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Bibliography MA2

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Contextual study:

Badiou, A. (1988) Being and Event. Translated by Feltham, O. Originally published in French as L’ˆetre et l’´ev´enement, Paris. [online] Available at: http://incainstitute.org/pdf/alain-badiou-being-and-event.pdf (Accessed: 14.02.19)

Badiou, A. (1988) The Event in Deleuze. Translated by Roffee, J. from the original French "L'événement selon Deleuze" in Badiou, A. Logiques des mondes; Paris: Seuil, 2006. Parrhesia: A Journal of critical philosophy [online] Available at: https://www.lacan.com/baddel.htm (Accessed: 14.02.19)

Baker, C. (2010) Tracing the Physical. Studies in Material Thinking, Vol. 4 (September 2010), ISSN 1177-6234, AUT University. [online] Available at: http://www.materialthinking.org/papers/15 (Accessed: 14.02.19)

Beck, C. & Gleyzon, F (2016) Deleuze and the event(s). Journal for Cultural Research, [online] Available at: https://www.tandfonline.com/doi/full/10.1080/14797585.2016.1264770 (Accessed: 14.02.19)

Deleuze,G. in conversation with Parnet, C. (2002) Dialogues II, London & New York: Continuum. p.124. Moulard-Leonard, V. (2008) Bergson-Deleuze Encounters, New York: SUNY Press. p.8. In Foa, Maryclare and Grisewood, Jane and Hosea, Birgitta and McCall, Carali (2009) Drawn Together: Collaborative Performance. Tracey: Drawing and Visualisation Research Journal. ISSN 1742-3570. [online] Available at: http://ualresearchonline.arts.ac.uk/6187/1/drawn-together.pdf  (Accessed: 14.02.19)

Dewey, J. (1934) Art as experience. New York, Minton, Balch & Company, Ebook format.

Fay, B. (2013) What is Drawing - A Continuous Incompleteness. Dublin Institute of Technology. [online] Available at: https://arrow.dit.ie/cgi/viewcontent.cgi?article=1017&context=aaschadpoth (Accessed: 14.02.19)

Foa, Maryclare and Grisewood, Jane and Hosea, Birgitta and McCall, Carali (2009) Drawn Together: Collaborative Performance. Tracey: Drawing and Visualisation Research Journal. ISSN 1742-3570. [online] Available at: http://ualresearchonline.arts.ac.uk/6187/1/drawn-together.pdf  (Accessed: 14.02.19)

Serra, R. 1977 in Borden, L. 1994 in Hoptman, L. (2002) Drawing Now: Eight Propositions. The Museum of Modern Art, ISBN 0870703625, 9780870703621

Barriball, A. (2004) Door.  https://www.mutualart.com/Artwork/Door/D896EDD904EB057D

Documentation of performance, Drawn Together, Centre for Drawing Project Space, Wimbledon College of Art, 05/03/09. All images © Maryclare Foá / Jane Grisewood / Birgitta Hosea / Carali McCall.

Long, R. (1967) A line Made By Walking. http://www.richardlong.org/Sculptures/2011sculptures/linewalking.html

Testing boundaries:
Books:

Ballah, Kay. (2014) Preparing My Daughter For Rain. ISBN:1500233439. Self Published.

Carson, A. (2016) Float. London: Jonathan Cape.

Danchev, A. (2011) 100 Artists’ Manifestos From the Futurists to the Stuckists. London: Penguin Classics Random House.

Frost, R. (2013) The Collected Poems of Robert Frost. London: Vintage Books.

Gregson, T.K. (2014) Chasers of the Light, poems from the typewriter series. London: Penguin Randon House.

Hemmings, J. (ed.) (2012) The Textile Reader. London: Berg.

Kaur, R. (2015) Milk and Honey. Missouri: Andrew McMeel Publishing.

Magi, J. (2015) Book of excavated notes book text. Self Published for exhibition September 2015.

Midgley, M. (2001) Science and Poetry. Oxfordshire: Routledge.

Phaidon Editors. (2013) Vitamin D2, New Perspectives in Drawing. London: Phadion Press Ltd.

