[C-K note-book 1983]
Even the clouds seem almost devoid of life.
Part of a windmill and a tall tree on the
extreme left stop the eye from sliding out of
the picture.
[C-K note-book 1983]
Even the clouds seem almost devoid of life.
Part of a windmill and a tall tree on the
extreme left stop the eye from sliding out of
the picture.
March 26, 2009 | Permalink | Comments (0)
Martin Rumsby's blog includes tape-recorded interview with Theo Schoon - about 70 pp transcribed - this will be of particular interest for New Zealand readers
January 11, 2009 | Permalink | Comments (0)
I shd have known. On the TV1 Breakfast
"It uses coal and takes suspended samples
rushing around in the flasks, all driven by
compressed air. The title suggest there must be
room for observing". Andrew Drummond.
17th December, 2008.
December 18, 2008 | Permalink | Comments (0)
This painting, one of two new ones, is 11" x 14" Old Holland
oils over acrylic. Months of work in preparation for them.
"Only five different tubes of colour are used in one of
those wet paintings and tiny amounts go a long way,
the pigment is so dense and pure. They scumble
if you want them to but need a light touch. Stroked
they smooth out sweetly as". Guy von Sturmer
December 18, 2008 | Permalink | Comments (0)
There was a free bus-trip from Artspace to Te Tuhi at
is opening on Thursday so I will go along - the first time I saw a
performance of his was 1973. I think he had a bucket on his head!"
December 16, 2008 | Permalink | Comments (0)
Question 1 [the big question]:
December 03, 2008 | Permalink | Comments (0)
The key work for Bambury/Wittgenstein is
Remarks on Colour: Bemerkungen Die Farben. L.Wittgensten, G. E. M. Anscombe. trans. Linda L
McAlister. University of California Press, 1978.
This was read by colour-field painters in New York - &
by Bambury in the early 80s.
A recent re-reading prompted the title of his current show.
http://philosophy.hku.hk/courses/old/laurencegoldstein/phil2060l16.html
useful discussion of Wittgenstein’s remarks on colour.
November 30, 2008 | Permalink | Comments (0)
Interested in the relevance of the work of PRELIMINARY NOTE
RE- STEPHEN BAMBURY’S EXHIBITION: ‘CONSIDERING WITTGENSTEIN’ 2008, Jensen Gallery,
Auckland Section xi of ‘Philosophical Investigations’
pp193e-231e is interesting reading in this context. A few items found in an hour’s search on the internet
are suggestive of the extent of contemporary interest in Wittgenstein’s thought
in the arts. 1. http://www.fordhampress.com/detail.html?cat=28&id=9780823228805
The book advances the radical proposition that the
field in which architecture and philosophy operate includes linguistic and
spatial practices. It develops innovative forms of interdisciplinary analyses
to demonstrate that the philosophical positions put forth by Wittgenstein’s two
main works are literally unthinkable outside of their respective conceptions of
space: the view from above in the early work and the view from within
constructed by the late work. 2. http://sammelpunkt.philo.at:8080/536/1/Wittgenstein_Art__Craft.pdf If we try to summarize the
results of Hertz’s achievement for philosophy, we end up with a view of
philosophy startlingly like Wittgenstein’s: Philosophy is an activity, not a theory.
