Ria and I had a chat about pgs meeting to discuss material processes and swapping excerpts from texts in addition to the intensives, like another version of the reading group.
I thought that the painting blog would be a good place to air any feedback from the recent intensive.
I admit it was a manic position to be in as both a participant and organiser, having to rush from one session to the next trying to make sure no technical hitch would occur (including having to rush off after my own session!). During my session Quentin had been phoning me waiting over at Roland Wilson! By the time I managed to get there others had thankfully got him sorted!
Considering that we now have the painting wattle discussion forum, I was wondering if anyone had any suggestions as to the purpose of this blog? I would not mind altering the busy template which I recognize was all part of its experimental start-up phase. Maybe we could post more individual research orientated questions or texts on the blog for feedback from peers, kind of like an optional online reading group? Or is providing feedback online just another thing to worry about in our busy schedules? If so maybe we should cancel it so we don’t have an inactive blog?
Morgan has been with the Painting Workshop since September and will be here until Christmas.
He’s provide a small bio for the blog and some images.
Thanks Morgan, its been a pleasure to have you here!
Morgan Craig has exhibited, and lectured throughout the U.S.A. Canada,
and Europe, including OK Harris in New York City, SPACES in Cleveland,
the Delaware Center for Contemporary Arts and Murray State University
in the bluegrass state of Kentucky. Wexler Gallery, in Philadelphia,
and Lawrence Asher Gallery, in Los Angeles, currently represent him.
Selections from his work will be featured in several upcoming
exhibitions, including a group exhibit at Wayne State University in
Detroit, Michigan, and a two person exhibit at the University of
Craig has received numerous awards including, the Pollock Krasner
Foundation Grant, the Elizabeth Greenshields Foundation Grant, and the
Pennsylvania Council on the Arts Individual Grant for 2006 and 2008.
He has also been invited to several residencies including, Atelje
Stundars in Finland, the Macdowell Colony, Open Studios/Skolska 28 in
Prague, and Bemis Center for the Contemporary Arts. This is his first
time in Australia.
THIS WAY UP
an exhibition series of recent abstract painting and drawing
On Wednesday the 13 October 2010 in the ANU SoA Lecture Theatre, Ruth Waller welcomed those present with this introduction;
This Way Up: Abstraction in Painting Symposium & Post-Grad Intensive
Wed 13th, Thurs 14th October 2010
School of Art Lecture Theatre and Gallery, and M16
Click here for schedule abstraction-symposium10
SEMESTER TWO INFO UPDATE: Post grad meeting Friday July 23
- next Wed 28th July
- 9am: Colour Illusions lecture from Vis Science ( LT)
- Ipm: Something in the air floortalk CMAG (Viv et al )
Thurs 29th: Manuka opening 6pm: KALINA PILAT
Week of Aug 9: Juan Davila visit
- Juan will be here for one week from Aug 10 . See his show currently at Drill Hall. He will be available for studio appts and to take small groups to see his show. Discuss arrangements (suggest Fri 13, Mon 16th?)
Thurs 12th Aug:
- Opening at Manuka: FIONA LITTLE< DIONI SALAS HAMMER<LIANG LUSCOMBE- Floortalk : FRIDAY 13th at 1.30pm
- Fri 13th Aug: opening of new M16 Gallery (Greg, Derek, Savandary , Ria etc)
Sat Aug 14th:
1.30-4.30 AGNSW Paths to Abstraction:
Abstraction and colour forum: John Gage, David Briggs, Zena O’Connor, Daniel de’Angeli on modern colour theories, symbolism, meaning & practice
Sat Aug 28: OPEN DAY
Wed 8 Sept: Ruth W opening at Watters
Oct 7: OPENING of Abstraction show: SOA Gallery + ANCA M16- symposium ? (details to be sorted next week with Leah Peter M etc)
- 1.Re Juan visit
- 2. Re Intensive – rescheduling? Ideas re form, content
- any other matters?
So I am back, and have been catching up with PGs hearing that the Theory Intensive was a great success. This is wonderful, and just as it should be! Thanks to all of you who contributed to making it such a rewarding week.
While away I happened to hear on Radio National an All in the Mind programme with Iain McGilchrist discussing his work on the relations between the two hemispheres of the brain. It was a very interesting interview and I think directly relevant to our concerns in exploring the nature of the creative mind/body. You can hear it on the “All in the mind” site on the ABC Rad Nat website and you can download the introduction to his book “The Master and his emissary” which i believe will be available here in October.
see you all soon, Ruth
just confirming that Didier Maleuvre from University of California will be running a workshop for interested postgraduate students on Thursday 22 July.