Online Resources:

BMW Tate Live: Performance Room series, Tate Modern, (28 February 2013) Joan Jonas, Draw Without Looking, https://www.tate.org.uk/research/publications/performance-at-tate/resources/films-and-videos/joan-jonas

Latham, J. (17” 2002) One-Second Drawing (Time Signature 5:1) https://www.tate.org.uk/art/artworks/latham-one-second-drawing-17-2002-time-signature-5-1-t02070

SFMoMa Channel, (2010) Matthew Barney on the origins of "DRAWING RESTRAINT"

https://www.youtube.com/watch?v=83WTxmkye04&feature=youtu.be

E-flux journal, (2008) https://www.e-flux.com/journal/

TateShots, (2009) Robert Morris – Bodyspacemotionthings | TateShots

https://www.youtube.com/watch?v=IeUiL5vzSzA

BBC, (2018) Tacita Dean: Looking to See https://www.bbc.co.uk/programmes/b0bczlrw

Tate Papers, no. 18 (Autumn 2012) Drawing in the Dark Involuntary Drawing: Susan Morris ISSN 1753-9854 https://www.tate.org.uk/research/publications/tate-papers/18/drawing-in-the-dark

Tsouti-Schillinger, N. (2013) Between Word and Image: the Blind Time Drawings of Robert Morris. The City University of New York http://zeitgenoessischeaesthetik.de/wp-content/uploads/2013/07/site_morris_BetweenWord.pdf

Brieber, David et al. (2014) Art in time and space: context modulates the relation between art experience and viewing time.” PloS one vol. 9,6 e99019. 3 Jun. 2014, doi:10.1371/journal.pone.0099019 https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4043844/

Bourriaud, N. Relational Aesthetics http://www.kim-cohen.com/seth_texts/artmusictheorytexts/Bourriaud%20Relational%20Aesthetics.pdf

Transpositions, (2011) Wesley Vander Lugt . The Context of Art http://www.transpositions.co.uk/the-context-of-art/

The Conversation. (2014) Circles of context: giving a work of art its meaning http://theconversation.com/circles-of-context-giving-a-work-of-art-its-meaning-29401

Getting Your Sh*t Together https://www.gyst-ink.com/life-planning-and-goal-setting

Kantrowitz, A. Brew, A & Fava, M (2011) THINKING THROUGH DRAWING: PRACTICE INTO KNOWLEDGE Proceedings of an interdisciplinary symposium on drawing, cognition and education http://ttd2011.pressible.org/files/2012/05/Thinking-through-Drawing_Practice-into-Knowledge.pdf

Studio research (2016) Issue-4-November http://studioresearch.com.au/wp/wp-content/uploads/2016/12/STUDIO-RESEARCH-Issue-4-November-2016.pdf

The Drawing Center, (2003) The Stage of Drawing: Gesture and Act.  Published on Apr 4, 2003   https://issuu.com/drawingcenter/docs/drawingpapers36_stageofdrawing

Tate Papers no 14, (2010) Lovatt. A. Ideas in Transmission: LeWitt’s Wall Drawings and the Question of Medium.. ISSN 1753-9854 https://www.tate.org.uk/research/publications/tate-papers/14/ideas-in-transmission-lewitt-wall-drawings-and-the-question-of-medium

Bohm, D. (1996) On Dialogue. London, New York. Routledge.

Krcma, E.J. Drawing Time: Trace, Materiality and the Body in Drawing After 1940. http://discovery.ucl.ac.uk/1444907/1/U592217.pdf

Pallasmaa, The Eyes of the Skin, Architecture and the Senses http://arts.berkeley.edu/wp-content/uploads/2016/01/Pallasmaa_The-Eyes-of-the-Skin.pdf

Ingold, T. (2009) The Textility of Making http://sed.ucsd.edu/files/2014/05/Ingold-2009-Textility-of-making.pdf

Julie Mehretu: Workday | Art21 "Extended Play" https://www.youtube.com/watch?v=iejZMhJv030&t=0s&index=37&list=WL

The Menil Collection: Conversation with Amy Sillman: Drawing in the Continuous Present https://www.youtube.com/watch?v=BLOgc466nRk&t=1420s

Tehching Hsieh: One Year Performance 1980--1981
http://dasplatforms.com/videos/tehchi…

The Menil Collection - This video collection is great, really interesting artist lectures and insights https://www.youtube.com/user/themenilcollection/videos

Referenced from MA1:

Adorno, T. (1997) Aesthetic Theory. London: Bloomsbury.

