Garravagh Project

Judy Kravis and Peter Morgan

a geographical project based outside cork  which aims to create a specific natural  site where a diverse range of artistic activities may take place . Residences  , day visits  and collaborations with artistic institutions.

Judy and Peter create and publish specialist books which are experimental , diverse texts which are complemented with original photography . They work mainly in  collaboration   , but also produce individual projects .

As a group we went to visit Garravagh  and discuss the set texts   . It was a fascinating location .The care, attention  and respect paid to the environment was inspiring  . The environment was conducive   to reflection and creativity . I was very impressed and moved . Above all it left me feeling positive, because it is possible for ownership not to be about exclusivity and financial gain . Given the right kind of stewardship, and motivation , things could be different.

 

Tacita Dean part of Seven Books exhibition .

A meandering narrative of a  personal account which embarks on a historical , geographical journey which includes a  diverse range of characters such as  Roger Casement , Marconi , and a lost painting by  Vincent van Gogh . The storytelling  moves  back and forth  through time . It contrasts different narrative techniques such as autobiography and recorded events in  history .

a postmodern text which experiments with diverse storytelling techniques , subject matter  and historic events  .

Spring Semester Assessment MAAP 2017

In considering the development of my practice based research this spring semester i feel that i worked reasonably hard . Due to time constraints of bus travel  and family commitments  i have to admit that my practice suffered to some degree , that being said i feel that i engaged with the process and developed visual themes , edited , and worked through ideas .

The situations component  has been very exciting and informative , discovering Foucault, de Certeau and other texts has informed my work .   The Ladder structures that developed in my drawings are certainly influenced by the texts  we have read and discussed  as a group . The image of a fragile disintegrating  structure  projecting up  into space from  which one looks back  down  toward a distant past is perhaps a metaphor for my present situation .

A further visual  development took  place when i started to focus on objects that have a restrictive quality .Bulldog clips , clothes pegs and bindings began to appear followed by images of damaged partly mutilated hands and digits nailed or bound to the ladder structures .

i intend  to continue to develop a personalized visual language during the summer semester . My practice is grounded in the act of drawing as inquiry. My thinking process is manifest in my drawing . Reflecting on the drawings moves  me forward towards unrealized images, which become manifest in further drawing practice . And so on .

04/05/2017

Molesworth

Jeff Koons (1955- ) the kitsch  products of consumer culture are elevated to the spectacle of high art .Using  factory production method’s ..car manufacture standards are applied to the production of elitist commodity art pieces for consumption by private collectors and internationally recognised museums .     Koons develops a concept..  selects the object… ..decides on the scale and materials , colour schemes,  sprayed or painted and oversees the projects , he is the project manager  . He also manages the” idea” of the artist Jeff Koons , the Brand ..the  public relations  media logo , just like the corporate world he emulates,  the carefully constructed  rhetoric  indorses the mystique  of the object …. think Gucci , high end, blue chip , lear jets . His work reflects the soulless  shallow kitsch concerns of a consumer culture , its empty because its supposed to be , it mirrors the vacuum within post industrial  capitalist society. There is no “false consciousness” to awaken from, because the work champions  the consumer culture that he appropriates from,  is celebrated and endorsed … a glittering  , cosmetic ,charming   void.     Koon’s operates in the conceptual space that has been” cleared” for him by post modern art critics who’s preoccupations with what an artist should be and how art should be produced and which subject matter should be addressed. He is the embodiment of the twenty-first century western  artist an objective detached conductor , the offspring of Warhol and Duchamp , and they “art critics” hate him for it ! Art critics deconstructed the narrative of the artist and developed a set of criteria with which to validate their ideas of what art could or should be . By closely adhering to the guidelines of a  disinterested agent  and staying within the conceptual model of  thinking , selecting , production and marketing Koon’s has managed to achieve international  recognition  he is a very astute creative  businessman who  followed the instructions on what NOT to do . There’s no preaching or passion no strife or struggle its all surface,  a beautiful ,comfortable, slick  excessive luxury …made in heaven …

 

question of the .. what and who and how art should be produced .the WHAT , what constitutes art anyway ?  where do the boundaries lie ? how far can the envelope be pushed ? should art produced not reference the products of everyday culture ?

