18.06.17
Hokusai: Beyond the Great Wave

Key points of interest: Shifting landscape/ motion/ line/ colour

'ONE HUNDRED BRIDGES AT A GLANCE'

Suspension bridge on the border between Hizen and Etchū provinces, about 1834

- Katsushika Hokusai

From Exhibition Text:

During the autumn of 1822 while meditating, Hokusai had a vision of a landscape filled with over 100 bridges leading ‘from one to another in a logical order’.

Creating my own imaginary bridges

'Screwarch Bridge State II' Claes Oldenburg
Proposal for suspension bridge in Rotterdam

The American Dream: Pop to the Present

'Floating Three Way Plug' Claes Oldenburg

Like a sunken architectural ruin...

Jim Dine: Five Paintbrushes


Third State

Sixth State

An edition printed at each state - TRANSFORMATIVE
Addition of technical process at each state. I'd like to try something like this with my landscape images.

Big red wrench in a landscape (1973) Jim Dine

Humour
Blunt and stark clash between man-made and natural

RICHARD DIEBENKORN

High Green, Version II

Colour/ Shape/ Geometry/ Surface

Ed Ruscha

- 26 Gasoline stations book
- Every building on the Sunset Strip (1966) - 7.6 metres (displayed on a slanted orange shelf)

Every building on the Sunset Strip (1966)

**Idea for my own work - create 26 landscapes, but its the same landscape taken through a new process at each 'state' **

Standard Station (1966)

Blend/gradation creates idea of unrealistic idealism/ artificiality ie. Hollywood or the American Dream.

Fred Sandback

Sculptural motifs in lino

Blueprints/ plans... (on japanese laid paper)

Julie Mehretu
Algorithms, Apparitions and Translations (2013)

Series of five etchings with aquatint, drypoint, and engraving

'...a restless power and capacity for renewal...images evoke a sense of flux and turbulence as shapes appear and disappear...'

Sapphic Strophe (2013)

Shapes in space...

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10.06.2017

Psychogeometry

David Batchelor

Matt's Gallery

Wall drawings with painted timber structures.

Referencing european geometric abstraction.

Inspired by a series of drawings exploring colour and blackness - the city reveals its full spectrum of colours at night ( as I discovered taking my photographs from train windows).

Dialogue between 2D and 3D.

my own photograph of the city at night

Fragments of architecture which we are asked to navigate both physically and visually.

Great reading/ publications room!

Atomic Drawings 82

Discovered 'Found Monochromes' series.

“I often feel that abstract art is the art of the city and that the monochrome is its exemplary form”.

David Batchelor

http://www.whitechapelgallery.org/exhibitions/david-batchelor/

Future reading:

The Lumnious and the Grey

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10.06.2017

Tess Jaray: Into Light

Marlborough Fine Art

geometry/ colour/ pattern/ repetition/ architectural structures - Islamic tiling, non-western ancient structures, renaissance architecture...

'Jaray focuses on what she describes as 'the geometry of human relationships', challenging the viewers perception and relationship with the space surrounding us.' (Into Light press release)

Relationship between form, space and colour

Paintings inspired by Aleppo

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10.06.17

Minimalist Anyway: Kazuko Miyamoto & Lydia Okumura

White Rainbow Gallery

Diagram of the reason A B C (1980) Lydia Okumura

Central focal point (the lens)

Breaking down everything into its linear form

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20.04.17
ELECTRICITY: THE SPARK OF LIFE
https://wellcomecollection.org/electricity

Mimic board from Becca Hall (1983)- graphic representation of power distribution networks. From exhibition information 'The mimic board epitomises the rational, ordered grid format that has become synonymous with modern perceptions of electricity networks.'

Electricity pylons from around the world (Australia; New Zealand; USA & Canada; Asia; France & Africa) 1920-29

Pylons first introduced in the 1920s. From exhibition information:

'These lattice-structured transmission towers that relay vital power from one end of the country to the other have now become an icon of design in many countries, though they are often a contentious feature of the landscape.'

