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Carolee Schneeman - Interior Scroll

In 1975 carolee Schneeman constructed a performance in which she extracted a scroll from her vagina. She deemed it her interior scroll, her inner monologue on what society tried to quieten and eventually she had to expel them from herself. I find the act of removing your inner monologue to have it be external quite a carnal and visceral act, especially in the way that she explored the physical act.

Looking at the actual scroll I can see a very prolific similarity between this specific performance and my artist book with the Constantina of poetry which I deem to be my own inner monologue, or more a display of my archetype.

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Femicide

Femicide is the intentional murder of women because they are women, but broader definitions include any killings of women or girls. It is the brutalisation of femininity.

Carolina Bianchi - Drugged and Insterted with a camera the revisiting of her brutalisisation. This piece was an example of pure unadulterated abject horror. The separation of self and object with the insertion of the camera into her unconscious body for her innards to be displayed so sublimely to the audience.

‘The Bride and the Goodnight Cinderella”

Carolina Bianchi

Bianchi, C. (chor.) (2023) The Bride and the Goodnight Cinderella. Performed by Carolina Bianchi and Cara de Cavalo

Book of the Week; The Bell Jar by Sylvia Plath

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Artist and the Book

A short history on the object we call a book -

Originally information and notes were hand-scribed onto parchment or papyrus scrolls and they were stored in cubbies similar to pigeonholes in an office, but court notes and records were written on wax tablets. In ancient Greece the modern version of what we were to call a book wasn’t needed per se as the Greeks would write on lengths of scrolls and fold them accordion style to have them fit ergonomically in the hand, they would use up to 30 lengths of scroll for one ‘pamphlet’. It wasn’t until the 1400s that printing presses were developed by Johannes Gutenburg and popularised in the 1600’s so up until that point everything was recorded by hand in the form of a Codex, this was first accounted for by the Romans of the 3rd Century, or by scrolls and wax tablets. The Codex is the first real account of what we would remark as a book, they were single pages folded and collected together in a stack but were sewn down the left in order to keep them in place. The actual text was all handwritten and composed of columns. Come the Middle Ages, they began to protect the Codices by binding a plank of wood on either side and in some instances would cover the wood with metal and encrust them in jewels. At this point the content was still handwritten by Monks and Scribes.

Artist books-

Artist books are an in-genius way of storytelling and exploring theme, except they are more conceptual. They take the book as an object and reconstruct it to fit the narrative they wish to portray. They are not always complete with text, but the content is just as hefty and undertoned for example ‘Time Out’ by artist Yohei Nishimura, where Nishimura took a book as an object and turned it into something sculptural. This sculpture was made by coating a book in a clay mixture and then fired in an electric kiln. The book miraculously holds its shape and is almost fossilised and frozen in time, the book is now of course illegible but now communicates something different entirely.

Another artist book I would like to touch on is ‘Ulyssesly’ by John Morgan. The artist book is identical to Ulysses (Joyce,1922), it functions as an actual book but inside the pages are blank, but contains two essays in the centre of the book written 27 years apart. The first and earlier on being about the physical movement of the book in terms of production, and the second about all of the covers ‘Ulysses’ (Joyce, 1922) has had over the years.

These ‘books’ are art, they are displayed and not intended to be used because they are one of a kind. Manuscripts are treated much to the same, there are manuscripts held under lock and key, only to be displayed temporarily, their function is suspended. Manuscripts are one of a kind, they hold so much sentiment that they are preserved. Their essence too important, they are the original of series of reproductions. In many ways they are the embodiment of enlightenment.

