Ethan Dodd


The show was interesting drawing a narrative between objects in the space. They give suggestion but they no not spoon feed you. You are left to draw your own conclusions!


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While this isn’t something my work encompasses it is something I know a friend is looking into! I passed on images of details and let them know to go see it its going to be big for you! I do personally admire his way he is displaying! He’s giving ambiguity without making it completely abstract he knows what the work says and where to leave it!

Posted in Contextualisation YEAR 3, Subject YEAR 3

Kitchen Designer

I got in contact with a Kitchen Designer called Sean Peters. I wanted to know why perhaps in that profession they use a sheened surface.

Posted in Contextualisation YEAR 3, Field YEAR 3, Subject YEAR 3

Why do artists make their work shiny?*

I simply googled this and found this website:

3 Reasons why artists varnish their work (and why some artists don’t)

The site discusses varnishes. This isn’t what I was looking for but it was still interesting. They talk about a layer of removable vanish is applied to protect the painting. The varnish stops dirt and grime imbedding into the paints surface. They then say the varnish can be removed after some time and the painting can be varnished, this restores the painting. They say it also gives a sheen although it is mainly done for conservation purposes.

Google didn’t result in much so here is to YouTube:

This guys making a mirror finish with oil based interior paint (I think, ‘rustolem’) Look at the amount of work going in to producing this finish! its a lot of work and I don’t think the pressures from sanding would be suitable on canvas. It might work on a metal plate surface. I will have to try!

One good method he mentions is adding soap to your water on the wet and dry stage!

** image of sanded gloss paints on metal**

Didn’t even realise this was a two part video!

https://ux.stackexchange.com/questions/93640/why-do-we-prefer-shiny-finish-on-cars-and-dull-finish-on-devices

In a post by user dennislees on May 5th 2016 (finial edit) they say:

“Consumers found the attention-grabbing gleam of a shiny paint job quite attractive [2], the market adapted to meet that demand, and before long all cars were shiny.” this would suggest that shiny surfaces are eye grabbing and gain attention. This relates to my paintings because I want to compete with others for an audiences attention. I want a viewer to desire. The desire is driven by either an approval or a want to have attention.

in a post by pjc50 on the 4th may 2016 they say:

“Gloss finishes on cars show off the lines of the car in the specular highlights.” This make me wonder about pressing a shape through the back of the canvas so it is forced to provide a shape out the front, when up on the wall. This was a concept I had started thinking about around November 2016. Yet this has been rekindled by Shauna Chapman a friend and peer on the course I am on as of publication.

There we go, I’m happy now someone else said it. Shiny paint looks good, demands attention and arguably improves geometrical shapes/ forms

Posted in Contextualisation YEAR 3, Documentation YEAR 3, Subject YEAR 3

Regan Management

Set about a year ago I got into a conversation with a property owner and company manager. The developer had bought a new property and the labour of love had been offered to me as a venue to host a show. The venue is beautiful.

A draft of posters (internal/ external), letters of invite and work has been developed in preparation!

Posted in Field YEAR 3

LA – Louri Lipton

Some time back I had spoke to someone regarding going out to LA as a studio assistant. At the time I was not interested in the opportunity as I had no need to visit LA. Now with some recent information about the style I work in, being that it originates from LA I am more interested.

I sent the appropriate messages to the people that got me in contact and off I went.

The artist I contacted was Louri Lipton. Here is a link to her website:

HOME

I emailed in a professional and polite manner. She replied mentioning my contact must have been mistaken about what they spoke about! I asked for some advice, opinions about my work and a contact for someone who may be interested! The next replies didn’t give me anything although it was worth asking.

Posted in Contextualisation YEAR 3, Field YEAR 3

Roy Lichtenstein

Posted in Uncategorized

Carmen Herrera

The work of Carman Herrera is interesting seems as she was pushed aside due to her gender in her prime. With the work recently coming to light were seeing an artist stuck in time. the work is as it was then and so too are some of the visuals. This is great!

 

basque by carmen herrera

Artist:Carmen Herrera (American/Cuban, born 1915)

Title:Basque , 1965

Medium:acrylic on canvas in hand painted artist frame

Size:59.7 x 49.5 cm. (23.5 x 19.5 in.)

