklyn rail, Adam Alfred, 2021.https://brooklynrail.org/2021/09/artseen/Tacita-Dean-The-Dante-Project-One-Hundred-and-Fifty-Years-of-Painting-Pan-Amicus-Significant-Form-Monet-Hates-Me.

afasia archzine, Dean Tacita, 2021. https://afasiaarchzine.com/2022/04/tacita-dean-frith-street-gallery-purgatory-mount-i-2021/

MoMa, Carolee Schneeman: American, Date visted (04,04,2022). https://www.moma.org/artists/7712

Cotter, Holand “Carolee Schneemann: Visionary Feminist Performance Artist, Dies at 79”. (The New York Times), (10,03,2019). https://www.nytimes.com/2019/03/10/obituaries/carolee-schneemann-dead-at-79.html

MoMa, “The Body in Art”, Date visited (04,04,2022) https://www.moma.org/learn/moma_learning/themes/investigating-identity/the-body-in-art/#:~:text=Ana%20Mendieta%20and%20John%20Coplans,in%20the%20final%20art%20works%3F

Street Art Bio. Banksy, (2020), visited (25,03,2022), https://www.streetartbio.com/artists/banksy/.

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Wisecrack, “is Banksy deep or dumb?” (17,04,2019) https://www.youtube.com/watch?v=sLGW4e1rqig

Farrar Sharah,‘vacant lot of cabbages’: documentation enters Te Papa’s archives,(2,11,2012). https://blog.tepapa.govt.nz/2012/11/02/vacant-lot-of-cabbages-documentation-enters-te-papas-archives/

Curating Cities, ‘Vacant lot of cabbages: Barry Thomas’, date visited (26,03,2022). http://eco-publicart.org/vacant-lot-of-cabbages/

Schrader Ben, ‘Vacant lot of Cabbage’ (22,10,2014) https://teara.govt.nz/en/photograph/45292/vacant-lot-of-cabbages

Frank Auberback (2008) Head of William Feaver [oil on canvas] http://www.artnet.com/artists/frank-auerbach/head-of-william-feaver-a-5-uDN6PBwmqX4ezmD3KWkg2

Nicholas Wroe (16, 05, 2015) [ Frank Auerbach painting is the most marvellous activity humans have invented.] –https://www.theguardian.com/artanddesign/2015/may/16/frank-auerbach-when-paint-fantastic-time-lots-girls

Claudia Jowitt. (2019) cake [acrylic with vau, papa shell and copper leaf on panel form] https://melanierogergallery.com/stockroom/claudia-jowitt/2049

https://autre.love/interviewsmain/2017/1/30/brothers-grim-an-interview-of-dinos-chapman
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Zdzisław Beksiński. (1973). The night creeper. {oil paint on wooden panel.} https://imgur.com/gallery/oNQJI/comment/522168113

Andy Warhol. (1994). The shot Marylin Monroe. {acrylic on canvas.} https://news.masterworksfineart.com/2019/11/26/andy-warhols-shot-marilyns.

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by combing my gestural paintings done previously into my exploratory paintings. I started my paintings by creating a background based on the verb list given. I chose to work in both cool and warm tones of colours. I enjoyed implementing verb list techniques into my painting to create depth and allowing me to move my focus away from perfecting my images and focus on creating a gestural image.

I enjoyed experimenting with how the consistency of paint can the substrate. by combining thinned acrylic paint and oil paint. I enjoyed using thinner paintings and building up layers to create depth. I enjoyed how the texture of swiping paint across the painting contrasted with the fluidity of thinned paint.

I chose 10 different images to base my gestural paintings on, using two landscapes, two people, two still lifes and two fabric. using photoshop I simplified these images down by exposing them and turning them into black-and-white images. my goal was to amplify the details of the image.

I then wanted to simplify the images into drawings, I wanted to focus on translating the most important details so the images stay recognisable. I found I needed to change my painting style to complete my paintings in time for the assessment. the changes i made where using acrylics instead of oil and giving myself a time limit on how long i can spend on each painting. I tried to work on several paintings at once to build up a response to images and continue elements I liked into other paintings.