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Year 3 - Colour and the Word

Colour & the Word

In this the final project of the semester we require you to study the subjects of colour and language. This is a three week project. It is not simply enough to make something ‘colourful’. As you will recall from the first project, John Berger, in his essay, To Take Paper, to Draw … writes: ‘There are certain paintings which animals could read. No animal could ever read a drawing'. I would extend Berger’s observation further by adding that any pig can make something approximating a colourful artwork (see ‘Meet “Pigcasso” SA's painting hog' and ‘Swatch launches “Pigcasso” watch’ on the Yuja channel) The aim of the project is that you add to your stock of knowledge about the subject: that you study the subject by undertaking bibliographic and online research; by looking (and trying to understand what it is that you are looking at) and by making and doing things in the studio and at home. There are no designated tasks associated with individual artists or writers in this project. We expect you to make your own way in response to the material we have provided; material which is drenched in colour. Many of you are already ranging freely in the material resources we are giving you. In this project we actively encourage you all to do this; to draw motivation, influence, inspiration, curiosity, experiment … from any of the references (visual, literary or both) to make a start with. You will be looking specifically at the relationship between colour and language. Ask yourself how words can be translated into colours; what do individual words or sequences of words ‘say’, how can your choice of colours evoke this? As in previous projects there are substantial research documents to help you. There are texts for wider reading in the 'Reading List' of the module and in the Yuja channel there are short videos related to the project.

Studio and Independent Study tasks While there are NO studio and independent study tasks on this occasion this should not prevent you from creating your own if you have found them useful. Remember: You do not always need to know why you are doing something, or what the result might be before you have done it. In this, as in all our projects, you can enter into a realm called what if …? letting your natural curiosity and intuition propel you forward. Do things, and then think about the results afterwards. Creating and analysing are different processes and should not be confused with each other. The word research is to be understood as a verb. DJCAD, level 1 Art & Design Module DJ11003

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Fae’s Performance and My Film

This week i had the amazing opportunity to work with fellow creative Fae Ross in aiding her with her performance piece. it was truly such an hounr to work so closely with her, and see how her mind works.

i also did the filming for my own film this week, i’m still deciding whether or not i want it to be a silent film or, black and white, what kind of genre i want to go for.

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24-3-2023

glazing —- battering

………..

…

scampi?

chopping, frying. all every domestic

there is alot of softer mediums on the go, i needed to reincorporate that violence and masculinity back into the body of work.

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17-3-2023

The light collective —

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Reference List and Bibliography

Bataille, G. (2001) Eroticism. Penguin Classics. London: Penguin Group.

Bataille, G. ()The Story of the Eye. Penguin Classics. London: Penguin Group.

Freud, S. (1963) Sexuality and The Psychology of Love. New York: TouchStone.

Frueh, J. (1996) Erotic Faculties. California: University of California Press.

Joyce, J. (2000) Ulysses. Harmondsworth: Penguin.

Hooper Schneider, M. (2022) Keep On Rotting In The Free World [MOCO]. Montpellier

Hooper Schneider, M. (2022) Rainforest Cafe [Metal vitrine frame, LED lightbox, fiberglass restaurant stool, beeswax, lingerie, resin, cast uranium glass mushrooms]. Unkown

Koogi. (2022) Killing Stalking. Canada: Seven Seas Entertainement.

Sheppard, A. (1987) Aesthetics: An introduction to the philosophy of art. New York: Oxford University Press.

Scruton, R. (1981) 'Photography and Representation', Critical Inquiry, 7(3), 577-603. Available at: http://www.jstor.org/stable/1343119 (Accessed: 28th March 2023).

Scruton, R. (2009) Beauty. New York: Oxford University Press.

Summerton, E. (2006) Bird of the Devil : [originally published as an installation of altered book illustrations and recording of reversed bird song held at ET4U Art Centre, Denmark, April - June 2006]. Tangsøgade: ET4U.

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10-3-2023

Throwing myself into work, I have started deconstructing a decorative boat I found in scrapantics that to me just fits so perfectly with this project. the oval panel pops out so I’m going to paint a dead siren and have her lay as though she has been abandoned in the boat to be left as food for the seagulls. Seagulls can be rather vicious birds, the typical herring gull is not ‘carnivorous’ per se, but there have been known cases of gulls hunting pigeons and rats. I have seen a seagull eat away at the bottom half of a pigeon outside of Pout on the way to Seagate. I feel asthough there is some artistic irony in that.