I’m yet to finalise the details with him but would anticipate something relatively informal — students will be asked to read one or two papers by Didier, he will give a talk for half and hour or so, and then engage the group in discussion relevant to your research projects. I’m copying below summaries of his main works which indicate the kind of thematic ground he is likely to cover; our early communications suggested he might do something broadly on imagination.
If you are interested in participating in this event could you please make contact with me?
Museum Memories: History, Technology, Art (Stanford 1999)
From its inception in the early nineteenth century, the museum has been more than a mere historical object; it has manufactured an image of history. In collecting past artifacts, the museum gives shape and presence to history, defining the space of a ritual encounter with the past. The museum believes in history, yet it behaves as though history could be summarized and completed. By building a monument to the end of history and lifting art out of the turmoil of historical survival, the museum is said to dehistoricize the artwork. It replaces historicity with historiography, and living history turns into timelessness.
This twofold process explains the paradoxical character of museums. They have been accused of being both too heavy with historical dust and too historically spotless, excessively historicizing artworks while cutting them off from the historical life in which artworks are born. Thus the museum seems contradictory because it lectures about the historical nature of its objects while denying the same objects the living historical connection about which it purports to educate.
The contradictory character of museums leads the author to a philosophical reflection on history, one that reconsiders the concept of culture and the historical value of art in light of the philosophers, artists, and writers who are captivated by the museum. Together, their voices prompt a reevaluation of the concepts of historical consciousness, artistic identity, and the culture of objects in the modern period. The author shows how museum culture offers a unique vantage point on the nineteenth and twentieth centuries’ preoccupation with history and subjectivity, and he demonstrates how the constitution of the aesthetic provides insight into the realms of technology, industrial culture, architecture, and ethics.
The Religion of Reality: Inquiry into Self, Art and Transcendence (2006, Catholic University of America Press)
The Religion of Reality takes to task the assumption according to which the modern intellect is devoid of the transcendental. The book first argues that religious feeling persists in the secular western mind; that it has taken refuge in the unlikeliest of camps, with the supposed debunker of religious creed: the rationalist existential ego. The autonomous, individual self is the pillar of modern times – a deity that anchors our morals, politics, and society, and defines what is crucial about human existence. On this score, The Religion of Reality makes two points: first that the philosophic primacy of the self rests on a leap of faith; and second that its religious centrality cannot ultimately satisfy the transcendental thirst that it kindles. The book constructively inquires into the artistic paths that lead away from this anthropocentrism. Art, it is often said, is the religion of the modern secular mind. This study argues that there are good reasons for this status. Taking seriously the age-old connection between art and religion, the book presents just how the spiritual is active in the artistic experience, whether of religious or secular stamp. Artworks are attempts to overcome the limits of expression and knowledge, hence of the human standpoint. The Religion of Reality is not an attempt to resuscitate the religion ofart; rather it is a demonstration of the religious in art.
The Horizon: A History of Our Infinite Longing (University of California Press 2010)
What is a horizon? A line where land meets sky? The end of the world or the beginning of perception? In this brilliant, engaging, and stimulating history, Didier Maleuvre journeys to the outer reaches of human experience and probes philosophy, religion, and art to understand our struggle and fascination with limits—of life, knowledge, existence, and death. Horizons delineate the physical world and give our lives shape, purpose, and meaning; yet history provides a record of humanity’s instinctual urge to transcend boundaries and seek what lies beyond. Maleuvre sweeps us through a vast cultural landscape, enabling us to experience each stopping place as the cusp of a limitless journey, whether he is discussing the works of Picasso, Gothic architecture, Beethoven, or General Relativity. If, as Aristotle said, philosophy begins in wonder, then this remarkable book shows us how wonder—the urge to know beyond the conceivable—is itself the engine of culture.
by Aria Stone
I have uploaded the raw recording of the group’s sound interpretation of my painting. Over the next few weeks I shall work with the file and add other tracks. When finish the tracks I will upload the manipulated file so there will be a ‘before’ and ‘after’ recording to listen to.
I thought it would be good feedback to everyone who participated to hear what the performance actually sounded like before I start working with it. Also, I would like to thank all of you very much for your participation.
Keep an eye on this space for the finished recording.