Love the image of the pylon being errected. Structural, seemingly immovable forms at impossible angles.

12.04.17

Edward Paolozzi

Whitechapel Gallery

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12.04.2017

Light Reading

Elizabeth McAlpine

Laura Bartlett Gallery

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12.04.17
A Landscape
Wilkinson Gallery

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13.04.2017
TURNER CONTEMPORARY
MARGATE

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09.04.2017
The Studio: A Tireless, Ongoing Space
Geta Bratescu
Camden Arts Centre

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08.04.2017
Wolfgang Tilmans
Tate Modern

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22.03.2017
Stealing Space
Richard Wilson
Annely Juda Fine Art

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26.02.2017
Musee National Marc Chagall
(Contemporary French Artist)...

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22.01.2017
LONDON ART FAIR

TESS JARAY

4 colour woodblock - looks digital!

Sophie Layton

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14.01.2017
William Kentridge: Thick Time
Whitchapel Gallery ---

http://www.whitechapelgallery.org/exhibitions/william-kentridge/

31.12.2016
TATE BRITAIN

Turner Prize

Paul Nash

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20.11.2016

Lygia Pape
Hauser & Wirth

Drawing with light...

An artist I've admired for a long time. ---

26.10.2016

Matt Mullican: The Sequence of Things
Camden Arts Centre

Described as a conceptual cartographer.

M. Mullican, 'Untitled (Portfolio 1, Solway)', (1988), Lithograph and Screen Print

Yellow rather than 'blueprints'. 16 separately framed prints that come together as a whole.

Primary colours/ geometric shapes.

Borders delineate images.

Histoire Illustree de la Fonction Cérébrale

Image & text pairings, corresponding numbers and borders.

The text is in French, but seems to correspond to images.

Images of the body/ scientific diagrams, with a focus on the head.

There are also schematics, but it's not clear what these represent/ are for.

Series of Etchings, accompanied by a 'transcription'.

The text is backwards. These are sketches, produced quickly, like the artist is trying to get ideas down.

They are plans/ diagrams. Etchings reference color, but are only printed in black. This corresponds to Mullican's 'five worlds':

- GREEN: MATERIAL

- BLUE: EVERYDAY

- YELLOW: ARTS

- RED: SUBJECTIVE

- WHITE & BLACK: LANGUAGE/SIGN

But the viewer may have no knowledge this system. What then is the significance of writing the word color. Potentiality? Possibility? Association?

Display:

Multiples, on bulletin boards, pinned, covering entire walls, numbered & ordered eg. 'Untitled (studio shot)', 'Untitled (Charts)', 'Untitled (Lists)', 1982.

Floor space is also divided up. Entire space is constructed. For me underpins that everything is a construct. We interpret and compartmentalize the experience of our surroundings.

Screen Prints and Rubbings

How are these made - explore this further! Seems to relate to Kentridge's insistence of the importance of physicality of materials.

They are on thin paper like newsprint or colored trace.

Hanging banners, like giant targets.

Thought bubbles. Notion of inside/ outside. Crude creations - I feel these are the least interesting/ effective.

'Untitled (Fictional Reality)'. Large scale comic book/ story board format series of prints (radiograph ink & pencil).

A sort of history of the world from man's (confused) perspective. From 'creation' to an existence more concerned and characterized by objects.

Interested in the performative aspect of Mullican's practice. Creates videos and drawings under hypnosis. When he is in this state he refers to himself as 'the other person'. The mind/ consciousness is not present.

The videos are difficult to watch. I am less interested in the 'spiritual' element to his practice. More intrigued by his development of a system, which underlies his experience. We all do this, if not in such a literal and explicit way. Mulligan draws attention to this.

Ideas that have come from visiting this exhibition:

- Print 'frames' or borders within which to work. Another way to set parameters.