Started session with me posting a written pc-
Open the door,
let the blue sky span wide,
let inquisitive scents of pedals enter my room,
let the first sunlight
seep through the veins of my body.
In the rustling of leaves let me hear
Words that greet my being alive.
Let this morning
cover my mind with its shawl
as it shelters the new grass of the dark field.
All the love I received –
I hear in the sky, in the wind.
Today I bath in its ceremony, its sacred waters.
The truth of a whole life as a gemmed garland
I see on the breast of blue.
28 November 1940 (morning)
-book, Rabindranth Tagore: Final Poems, Page 15
Warm the conversation dimensionally-
Our conversation wandered and I condense my thoughts to the following-
Great art is always a way of concentrating, reinventing what is called fact, what we know of our existence – a reconcentration… tearing away the veils that fact acquires through time. (Francis Bacon)
The photograph by Joel-Peter Witkin- Arm Fuck 1982, is the starting point. Caution Photograph is ADULT content.
The idea becomes a machine that makes the art. –Sol LeWitt (1965)
Witkins photograph- Arm Fuck 1982; led to my creating the reflective sculpture no. 253 ˈembrēˌō/.
Witkins and ˈembrēˌō/ has served as critical dialog in more than 4 of my circles over six weeks. The conversations have been as deep and wide as the ocean with no boundaries to collapse exploration. Topics were loaded: Phycology, Sex, Emotion, Reaction, Belief, Practice, Space, Context, Material, Object, Perception, Society, Reality, Documentary – This became a fantastic verbal, written, photographic studie (purposely spelt for concertation effecting a unified proposal or concerted action.) that has far exceeded any possible expectations and a shout of Kudos (1) to Witkins for his success!
The sculpture made in reflection is the mid-point to furthering understanding transmission.
Idea – in extended process
The sculptures photograph’s is the extensions in progress and become a dialog in the transcribing of a journey to:
Con text u lize
Con- traversing ideas in contexts of person
Text- control, review to particular
The dimensions of object consciousness and point to view.
Our conversations paralleled the ideas subjectify -ing visual reference. I explained the time, thought process and techniques being used in the creation of new photographic series.
…The subject matter of conceptual investigations is the meaning of certain words and expressions – and not the things and states of affairs themselves about which we talk, when using those words and expressions. –G. H. Von Wright.
A shot in in space and time.
Lisa well versed in Witkins work offered ideas to review. Mikael felt Bacon calling which lead me to realize the tie back to my series titled “THE LIMB”. I loved Lisa’s comment “Bacon’ isn’t brave enough to expose raw in way Witkins does”. So clearly direct.
Witkin’s Photograph is assemblage like visual that translates into sculpture smoothly.
I have purposefully chosen the angel of ˈembrēˌō/ photograph for the monthly and advisors review because this creates is a clear depiction of the sculptures connection to Witkin’s photograph. Michael says as I hold the sculpture up to the Skype lens- “The sculpture clearly depicts the connection and seeing it on Skype doesn’t make me see the directness this is where the photograph works, but not as a replacement for being with the object in person.”
James Jeans has stated: . . . When philosophy has availed itself of the results of science, it has not been by borrowing the abstract mathematical description of the pattern of events, but by borrowing the then current pictorial description of this pattern; thus it has not appropriated certain knowledge but conjectures. These conjectures were often good enough for the man-sized world, but not, as we now know, for those ultimate processes of nature which control the happenings of the man-sized world, and bring us nearest to the true nature of reality. (4) He continues: One consequence of this is that the standard philosophical discussions of many problems, such as those of causality and free will orof materialism or mentalism, are based on an interpretation of the pattern of events which is no longer tenable. The scientific basis of these older discussions has been washed away, and with their disappearance have gone all the arguments…..
Photographs of sculpture:
I started researching and found that the origin of formal photography used statues as the subject and as still life with that idea Embryo has extended to a photographic essay.
Object – Form from photograph – returned to photograph.
“The truth of image is not single, it is many ”… (5)
I am visiting “Object shifting by its photograph” the photographer- the atmosphere- the sculpture- the artist- the commentary- the light- the space- Shape Shifting
“I purposefully choose not to give dimensions of the small sculptures playing with the viewer’s’ perception of real.”
MB- “the image is not the Object”
“This process has its limitations because of the innate object- image limitations”
The second inclusion in Bishop’s collection, “I Am Searching For Field Character” (1973) is to be considered Beuys most concise statement on social sculpture. Beuys’s manifesto begins as follows:
“Only on condition of a radical widening of definition will it be possible for art and activities related to art to provide evidence that art is now the only evolutionary-revolutionary power. Only art is capable of dismantling the repressive effects of a senile social system to build a SOCIAL ORGANISM AS A WORK OF ART.” (2)
This is as relevant as when he said it and I have been traversing through/ in the physical works, word and acts that I prepare for review.
‘One and Three Chairs’ by Joseph Kosuth- “The art I call conceptual is such because it is based on an inquiry into the nature of art,” Kosuth has written. “Thus, it is . . . a working out, a thinking out, of all the implications of all aspects of the concept ‘art,’ . . . Fundamental to this idea of art is the understanding of the linguistic nature of all art propositions, be they past or present, and regardless of the elements used in their construction.” Chasing a chair through three different registers, Kosuth asks us to try to decipher the subliminal sentences in which we phrase our experience of art.
Epiphany: Find what you want to say in preexistence written form and cite its source. Quite the opposite process for creating- object- art.
“I have confidence in my ability to create beyond what I’ve done” (5) David Smith
Please watch for the photographs to follow.
- 1. Kudos: praise and honor received for an achievement. https://www.google.com/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-8#q=kudos&*&dobs=kudos
- 2. http://chicagoartmagazine.com/2010/11/beuys%E2%80%99-concept-of-social-sculpture-and-relational-art-practices-today/
- 3. https://www.moma.org/collection/works/81435
- 4. 5 Ibid., p. 190.
- 5. Documentary Monographs in Modern Art, David Smith, Page 137, 25.