Category: Uncategorized

Most of Serra’s Work is large-scale metal sculptures however I am interested in his earlier work which focuses a lot more on process and action. In particular ‘gutter corner splash; nightshift’ which was created by Serra and his team throwing molten lead at the corners of the gallery space. I find this action exciting as it is unpredictable; Serra uses a ladle to scoop the lead molten lead and placed it against the wall, controlling it to an next to an extent, but he is still not able to fully prevent splashes going up the wall and floor – the process determines the outcome. The process is further added to in this instance by the fact of Serra having to melt the lead before placing it in the gallery. I am less interested in the work itself is that I am in the process which informs the work to a large extent.

Sources: https://www.artforum.com/print/201509/due-process-richard-serra-s-early-splash-cast-works-55532

Snapshot 23

Helen Frankenthaler was a key figure in the abstract expressionism movement in the 50s through her development of her ‘stain-painting’ technique. She used thinned paint poured directly onto a canvas lying on the floor and worked from all sides, physically interacting with her work.

I think her work reflects this method of working – her paintings translate the energy used in their creation really effectively. The colours and shapes she uses flow well and create exciting, dynamic work.

Using thinned paint “allowed her to make paintings that approximated the idea of drawing with color, achieved through a balance of spontaneity and control in the application of the paint.” – Elizabeth Smith, head of the Frankenthaler Foundation

sources: https://gagosian.com/artists/helen-frankenthaler/

https://www.painters-table.com/category/tags/helen-frankenthaler

Contemporary Concerns: Helen Frankenthaler

Morris Louis was an American painter who, during the 50s, was a pioneer of the colour field movement with his drip paintings. He made these paintings using thinned paint, pouring the paint at the top of a sloping canvas and allow it to run down creating blocks of colour side by side. He experimented with different ways of doing this – pouring the paint from the top, sides and sometimes bottom of the canvas.

I think that the process involved in making these paintings, refers to as veils by Louis, allows for chance to take over as the artist cannot know where the paint will stop, what direction it might end up flowing and how the colours might mix together. In doing this I think Louis allows the process to take over the outcome and produces exciting, dynamic work.

Sources: https://www.moma.org/artists/3607

Saraband

21 Morris Louis Works, Including Two Paintings, Go to the Baltimore Museum of Art

I found this method of fluid painting really exciting as it has the same energy and sense of movement as the acrylic pours I have done but also brings an interesting texture to the surface as the string pulls the paint into ridges. I also like the way the string can create relatively straight lines alongside swirling shapes which I think provides an interesting contrast and overall I think these are really effective.

 

These are a few of the videos that inspired me to experiment with fluid painting. I think the physicality involved in making this type of work is really interesting and adds to the work. I also think this method really emphasises the process as no matter how hard you try you will never get the same outcome twice which I think is part of what makes the work so intriguing.

Patel posts videos on YouTube documenting him using different methods and techniques to create abstract paintings. I find these videos really intriguing – watching the work being made makes the outcome all the more interesting, especially as Patel uses a wide range of methods to produce his work. I have tried a few of these techniques myself and produced some really exciting work.

I think Morris’ work is dynamic and energetic – the colours and materials he chooses create exciting pieces of work that have a real sense of movement. In these felt sculptures in particular gravity plays a large part as the felt is nailed to the wall and allowed to fall how it will with no manipulation from the artist, removing emphasis from the outcome.

‘In a ground-breaking essay and exhibition in 1968, Morris posited the notion of “anti-form” as a basis for making art works in terms of process and time rather than as static and enduring icons, which he associated with “object-type” art. Morris stressed this new art’s de-emphasis of order through nonrigid materials, pioneered by Claes Oldenburg, and the manipulation of those materials through the processes of gravity, stacking, piling, and hanging.’ – Guggenheim Museum, Process Art

Discussing the making of reproductions of his work Morris said ‘I am usually involved in the remaking of the large earlier works, but sometimes others draw up the plans or “score” from my instructions. I have purposely left definitive dimensions and surface color of the larger works open to variations, so a certain “indeterminate” aspect belies the definitive “original.”’ – Interview magazine

sources: https://www.guggenheim.org/artwork/movement/process-art

Robert Morris

https://www.moma.org/collection/works/81407

https://www.moma.org/artists/4108

 

 

The Fluxus movement was a group of artists, composers, designers and poets who placed emphasis on the process of making. Performance art was a common occurrence for members of the movement, with a particular focus on creating art for the masses. The movement is considered to have been founded by George Maciunas who viewed the movement as being anti-art; the groups philosophy was creating art that went beyond the boundaries that seemed to have been placed on the creative arts. The composer John Cage was a large influence on the movement thoroughbred his belief in the process of creating as vital in keeping the work spontaneous and energetic. Cage believed a piece of work should be begun with no clear aim in mind so as to allow the process to take over.

This philosophy is key to my practice and the experiments I have been doing with action and instructional art. Artists like Sol LeWitt and Yoko Ono who were working around the time of the Fluxus movement have been heavily influential in my practice and development.

Much of the work created by Fluxus artists was interactive which I find really exciting. I think in inviting the viewer to engage with the work –  move it, sit on it, change it etc – the artist suggests that the work is never finished and therefore the journey it goes through is the art.

sources: https://www.theartstory.org/movement-fluxus.htm

https://www.moma.org/collection/works/135457

https://www.moma.org/collection/works/127589

Alison Knowles – Salad

 

 

I think the way Ono writes instructions specifically for others to carry out is really interesting – she wants the audience to engage with the art and be creative themselves. This is something I have played around with in my practice and I want to display the instructions I used to create my exhibition piece in a similar way to invite the viewer to interact with the work.

‘I thought why don’t I just display the instructions? And it was beautiful. You know, I like the idea of doing something that stimulates people’s mind and, of course, they can use their own creativity to think about it.’ – Ono quoted on https://www.moma.org/audio/playlist/15/371

Sources: https://www.modernartoxford.org.uk/event/yoko-ono-instruction-paintings/