Barthes, R. (1977) 'Death of the Author'. In Barthes, R. (1977) Image Music Text, London: Fontana Press. pp 142-148

Berger, J. (1972) Ways of Seeing, London: Penguin.Berger, J. (1980) 'Francis Bacon and Walt Disney'. In About Looking, London: Bloomsbury. pp 118-125.

Bishop, C. (2013) Radical Museology: or, What's 'Contemporary' in Museums of Contemporary Art?, London: Koenig Books.

Campt, T.B. (2017) Listening to Images. Durham: Duke University Press.Chandler, D. (1997) Introduction. An Introduction to Genre Theory. Aberystwyth University. [online] At:https://www.researchgate.net/publication/242253420_An_Introduction_to_Genre_Theory

Debord, G. (1967) Society of the Spectacle. London: Rebel Press.

Dorfman, E. (2014) Foundations of the Everday, Shock, Deferral, Repetition. London: Rowman & Littlefield International.

Eraut, M. (2004) Informal Learning in the Workplace.

Etzi, R. & Gallace, A. (2016) ‘The arousing power of everyday materials: an analysis of the physiological and behavioural responses to visually and tactually presented textures’ In: Experimental Brain Research, 06/2016, Volume 234, Issue 6 [online] At: https://link.springer.com/article/10.1007%2Fs00221-016-4574-z (Accessed on 17.04.18)

Findlay, I. (2009) 'A Poetry of Objects' In: World Sculpture News, Spring 2009, pp. 36-41. [online] At: https://www.ivde.net/usr/library/documents/hassan-sharif/sharif_world_sculpture_news_2009.pdf (Accessed on 10.05.18)

Foley, M. (2012) Embracing the Ordinary: Lessons From the Champions of Everyday Life. London: Simon & Schuster.

Heartney, E. (2008). Art and Today. London: Phaidon Press.

Highmore, B. (2002) "Crashed-Out: Laundry Vans, Photographs and a Question of Consciousness." In Crash Cultures: modernity, mediation and the material, edited by Jane Arthurs and Iain Grant, 53-62. Bristol: Intellect Books, 2002.

Highmore, B. (2002) The Everyday Life Reader. London: Routledge.

Lefebvre, H. (2014) Critique of Everyday Life: The One Volume Edition. London: Verso.

Lefebvre, H. (2004) Rhythmananlysis, Space, Time and Everyday Life. London: Bloomsbury.

McNiff, S. (2008) Art-based Research in Knowles and Cole (2008) Handbook of the Arts in Qualitative Research, SAGE.

O’Dougherty, B. (2007) Studio and Cube, New York: The Temple Hoyne Buell Center for the Study of American Architecture.

O’Dougherty, B. (1986) Inside the White Cube: The Ideology of the Gallery Space, San Francisco: The Lapis Press.Open University, (s.d.) An Introduction to Material Culture: What is Material Culture. At: http://www.open.edu/openlearn/history-the-arts/culture/visual-art/introduction-material-culture/content-section-3

Relyea, L. (2013). Your Everyday Art World. London: The MIT Press.

Stiles, K. and Selz, P. (1996, republished April 2011) Theories and Documents of Contemporary Art: A Sourcebook of Artists Writings. London, University of California Press.

Sullivan, G. (2010) Art Practice as Research: Inquiry in the Visual Arts. London and Thousand Oaks, CA, SAGE.

Ward, O. (2014). Ways of Looking: How to Experience Contemporary Art. London: Laurence King.

Mon 20 May 2019 - Tutorial KF

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Since the last tutorial with Catherine Baker I felt pretty motivated to create work. The making day was the next day so I managed to get quite a bit done. From then on I created relatively consistently although I hadn’t realised that until preparing for this tutorial (see previous post).