I experimented with using warm and cool colours in my paintings, I found by using both cool and warm colours I was able to highlight features found in my imagery, so I gravitated to using both in my gestural paintings. I would like to experiment with this technique in larger scale paintings to find how colour and tone can change the expression of paintings.

I began the brief by following the verb list given and creating as many paintings as I could in 30 minutes. from left to right I created slide, splash, drip, swirl, scrape, impress, slide and wipe. I focused on using the same colour pallet so I could focus on the process of creating the work instead of mixing colours. throughout the making process, I noticed how diluted the paint become throughout the 30 minutes and I tried to make the paint go further. i belive this exercise allowed me to become more comfortable using differing surfaces and materials.

Helen Frankenthaler:

Helen Frankenthaler’s work inspires me with her use of bold colours that abstract the subject. Her technique of thinking oils to stain and soak into the canvas is interesting, by using this technique she is able to create depth and texture of the substrate. Frankenthaler uses a larger scale is interesting as a smaller scale can feel limiting, this is something i am interested in using futher.

Jason Martin.

Jason’s work has inspired me through his use of bold gestural colours and creating intense texture using oil on differing surfaces. Their works are quite abstract through their use of motion and movement in the way they apply colour to the substrate. Jason explores the tension between the surface and paint/ method used to apply paint, it allows me to question how the gesture of applying paint affects the art.

Pedro Coelho’s

Pedro Coelho’s work inspires me in the way he uses paint to boldly washes over the paper. Coelho uses dark depressive colours over a series of faceless figures. Using face figures in their work allows us to place ourselves into the work. the work inspires me to change how I use paint to create an abstract substrate.

Corné Eksteen

Corne Eksteen’s work inspires me in the way the colours contrast creating a dynamic substrate, I find it interesting how Eksteens work dissects itself, mirroring one’s innermost thoughts. Eksteen experiments with his process of creating images, colour and finding balance. I think it could be interesting to evoke a similar look to Eksteen work by using acrylic paint.

Emma Hopkins

Emma Hopkins is a young British artist who focuses on painting portraits. I enjoy her work where she experiments with multi mediums. The way that oil paint sits on latex is an interesting mix of mediums, it could be interesting to experiment with something similar. it is interesting how Hopkins can observe subjects and process images.

Cecily Brown.

I enjoy the way, Cecily uses colour and line to absquire shape and form on the substrate, her work is very abstract yet still conveys form.

Marlene Dumas.

I enjoy the way Marlene uses colours in her pieces, this makes her pieces feel bold and sharp. Marlene’s use of opposite colours used with each other creates juxtaposing meanings on the substrate.

Dexter Dalwood.

Dexter creates an interesting texture with oil paints, this texture and colour create an interesting texture to the surface of the substrate. I also enjoy the bright colours used in this painting, the blue and red used contrast the painting and balances the image.

Wilhelm Sasnal.

Wilhelm’s work is very detailed and realistic, his use of colours adds depth and texture to the substrate.

Elizabeth peyton.

I enjoy how simplistic Elizabeth’s portraits are, they focus on the details and colours to create texture and form to the image.

I chose to focus on how we manufacture our relationship with nature inside the city; we see the world through a binary lens as we have forgotten our connection with nature. The ghost of our past leaves a mark on our infrastructure today. I believe the pieces I have chosen can represent these themes. I enjoyed playing with the inverted imagery in pinhole photography; I was able to see how we contain and control nature seen in the city. by placing myself inside the image, I could explore the tension between the surface and viewer. I enjoyed recreating patterns seen in our cities today; by doing this, I can create a conversation about our relationship with nature.

The ghostly marks left on the image were made before the image was taken; by developing the image with a developer before the image was taken, I could add these marks. I believe this created an attractive shape and contrast. I think by using the layering of multiple pinhole photographs, I can create an exciting contrast that juxtaposes against the imagery shown. I enjoyed working on several images to help build up a better response to the brief; I was able to focus on exciting elements found while working. In the future, I would’ve preferred to work on a larger scale as I found A3 quite limiting.

I began by going through my work and deciding which photographs I prefer, I wanted to focus on pieces I wanted to develop further. I choose imagery that aligned with the brief and my ideas of how nature draws itself. I really like how these images turned out, the reversing of the colouring added so much detail to the photographs.