I am almost certain that this old boat used to hang in someone's bathroom, isn't it weird how we choose to have nautical-themed bathrooms? when back in the day there weren’t even toilets on boats? It's strange to see things being so far removed from their original context in the contemporary world.

I am also in the process of curating my lighthouse. I'm currently giving it a baselayer of papier-mache overtop of the traffic cone and Pringles can. isn’t it fun to use found objects? It's also strange that they are called found objects as if they were lost, or maybe they were hiding. hiding in plain sight, waiting to be something so much better. I am thinking of giving it a coat of plaster after the papier-mache and using pinned newspaper and cardboard to create a structure for the plaster to go on.

While considering my lighthouse, I have looked at these artists;

Max Hooper Schneider (2022)

i love how other earthly these are, such an innate sense of world building and amazing use of light.

Matias Bechtold’s City Scapes

lovingggg the use of ‘found objects’, the amount of detail is insane, too regimented for me though.

and also Frank Kunert’s ‘Climbing Holidays’

again the sense of transportation is making me envious, its so here on earth but so not in this moment, in our time, but it could be.

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Artist CV

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Artist Statement

Myrren Goodall

Level 2 Art and Philosophy

Myrren Goodall’s practice appears to have no rhyme or reason, and that is part of her goal. She takes issues such as the worshipping of domesticity and the villainising of women’s sexuality and veils them in absurd visualisations. She looks to create a body of work inspired by her contextual studies concerning philosophies, specific to the area of Aesthetics, but is not restricted by it. Goodall aims to make pieces that blur the lines of mind and reality with crude or work with off-colour humour, with pieces leaning towards tongue and cheek.

This body of work is inspired by considering the contemporary and the past, while paying reference to Roger Scruton’s commentary on erotic art and the female nude. Goodall considers the history of painting, with it being a predominantly male capital; and the way that women are often villainised for being sexual beings outside of the scope of homemakers. She wanted to gear attention towards this issue in a light-hearted approach. The pieces in this collection are made from a range of materials, all with particular significance. Bronze, plaster and metal are used in an act of defiance as these are typically viewed with masculine connotations, while the oil paintings are delicate in technique but jarring in content.

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24-2-2023

Ready narritives;

not ready made objects.

it is found, but it’s what i am doing that gives it

dismantle

and remantle.

Gentrification, Capitalisation,

taking what is ours? but is it ours to take and break?

absurdity,

in words

in what we choose to decorate ourlives with.

how do we create things that

are so far

from their

original narritives.

“i have no recollection of my contour, the discreetness that turns the human body in the human mind into boundary, barrier and object” (Freuh,1996)

“I see now that the primary significance of what i call soul-and-mind-insepreable-from-the-body is rooted in my earliest existence, where eros and psyche were wed.” (Freuh, 1996)

pat pit

pat

pit

pit

pat tip

tap

tap

pit

pat

worm dance

chlccdh

pat pit

pat

pit

pit

pat tiptappit

pat

pad

pat

chlccdh

worm dance

pitpitpitpitpitpatpatapatpitptipitptitpatatapatapatapaiatapaitapaitapiat

BITE

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17-2-2023

Playing around with sound

Ulysses (Joyce,1922) best bits:

"Chips, picking chips off rocky thumbnail, chips."

“And a call, pure, long and throbbing. Longindying call.”

“A jumping rose on satiny breasts of satin, rose of Castile.

Trilling, trilling: Idolores.”

“By bronze, by gold, in oceangreen of shadow. Bloom. Old Bloom.

One rapped, one tapped, with a carra, with a cock.

Pray for him! Pray, good people!

His gouty fingers nakkering.”

“By went his eyes. The sweets of sin. Sweet are the sweets.

Of sin.”