 

http://www.lissongallery.com/artists/carmen-herrera

 

Posted in Contextualisation YEAR 3, Subject YEAR 3

Ed Moses

This is some of the work of Ed Moses. His work isnt what im looking for although it is good to see some of the other painters who worked at a similar time to specific ones i have been looking at.

 

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Ed Moses, “Red over Black, Yellow over Black” (2013), mixed media on canvas, 84 x 60 inches each panel, 84 x 120 in.

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Artist Ed Moses is reflected in the aluminum surface of a work studded with painted rocks before a survey exhibition at William Turner Gallery on Saturday. (Christina House / For The Times)

 

 

Posted in Contextualisation YEAR 3, Subject YEAR 3

Larry Bell

 

When I first started getting some preliminary research, I looked at some images. The images were of his ‘standing walls’ and his cubes. At first i thought he had no immediate connection to me until I found the some of the paintings he produced on canvas in the 1960’s.

-PAINTINGS-

 

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Untitled, 1960, acrylic on canvas, 48 1/2 x 48 1/2 x 2 1/2 inches.

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Little Blank Ridinghood, 1961, acrylic on canvas, 65 x 65 x 2 1/4 inches.

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Homage to Baby Judy, 1960, acrylic on canvas, 66 x 156 inches.

here is an accompanying text on the  website.

“Bell found creative motivation in the spirit of good humored competition and, in an attempt to develop a unique artistic style, he began making large geometric paintings using flat monochromatic color fields and shaped canvases that suggested three-dimensional forms. In 1959 he began adding glass to the paintings.”

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similarly I developed ‘my’ style in the same way, in search for a unique style. My question is what comes after that?

I think Bell is significant to me in finding why he may of abandoned this on canvas style, it has surely opened my eyes to how much of a gateway style i am producing, it is the next step that defines. In my view on Bell, I less interested in his later works although they are worth knowing about.

-CONSTRUCTIONS-

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Death Hollow, 1962, mirror, glass, paint, silver leaf, 24 x 24 x 8 in.

These works incorporate glass and relied on frontal viewing. They feel like a breaking of the borundaries from the painting works although dont quite go far enough to break free of the confinements.

-CUBES-

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Cube series II, 1985-86, coated glass, 8 inch square.

The cubes were made using glass, the glass was able to be made reflective on both sides using a process called plating. Bell used the cube to investigate light and the processes made the cube act like a prism for Bell to study the light.

 

Posted in Contextualisation YEAR 3, Subject YEAR 3

Craig Kauffman***

I picked up on Kauffman’s use of light and acrylic. He can manipulate in scale, shape with the use of vacuum formers, colour with paints and lighting with both natural, artificial and internally added lights.
This got me thinking about some ways I could use light the backs of my paintings have always been an interesting sight to see when they are caught in the studio. The light of course is brought through the front side visible canvas. In effect the compositions are flipped and it’s quite a weird experience, well at least in my opinion as I had made them.
*INSERT IMAGE OF BACK OF PAINTING*

Untitled, 1968, acrylic lacquer on vacuum formed plastic, 34 3/8 x 56 1/4 x 8 1/4 inches (I think the website is difficult to read! find here:  http://craigkauffman.com/works/1960_69/index.html )

http://craigkauffman.com/conservation/index.html This is a very interesting link to me due to some of my writings on restoration. attached link gives a disclaimer on restoration something i didn’t ever expect to see an artist contemplating prior to departure. Perhaps this like minded style of artists thinks in a similar way. I wonder why he is so interested in restoration i wonder if it is anything to do with future- proofing similar to mine?*

Here we can see Kauffman’s work being restored. This gives me an insight into how the work may of been produced. From the offset we are made aware of how he is producing such a deep colour experience. He is using a partially transparent acrylic sheet while having a sheet of opaque tucked underneath. Both are shiny although light that travels inside is partially trapped due to the opacity of the acrylic sheets. This is significant because*

 

I have emailed The Estate of Craig Kauffman, and am awaiting reply concerning specifics about his art.

 

http://www.tate.org.uk/art/artworks/kauffman-untitled-t01071

 

Posted in Contextualisation YEAR 3, Subject YEAR 3