Philosophical problems are not solved but dissolved on the basis of an alternative
representation of the problematic matter. Philosophy does not stipulate how language must
be used but shows us on the basis of a perspicuous contrast how our conceptual
confusions are attached to particular ways of representing things. These confusions are linked
to different rhetorical aims in developing our representations of physical
reality. Philosophy is a matter of inventing new and illuminating ways of
representing matters that have hitherto confused us. Skill and imagination are thus
absolutely essential to it. see particularly 4. The
Palais Stonborough: An example of the relationship between art and craftsmanship in
Wittgenstein Wittgenstein considered
that his philosophizing stood a definite relationship to art but was, nevertheless,
to be distinguished from art. In 1930 the one-time follower of Schopenhauer would
write: “Now it
seems to me that there is another way of capturing the world sub specie aeterni apart from the
work of the artist. It is – I think – the way of thought, which can fly over
the world as it were and
the leaves it as it is – observing it from above in flight.” (C & V, 5). The difference between the
two is that philosophy is “unpoetic” and therefore is not art. It is more like
religion inasmuch as it simply unveils things as they are with a certain passion or sense
of wonder (in this sense he could speak of his way of looking at things as
religious, while denying being a religious man). In order to present such a Hertzian
clear view of things Wittgenstein strove in the manner of a craftsman to develop a set
of spiritual techniques for reminding us of all those incredibly important things,
whose simplicity and familiarity prevent us from seeing them. These techniques amounted
to a curious way of writing fiction with a view to reminding us of striking
facts that the surface grammar of language tempts us to pass over – e.g., the plurality
of activities that correspond to the many modes of “thinking”. This is why he
would insist that philosophy must be analytic without its being what is
conventionally understood under the rubric analytical philosophy. This too was for him a matter of
practicing a craft, one which, indeed, produced objects of great beauty which could
only be grasped in the basis of great intellectual effort. Wittgenstein and
Aesthetics: see writings of Garry
L. Hagberg http://www.en.wikipedia.org/wiki/Garry_L._Hagberg “author,
professor, philosopher,
and jazz musician. He
currently holds a chair in philosophy at the University of
East Anglia. Hagberg
became a professor of philosophy
at Bard College in 1990, and
subsequently the James H. Ottaway Jr. Professor of Philosophy and Aesthetics. The chair was
endowed during his time at Bard. He has been the recipient of many fellowships
and grants from Dartmouth
College; Cambridge
University Library; Institute for the Theory and Criticism of the
Visual Arts; British Library, London; St. John’s
College, and Cambridge University. He
received his B.A., M.A. and Ph. D. at the University of
Oregon and conducted his postdoctoral research at Cambridge
University. Hagberg
is the author of Art as Language: Wittgenstein,
Meaning, and Aesthetic Theory and Meaning
and Interpretation: Wittgenstein, Henry James and Literary Knowledge. He has contributed to such publications as Historical
Reflections, Henry James Review, Philosophy, Journal of Aesthetics and Art Criticism, Journal of Aesthetic Education, Mind, New Novel Review, Philosophical
Quarterly, Ethics, Perspectives of New Music, Encyclopedia of the Essay, and Encyclopedia of Aesthetics. Hagberg
is an accomplished jazz guitar
player. He is a member of the Atlantic Jazz
Trio, which tours in Europe
and the United States”.
November 30, 2008 | Permalink | Comments (0)
Interested in the relevance of the work of
PRELIMINARY NOTE
RE- STEPHEN BAMBURY’S EXHIBITION:
‘CONSIDERING WITTGENSTEIN’ 2008, Jensen Gallery,
Auckland
Section xi of ‘Philosophical Investigations’
pp193e-231e is interesting reading in this context.
A few items found in an hour’s search on the internet
are suggestive of the extent of contemporary interest in Wittgenstein’s thought
in the arts.
1. http://www.fordhampress.com/detail.html?cat=28&id=9780823228805
The book advances the radical proposition that the
field in which architecture and philosophy operate includes linguistic and
spatial practices. It develops innovative forms of interdisciplinary analyses
to demonstrate that the philosophical positions put forth by Wittgenstein’s two
main works are literally unthinkable outside of their respective conceptions of
space: the view from above in the early work and the view from within
constructed by the late work.
2. http://sammelpunkt.philo.at:8080/536/1/Wittgenstein_Art__Craft.pdf
If we try to summarize the
results of Hertz’s achievement for philosophy, we
end up with a view of
philosophy startlingly like Wittgenstein’s: Philosophy is an
activity, not a theory.