Ulysses also has an artist book called ‘Ulyssesly’ by John Morgan. the book is identical to Ulysses (Joyce,1922) but iside the book is blank, but contains two essys in the centre of the book written 27 years apart. the first and earlier on being about the phydical movement of the book in terms of production, and the second about all of the covers ‘Ulysses (Joyce, 1922) has had over the years.

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10-2-2023

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3-2-2023

Still thinking about Scruton, l have been dabbling with the thought of making digital collages. I had thought about doing my own pornographic photoshoot with temporary tattoos symbolising the branding we get as women, but I have decided to instead use images from pornography.ln the piece below I have decided to use stock images and replace the actresses eyes with other stock imaged eyes and branded her face with the word ‘glory' next to her agape mouth. the reason behind replacing her eyes is due to scruton saying that thenudes face is what indiviulaisies the model and thusly giving her soul. so by removing the windows of the soul, i’m depersonalising the actress.

This collection would be a direct response to Roger Scruton's claims on whether pornography can be beautiful, (Scruton, 2009). The idea would be to have images os female actresses taken female pornograhic videos and brandish them with phrases al terms from scruton's writing. For example,

I also am partaking in the Art and Philosphy exhibition this week and am entering the cat tree from last semester. this has given me te opportuinty to consider curation and how to present myself as an artist with the likes of an artist statement.

Tilly’s Temple

Myrren Goodall

Level 2 Art and Philosophy

My practice doesn’t particularly have much rhyme or reason. For this project I was looking to create a body of work inspired by the worship the Ancient Egyptians held for cats and of course the love for my own cat. I like to make weird pieces that are either crude or work with off-colour humour, this piece being a bit more tongue in cheek rather than off-colour.

This piece is inspired by mashing the contemporary and the past. I took elements of ancient Egyptian temples and architecture as well as some aspects of Art Deco to create a cat tree for my own cat. The tree is made from a mix of found objects, up cycled fabrics and trims, plaster as well as new timber and screws. The hanging ankh is made from bronze which adds a bit of refinement to the tree, as well as adding an area of interest for not only the viewer, but also Tilly.

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27-1-2023

This semester I have decided to expand my skill set, last semester I was told that my paintings were the weakest part of my project, bar one and that I should develop my technique and explore oil painting. What better time to do so while reading up on art history? Traditionally the only art to be celebrated was that curated by men, with the subject as females. I’m finding that I actually really enjoy the medium, it’s incredibly smooth, and the ease of the blending due to the paint being so malleable and slow to dry. I’m already finding it so much easier to create form and have the dexterity that aids in my mark-making, and it is soooo expressive. The tones are amazingly deep and full of life and the layering possibilities are endless. My praises will be sang forever for oil paint!

Anyway, i have been exploring the notion of sirens in art history. John Williams Waterhouse is by far the one with authorityon the subject, he has numourous paintings under his belt dealing with the subject of sirens, notably the transitionial form of a siren that we see in between them being considered bird hybrids that the greeks told of, and the half woman half fish that we know of today. instead they are just women who frequent the water. i find it extremely interesting to think that at one point we considered these incredibly dangerous creatures to be the image of youth and beauty and to appear other than the slight aura of ethereal, to be visually human.

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Semester 2

20-1-2023

Roger Scruton believes that erotic art can't be beautiful and also pornographic at the same time. However, he only ever discusses the female nude, especially in his book ‘Beauty’ (Scruton, 2009). so is it really an issue with explicit or women’s bodies? He also believed that photographs could only be pornographic and not be considered to be erotic art (Scruton, 1981), condeming the likes of Jeff Koons’ “Made in Heaven” by calling him kitchy. Now i’m not a huge Jeff Koons fan, but i am a fan of the series, the way he frames Illona and sets it in this Graden of Eden is truly transporting and i find myself inammered in the beaut of the photographs. Scruton also fails to consider the likes of Mapplethorpe, who is a highly praised photographer who often deals with the male nude, so does he shy away from Mapplethorpe because of his faith and beleifs? Agamben would say so. I want to make a body of work exploring the picking apart of women throughout art history.