the WHO , who makes art , should it be a skill based activity , should artists “make” art with their hands . alternatively a “hands  off” approach may be employed where the artist manager makes creative conceptual decisions , designates and delegates to a group of technicians or staff who produce the art product ..a creative director , a manager of labour

the How . should  art reflect the economic industrial corporate world in which we live in the west ?  the means of production of an art piece should reflect the means and methods of an industrial  consumer culture and  its    economic middle class of managerial business  practices . the art product is produced to the highest standards , precision, high-tech , quality control , exclusive materials  .consistency

Vonnegut. Here is a lesson in creative writing

Kurt Vonnegut 1922-2007

author -Slaughter House 5  .( world war two DRESDEN and  time travel )

Humour , inventive,  subtle , insightful

a simple graph  system  is used to compare and  contrast a range of diverse texts such as  Cinderella Kafka ,Shakespeare …the narrative structures are  playfully deconstructed to illustrate  the Highs and Lows of the main protagonists featured in the stories

What appears to be a simple humorous playful story  game ? is perhaps an very insightful critique of Deconstruction or Reduction . Using a simple  disassembling technique and breaking a  narrative down  into some very basic elements and contrasting the texts, one is left with a number of simple charts which plot the path of each  story . The consequence being that all significant meaning within the texts are lost in  a reductive process ….. or maybe its merely a humorously creative  indulgence …its funny .

 

Museums on the move

museums , galleries as locations for cultural artefacts , commodities ..in which we partake or consume .

Curators in the 1960s had a desire to “rupture” the conventional High Art spaces and  unfold , open and expand its functions …to explore the idea of what an art space could be …rooftops, open air ,events Happenings , playgrounds ..a conceptual laboratory

Furthermore the Shift from what we expect of art as specialist products… to a more ” spectacle” based   community led /involvement reflected the cultural changes taking place in western society at that time …the counter culture , social mobility , an outpouring of expression in the arts ..a period of experimentation a testing of boundaries

The Curator as creative  manager , conductor , active agent who uses art products to illustrate a concept or explore specific cultural phenomena

the use of alternative media … re -appropriation of scientific , economic ,political , technical systems and practices  and  “reframing” these activities and sites specific spaces …. toward a  non conventional  interpretation

Simulacra = Disneyland =the gulf war did not take place….it was a media construct , edited , constructed and “consumed” by the public. We exist in a virtual world a  construct …a collage of media   images ,signs, symbols signifiers     Jean Baudrillard

simon o Sullivan The Aesthetics of affect

art can be understood in many ways using different models to explain the phenomena .

it can be understood as a manifestation of the culture from whence it originates or is appropriated by …

art is material in the world . the world that we are embedded within is a material one . As ” Being ”  we move , navigate through materiality .Art may transcend  its material nature,  it may be Part of the World and and stand APART simultaneously -Lyotard .

art can ” transcend”  its context , it has transcendent qualities that bring it forth as perceived by  systems of understanding . it “stands out” from ones everyday experiences ..it may be present and point back to a specific reference point in history …when it was produced ,when , why and by whom

it has many manifolds of meaning ..Political Historical Cultural Religious Philosophical Social meaning ,association and understanding

art will transcend as our thinking and   understanding evolves , it mirrors our concerns and preoccupations , it keeps pace with us on our Kinetic flight toward our demise

art …which may change as innovative conceptual models or theories are developed

an EXCESS of RAPTURE immanent and with the quality of AFFECT

understanding art as history of production Marxism/  Deconstruction , post modern ….a crisis of representation DERRIDA deconstructing the cultural narratives of art theory itself .

Deconstruction is not…. Destruction  , it examines the narrative structure of  language systems  which we use to explain the world in which we” dwell” and in  which we converse and think . our inner dialogue is… language , words pictures or “wordpictures “.

intensity on /in the body …duration… time. Meaning as the sum total of Affects …a primary affective

Arts intensive quality lies beneath.. beyond… and parallel to  forms of understanding  IT is a bundle of affects ..a block of sensations. which are activated when the viewer is present …you cannot READ affects you experience them …..We are the embodiment of our past experiences on  which we reflect and where we  are present to  ongoing situations overflowing with intentions  toward an unfolding potential future.    The ECHO of the representations of affect ?

