Research
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I went to the exhibition ‘Adventures of the Black Square’ at the Whitechapel gallery as it focusses on the impact of Russian Constructivist work over the course of the 100 years since the creation of ‘Black Square’ by Kazimir Malevich. This post is about the pieces that I found to be the most compelling in
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A group, comprising of myself and two other classmates (Patricia Orem and Camilla Gaulter-Carter) was asked to collaborate with each other as the themes of our work shared a set of characteristics: Modulation, Time, Free-form and Transformation. In our discussions we formed an idea around using a mirror to project an image onto another surface. I added
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First wave feminist art was born out of the paradox of conceptualism: The emphasis on artist idea entailed drawing on extra-aesthetic information, bringing in other fields such as sociology and philosophy. This strive for objectivity was treated as a condition of things rather than the process it was. Removing the body of the artist meant
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The Uk Black Arts movement grew out of the Post-Colonial state which was concerned with the impact and implications of colonialism on the current state (A Post ‘-ism’ being the transformed presence of the ‘-ism’). The mid 20th century saw global independence movements from British rule to self-governance including the Indian and Kenyan Independence movements along
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Conceptualism grew from the misprisms (the creative misreading of a former art form) of Minimalist art. The concepts behind the minimalist works such as those by Carl Andre or Dan Flavin were opened up as the work rather than looking solely at the object itself, this was the dematerialisation of the art object. An irony
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Maurice Merleau-Ponty expressed that outside things are ‘encrusted in the joints of my body’. Robert Morris expressed a similar sentiment in his essay ‘Notes on sculpture pt.2’ where he talked of how we experience sculptures though our movements around them, e.g. the way we compare ourselves to the monumental, step back, get up close and
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Session 3 began with a question on our behaviours: ‘When do I cry?’ For me the answer is not often, although I may want to or be in a situation that makes me sad and tear up, I can’t actually cry unless in very extraordinary circumstances. This is because it is a learned behaviour I
Robin Leverton 