Prior to the tutorial I sent an email stating I was overwhelmed and unsure of expectations, whether I have ‘achieved enough this year and how to get the submission completed on time.

I have managed to work on more of the Leporellos. Simplified books by keeping content to one simple line that goes on a journey through the book. Highlighted the occurrence of time in my work, the line is the constancy of the work, that materials and actions create the collisions or ‘events’ as highlighted in the contextual study.

Working on discussing the videos, their reception and the thoughts of the work. Video work takes time but feels necessary.

Collision and Event - this feels better in the work but might be getting lost in the drawings.

Drawing out the different veins of the work, knowing it is okay to be exploring different things simultaneously.

The issue is that I am paralysed by fear of failure, worried blog/journal posts will be wrong so avoiding them concerned about diarising the actions and question what is happening - confused as I didn’t think I was but it keeps coming up. Trying to speak about how the piece feels and what is coming from it. Generally feeling lost and struggling with time-management, the desire to create complex/labour intensive work and the frustration of not creating ‘enough’. Working on simplifying but maintaining my truth.

Kimberley highlighted things for consideration as I work to complete my submission:

A lot of the work seems to be about language and translation - poetry is evocative, difficult to read, fluid to drawing and unfolding. How do I value the poetry in the context of the work? Its role is an ‘Unsticking’ -when I am ceased with drawing or line and don’t know what to do the words come in an ‘Unravelling.’

How do I position it? And what's its relevance to the practice? - relevance - nature of books, drawing -  

The video work ‘layers’ contains punctuation points, like accusations, it's like a ‘take that’ to the viewer, its arresting, important aspect - what are they important? Confronting.

BLOG POSTS - fear of failure is creating procrastination

Focus on:

What have I learnt through making, partaking listening?

Clarify the essence of the year, - JUST MY TRUTH - how to articulate what the work means for me, my intentions and evaluations/reflections.

Reflect on the tutorial with Catherine, how this was a turning point

The festival was a turning point

Action and performance, physicality

If I need to be safer- use the criteria and clarify, tab on work to link to a blog post, or add an index to highlight what links to what, don’t assume they will know, SPELL IT OUT!

Link to boundaries

Overview in posts - this is how I understand my process - map against criteria, this can be a way to break down aspects of the making/thinking which can help.

The critical and punctuation - the moments that stand out and changed or impacted the practice

The ‘To Do’ list is a strength and is valuable. Use it to get the work done and prioritise.

We discussed keeping on track and concentrating on the positive elements that had taken place through the work and the connection points between them. We discussed clarity and how to feel more in control of the finishing stages by using the list that you made and remembering the important aspects learnt and  experienced through the work produced.

May 2019: Book making experiments

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Lines were collected on random papers, donated by students intrigued by their strange art teacher's activity. Without planning it produced a selection of books in colours that could be grouped together.

These books feel crude but necessary. The vulgarity of the bright colours and the primitive lines mirror the naivety of the children that created them. They are not what I am looking for in this project. To present the tangible line of time, the sophistication of something os beyond control need control and clarity. A cleanliness that does not discriminate the viewer. The colours will turn some people off, close them down to the viewing of the work. It certainly repulses me.

Mon 29 April 2019 - Crit group KF

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Notes from the table (literally):

Use the frottage technique to draw a line in an existing book - encounters with surface

Draw a line through the book with charcoal - that line is a lie (it was broken by pages sticking together) - erase the lie, process of erasing is evident as it alters the book again, abrasive to the surface, leaving a trace of the original line on the surface and altering the marks that were there before the line.

Not a book - an object that acts like a book, but how is it read? How is it viewed? The line is like a horizon but if it is hung it becomes a seam? Does a seam have to bring two things together? What does that mean for the seams of the book pages?

Truth - erasing - trace -

Constancy of print block line, it is fractured but the fractures are on the seams of the book, is it still a line if it comes in multiple parts?

Truth of line - frottage - felt forced - looking for interesting surfaces - how can one create a gathered line that speaks of truth? What is the truth it is speaking? Is it fo time? What time? Does it matter?