Is this a language game in a system of specialist  meaning ? …Wittgenstein (1889 -1951)  where words reach the very limits of there ability to explain ,describe or  narrate  the experience of consciousness itself

art as a space or zone an event site …it bursts forth …a rupture in our understanding of reality ….a body without organs ? perhaps  a Buddhist detached stand toward … a letting go of association, preconceptions  where the art of painting is a “summoning ” making visible . We are fluid observers .Subjective Subjects wherein  events ,affects  experience SLIDES pure phenomenal experience

ADORNO Frankfurt School , Marxist sociologists ,exiled german  jews who reflected on the failure of the Marxist workers revolution in Europe because of a FALSE CONSCIOUSNESS  .they went to America and conducted research not into the economy (marx) but into CULTURE … for it was the consumer narratives and fantasies produced, spun  ,and absorbed by the  citizens that kept them enslaved and colluding in the systems of power . ART should not make one feel comfortable re  MATISSE art must be a weapon PICASSO if it is to awaken us to our false consciousness …it is there to remind us that it doesn’t have to be like this …

Art as virtual as apposed to real or possible , being virtual it acts as a portal toward a self overcoming a reconfiguration of Being

ART as a function which  transforms Being , the emergence of a new art history which parallels art, and  not  to fix it in a conceptual location

DeCerteau walking in the city

DeCerteau social science ,psychology   , FREUD. poetry

DeCerteau had a profound influence on developeing  models for social scientists in understanding  the human “subject” in relation to systems and the spaces occupied and how  each operated in specific modes .

STRATEGY AND TACTICS.

From the twin towers new york looking down at the city from a gods eye view all is present , the stuctures and multiple systems are observed in a poetic laungage .the reader is encouraged to consider the vista that is a modern 20 centary city . Below on the streets ,sidewalks ,highways ,roads shops and commercial buildings the citenzens navigate their own personalised experienced of walking in the city . A subjective  personal journey , engaged in  a discourse with the fabric materality .moving in and through between stuctures .They can not SEE all , a limited viewpoint .

STRATEGY . Those systems which control physical space. Have structure .and move out to encroach into other spaces .an investment in long term aims ,planning .Buildings ,companies ,organisations institutions .MAPs of the occupied space .

TACTICS . Those Beings that do not control space . They navigate between the spaces occupied by Strategists .Tacticians are characterised by moving between systems .They are ” opportunists ” reacting to events , mobile agile .Not fixed

Example :STRATEGY

Authors Write books they have investment in the material  itself and how the novel is sold and where and by who. Copyright etc

TACTICS : Are readers , they access the resource which is the novel .They are free to read , interpet the text in any way they see fit ,may throw the text away .

Strategy : casinos, betting shops , owned space , equipment , terminals , information .

Tacticians : gamblers  , they use the space… move into,. out of. access the equipment . may play at tables , place bets and then move on . not fixed .

Michel Foucault Panopticism

Panopticism

The development of an architectual   system which controls space . Control of space where individuals are kept under total surveillance .

the subjects are never sure if they are being observed or not …which results in subjects that monitor their own behaviors

Permanent visibility  . Invisible observation . controlled physical space . Exclusion , inclusion knowledge power .

CLASSIFICATION * DEMARCATION OF SPACE* INSTITUTIONS EXCLUSION*KNOWLEDGE*POWER

power structures and systems that exist within the fabric of society but remain hidden

Foucault . historian,  sociologist,  philosopher  ,activist

Foucault set himself the task of digging into the past to understand where we are now . he EXCAVATED , using historic texts he illustrated /demonstrated that how we understand who we are and how  the social structures in which we dwell are historical  narratives created by self interested Hierarchies or organisations .

(How our idea that the present is a better place for the individual in contrast to the past . How the individual of the past may have experienced a greater degree of personal liberty)

How these  Hierarchal instituations  exert their will over the individual subject.  His detailed research into the medical instituations ,prisons and organisations showed that the systemisation , classification and scientific methods adoped have de humanised the individual . Freedom and individual liberties have been eroded . We have become a collection of data , stastics and prescribed identikit protobeings .That institutions , organisations and systems have   inherent structual qualities which de humanise , exclude , codify and control . knowledge  /power relationship.

Above all Foucault was an uncompromising champion for individual LIBERTY . reluctant to proscribe political  solutions or lead movements he believed that individual  exsitance should be a creative act . He lived and died that way .