Philosophical problems are not solved but dissolved on the
basis of an alternative
representation of the problematic matter. Philosophy does not
stipulate how language must
be used but shows us on the basis of a perspicuous
contrast how our conceptual
confusions are attached to particular ways of
representing things.
These confusions are linked
to different rhetorical aims in developing our
representations of physical
reality. Philosophy is a matter of inventing new and
illuminating ways of
representing matters that have hitherto confused us. Skill and
imagination are thus
absolutely essential to it.
see particularly 4. The
Palais Stonborough: An example of the relationship between art and
craftsmanship in
Wittgenstein
Wittgenstein considered
that his philosophizing stood a definite relationship to
art but was, nevertheless,
to be distinguished from art. In 1930 the one-time follower
of Schopenhauer would
write:
“Now it
seems to me that there is another way of capturing the world sub specie aeterni apart
from the
work of the artist. It is – I think – the way of thought, which can fly over
the world as it
were and
the leaves it as it is – observing it from above in flight.” (C & V, 5).
The difference between the
two is that philosophy is “unpoetic” and therefore
is not art. It is more like
religion inasmuch as it simply unveils things as they are with
a certain passion or sense
of wonder (in this sense he could speak of his way of
looking at things as
religious, while denying being a religious man). In order to
present such a Hertzian
clear view of things Wittgenstein strove in the manner of a
craftsman to develop a set
of spiritual techniques for reminding us of all those
incredibly important things,
whose simplicity and familiarity prevent us from seeing
them.
These techniques amounted
to a curious way of writing fiction with a view to
reminding us of striking
facts that the surface grammar of language tempts us to
pass over – e.g., the plurality
of activities that correspond to the many modes of
“thinking”. This is why he
would insist that philosophy must be analytic without its
being what is
conventionally understood under the rubric analytical philosophy. This
too was for him a matter of
practicing a craft, one which, indeed, produced objects of
great beauty which could
only be grasped in the basis of great intellectual effort.
Wittgenstein and
Aesthetics: see writings of
Garry
L. Hagberg http://www.en.wikipedia.org/wiki/Garry_L._Hagberg
“author,
professor, philosopher,
and jazz musician. He
currently holds a chair in philosophy at the University of
East Anglia.
Hagberg
became a professor of philosophy
at Bard College in 1990, and
subsequently the James H. Ottaway Jr. Professor of Philosophy and Aesthetics. The chair was
endowed during his time at Bard. He has been the recipient of many fellowships
and grants from Dartmouth
College; Cambridge
University Library; Institute for the Theory and Criticism of the
Visual Arts; British Library, London; St. John’s
College, and Cambridge University.
He
received his B.A., M.A. and Ph. D. at the University of
Oregon and conducted his postdoctoral research at Cambridge
University.
Hagberg
is the author of Art as Language: Wittgenstein,
Meaning, and Aesthetic Theory and Meaning
and Interpretation: Wittgenstein, Henry James and Literary Knowledge. He has contributed to such publications as Historical
Reflections, Henry James Review, Philosophy, Journal of Aesthetics and Art Criticism, Journal of Aesthetic Education, Mind, New Novel Review, Philosophical
Quarterly, Ethics, Perspectives of New Music, Encyclopedia of the Essay, and Encyclopedia of Aesthetics.
Hagberg
is an accomplished jazz guitar
player. He is a member of the Atlantic Jazz
Trio, which tours in Europe
and the United States”.
