- on Cezanne: “reached a point where self and landscape fold together and even fuse” (p.3), Wylie, J. (2007) Landscape , Oxon: Routledge
- Merewether on Lauren Berkowitz (artist) “Is memory stored in everyday objects and, if so, do they form the historicity of a culture? Can we speak of art as a sensory experience of history – a world that creates and sustains our relationship to the historical?” (p.8) Merewether, Ch. (2001) Lauren Berkowitz, Sydney: Craftsman House
- P.J. Freud introduced the term of false memory syndrome to describe a condition under which a person builds his identity and relationships based on memories that have not actually occurred but believes that they have, and that these memories have formed his/her current condition (pp. 66-67)., McHugh, P.R. (2008) Try to remember: Psychiatry’s clash over meaning, memory and mind, New York/Washinghton D.C: Dana Press / Is the experience of first hand-nostalgic memories implied or is it experienced in a passive way? (p.71) Arizpe, L. and Amescua, Ch. (2013) Anthropological Perspectives on Intangible Cultural Heritage, New York: Springer
- Concept of “armchair nostalgia” which examines the desire to accumulate memory through the tourist’s consumption of folk objects belonging to the experience of others (p.78) Appadurai, A. (1996) Modernity at Large: Cultural Dimensions of Globalization, Minneapolis: University of Minnesota
Roth was mentioned by Michele Whiting during our tutorial and I did some research on his work. He used organic materials as the medium in his work, like cheese and chocolate.
Dirk Bobke and Thomas Kellein, Dieter Roth: Books + Multiples: Books + Multiples – Catalogue Raisonne, published by HansjÃ¶rg Mayer; Har/Com edition, 2004
(from point 32) The series, Poems to the Sea (imagebelow), of 1959, makes manifest Olson’s demand that humans must find their proper relation to nature and look to it for the principles of formation that ceaselessly advance from it. In 1957 Twombly described a ‘synthesis of feeling, intellect etc. occurring without separation in the impulse of action.As Olson would have liked, each image is a site of activity – of sensate energies transformed to intellection, then action. As a group, we see serial experimentation and a succession of phenomenological states. An open architecture of knowledge emerges – instinctual, emotional, abstract, logical – all formed from nature organically, if not always coherently or smoothly.
Poems to the Sea 1959
Andrew Horton, “The Master of Slow Cinema – Space and Time – Actual, Historical and Mythical – in the Films of Theo Angelopoulos”, Cineaste, Winter 2010, pages 23-27
- The work of the film director Theo Angelopoulos/ Eternity and a Day – slow down, observe and listen – space as a continuous time/ the landscape becomes a character in the film (p.23)
- Milan Kundera/ “why has the pleasure of slowness disappeared”/ “speed is the form of ecstasy the technical revolution has bestowed upon man”/ the resulting fragmentation of time also breaks up our experience of both place, wherever we are, and space, whether internal or external (p. 23)
- “… there is no dialogue, which enables us to focus completely on the remarkable panorama we see and experience in uninterrupted time” (p.25)
- in Ulyses Gaze, the director shot the scenes in the actual places that the protagonist visited according to the plot (areas like the wartorn Sarajevo) – the space becomes part of the narrative (p.25)
- Eleni Karaindrou composed the soundtracks in most of Angelopoulos films
- Eternity and a Day. (1998) Directed by Angelopoulos, Th. [DVD] Athens: Angelopoulos, Th., Heumann, E. and Silvagni, G.
“I work in a landscape made rich by the people who have worked and framed. I can feel the presence of those who have gone before me. This puts my own life into context. My touch is the most recent layer of many layers that are embedded in the landscape which in turn will be covered by future layers – hidden out but always present”. p.7 Andy Goldsworthy, Time (London: Thames & Hudson, 2008).
“My work is about medium and new process” – for Anatsui art should be made with materials from the artist’s immediate environment, p.103 Susan Mullin Vogel, El Anatsui – Art and Life (London: Prestel Verlag, 2012).
Anatsui, El. Bleeding Takari II (2007) [Aluminum and copper wire, 393.7 x 576.6 cm, MoMa New York] At www.moma.org/collection/works/116286?locale=en (accessed 10.05.2017)
“I consider my works made in the landscape to be part of a body of work that is far more complex. for thirty years, i have built what i describe as a library of experience and place… I draw from this library to make connections to other disciplines; it also helps to create a context for different ways of looking nature, to explore the way systems in our bodies also exist in weather systems, river networks, and the formation of cells and galaxies. this investigation of both the microcosm and the macrocosm has brought about a dialogue with scientists, technicians, ecologists and communities of people. My art has eveolved through direct experiences, by looking at the world and by recognizing that I am part of it, not separate from it, and then by making meaningful connections. I act at the interface“. p. 5, Ann M. Wolfe, Chris Drury – Mushrooms/Clouds (Chicago: The Centre for American Places at Columbia College Chicago, 2008)
Drury, Ch. Mushroom Cloud (2010) [A mushroom cloud of over 6000 pieces of dried fungi slices, sealed in acrylic and suspended between a steel frame and the floor on nylon thread – lit from beneath] At http://chrisdrury.co.uk/mushroom-cloud/ (accessed 12.05.2017)
Franco Cassano, Southern Thought – and Other Essays on the Mediterranean, edited and translated Norma Bouchard and Valerio Ferme (New York: Fordham University Press, 2012)
p.xiii, “the South does not simply constitute an imperfect and incomplete stage of development, but rather a different way of seeing that aims at protecting its own autonomy vis-a-vis the developed world, while deconstructing a symbolic arrogance.”
p.xvi: the author suggests that South is not only the Mediterranean but there are also other “souths” stretching form America to India
p.xxvii: “The South is much much more than a simple not-yet North, that it represents an autonomous and different point of view, and that today more than ever such autonomy enables us to gain a critical perspective on the direction that the world has taken in the era of globalisation and hegemonic liberalism. the South does not only represent the past but also offers useful suggestions for the future: it is another point of vie on the world, a voice that today, more than ever, we must learn to hear.”
p.xl: “identification progress with acceleration destroys forms of experience that are precious and indispensable to mankind.“, p.xliii: referencing Agnes Heller/ mentioning the damages that acceleration inflicts on social memory
I came across an article on the following site (https://artjewelryforum.org/articles-series/throwing-stones-in-glass-houses-on-criticism-art-history-and-critical-discourse , accessed Feb 2017) it relates to the art of jewelry making, but it references the art historian T.J. Clark which I found quite interesting [T.J. Clark, Image of the People (London: Thames & Hudson, 1973)]:
“T.J. Clark writes that he doesn’t want to talk about art as a ‘reflection’ of ideology, social relations or history. He doesn’t want to think about history as a ‘background’ to the artwork, mostly unimportant and every now and then brought into view. Nor does he want to assume that the artistic community (the avant-garde) is necessarily the artist’s point of reference. And he refuses intuitive analogies between form and ideological content, as if a lack of firm compositional focus equals egalitarianism, or fragmented composition equals human alienation in industrial society.”
“I want to discover what concrete transactions are hidden behind the mechanical image of “reflection”, to know how “background” becomes “foreground”; instead of analogy between form and content, to discover the network of real, complex relations between the two. These mediations are themselves historically formed and historically altered; in the case of each artist, each work of art, they are historically specific.”
“Clark wants an art history that keeps looking for active relations between its terms, refusing to allow anything to settle. Objects, whether French paintings or American jewelry, are not expressions of social, political or cultural relations, but instead they actively shape and construct these relations.”