Category: Uncategorized
The Limits of the Possible
Mies Vanderrohe – Farnsworth House
Donald Judd – Untitled
sources: https://azurebumble.wordpress.com/2010/07/12/donald-judd-‘the-simple-expression-of-complex-thought’/
Reality, Rebellion, Subversion
Lecture notes
BA1b Research
Great Yarmouth and Winterton
1,000 word text
Books used for 1,000 word text
Abstract Expressionism, Creators and Critics, Clifford Ross
1990
Page 138
‘I am particularly impressed with their concept of the source of art being the unconscious.’
Pollock in an interview in Arts and Architecture vol 61 Feb 1944
Abstract Expressionism, The Triumph of American Painting, Irving Sandler
1970
Chapter 7 The Gesture Painters
Page 93
‘the gesture painters refused to preconceive particular meanings, regarding the process of painting as an intense, unpremeditated search for the images of their creative experiences.’
‘In their desire for total involvement with the act of painting, the gesture painters spurned conceptual designing’
‘The gesture painters also valued directness because it led to a sense of immediacy’
‘Pollock wrote of the importance of directness to him… to ‘feel nearer, more a part of the painting…and literally be in the painting’. He went on to say that he tried to work without preconceptions, to be as free as he could’ Jackson Pollock, ‘My Painting’ ‘Possibilities vol 1
page 97
‘the primary content of gesture painting was thought to be the ‘confession’ of the artist’s particular creative experiences.’
Chapter 8 Jackson Pollock
Page 102
‘He employed this gestural technique to paint as directly as he could, to bring more of himself, his entire body…into contact with the canvas
‘I have no fears about making changes, destroying the image’ Jackson Pollock, ‘My Painting’ ‘Possibilities vol 1’
‘he opened the way to a kind of painting that was more direct, improvisational, abstract and larger in size’
Page 110
Sandler suggests that, having explored American Indian and primitive art, Pollock’s paintings took on a kind of ritual sense to them.
Page 111
He also suggests that the first gestural paintings had a much more violent, barbaric nature to them than his later drip paintings.
Page 113
Pollock’s drip paintings evolved slowly as he realised that he could achieve more direct painting by pouring the paint straight on to the canvas to create continuous lines rather than using a brush or knife to apply the paint.
Page 114
‘Pollock’s fluid line was unconventional…because it did not define images or outline planes – two traditional functions of drawing.’
Page 115
Pollock’s works are not repetitive, there is no sense of design in them, rather the lines he creates are surprisingly unique. In the canvases where the marks do become repetitive the works become boring and unchallenging.
Page 116
Pollock would often pause for long periods of time to examine his work and decide whether to continue, stop or destroy the work
Abstract Expressionism, Works on Paper, Lisa Mintz Messinger
1992
Page 92
‘meaning is communicated through the forceful shape and lines spontaneously generated by highly energetic calligraphic motions.’
Observational Drawing of Plaster Casts
Preparatory study
Final Drawing
Object Workshop
Metal work done in workshop
Experimentations with tin foil done in the workshop
Making a sculpture from a drawing done in the workshop
Wood sculpture done independently as part of the workshop
Independent work
Copy Workshop
Darcey McAlister-Wober 