November 29, 2008 | Permalink | Comments (1)
personally I find the show too low key
convoluted
framing and narrative contextualising
only distract
codes of representation also get mixed
in an unresolved
manner getting repetitive and needs to
tinker with new
emotional fields one can overdose on the
work’s
wholesomeness they lack finesse and end
up looking
awkward a goody-two shoes didacticism
the pompous
vague title that he has made no effort
to justify lacks fizz
the silky smoothness of the dark
surrounding space
upsets me it’s a clever idea but it runs
out of steam
these works irk me he is not really
pushing art itself
and comes across as a bit dull slightly
sterile ideas
tend to be too over worked I usually
don’t relate to
anything that smacks of diaristic and
petty gossip
November 27, 2008 | Permalink | Comments (0)
John Hurrell wrote about formal concerns & their development over the past few years----- -- units, shapes, resulting forms -- in Robinson's recent work In the midst of a white-out in Art News [NZ] Spring 2008. See also Hurrell's review November 19,2008, on his http://www.eyecontactartforum.blogspot.com
November 26, 2008 | Permalink | Comments (0)
Preliminary comment on the material used in the show: expanded polystyrene foam -------- plastic = polymer chains
November 26, 2008 | Permalink | Comments (0)
what to do with street furniture -- http://www.prettycoolthings.com/2008/11/15/urban-camouflage-art/
November 25, 2008 | Permalink | Comments (0)
It took a long time, but finally this blog arrived at it's 10,000th hit - 0's are strangely important in statistics-world. Someone in Nottingham [UK] clicked & changed all the 9's. Sorry, no prizes.
November 14, 2008 | Permalink | Comments (0)
just to say that the ms of 'Poussin's Humour' [the book]
November 12, 2008 | Permalink | Comments (0)
November 09, 2008 | Permalink | Comments (0)
I discovered that most of the text I posted called 'Rita Angus 2' has disappeared.
Betty Curnow, in 1979, was responsible
for the view that of the modern American painting Angus knew - how? - she was
most impressed by Wood's American Gothic.
By 1979 that was so well-known a painting, that it surely would come to mind -
in a way that Charles Demuth's and Charles Sheeler's paintings wdnt. That shd
not be the end of the American art story for writing about Rita. Her painting
is similar to the mildest, least 'cubist' end of Precisonist painting in
America, less Demuth, possibly Sheeler's flower paintings &
still-lives. Demuth and Sheeler were both born 1883, 25 years before
Angus. But who would, off the cuff, think of the less well-known Stefan
Hirsch? only someone familiar with the range of painting of the 20s.
Respectable career 1899 - 1965, ended as respected teacher at Bard College.
That does not explain Angus, but the regular muddled encounter of writers with
her 'cubism' would be greatly clarified by Milton Brown's [American Painting: from the Armory show to the Depression] careful
assessment of the diminished effect of 'cubism' for most Precisionists, except
perhaps Demuth.
Precisionism is also called Cubist-Realism
- almost a contradiction in terms. The fatal factor for the 'cubist' factor, is
the persistent American 'realism', which is to say 19th century tradition of
figuration as signifying. Things as signifiers, as in Angus's painting. With
caution, because there is much more to it than things as signifiers, shd I
repeat William Carlos Williams' "No ideas but in things"? 'Cubism'
dissolves or fragments or otherwise undermines the consistent structures on
which that 19th century tradition of representation depended. Of course, it's
in the buildings that Angus is closest to a painter like Hirsch: her colour
& handling & landscape interests are something else.
Melvin Day I notice had the interesting
insight that there is some relation of Angus to Hodler's painting, that is to
say late nineteenth century Symbolist practice. In English terms [later
Burne-Jones[ that's a derivative of Pre-Raphaelitism. And I could
guess that Aubrey Beardsley is more apt a comparison with Angus's symbolic drawings than the later symbolic stream of 1920s/1930s Surrealism.
Look at Stefan Hirsch's paintings &
drawings:
http://www.askart.com/askart/h/stefan_a_hirsch/stefan_a_hirsch.aspx
http://www.askart.com/AskART/artists/search/Search_Repeat.aspx?searchtype=IMAGES&artist=19150
http://www.annexgalleries.com/cgi-bin/gallery.cgi?Stefan-Hirsch++ERRE108
& as
for Rita's portraits look at William Roberts in England e.g.
October 28, 2008 | Permalink | Comments (0)
October 21, 2008 | Permalink | Comments (0)
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