The Guggenheim in Newyork.

I went to the Guggenheim thinking that there was more to see than the Kandinsky exhibition, but there was'nt only KANDINSKY, KANDINSKY......KANDINSKY! I was amazed of the actual layout of the building. I loved the fact that you walk round and round in a spiral to view the work.

Jasper Johns, White Flag 1955.

Encaustic, oil, newsprint, and charcoal on canvas.

I was amazed that i saw this piece i love Jasper Johns work and i was in total excitement when i saw it.

My practical work is based on war, specifically the Iraq, US and UK war that is happening at the moment seeing this flag gave me the insight to maybe use it for research for my practical work.

Damien Hirst. The Physical Impossibility of Death in the Mind of Someone Living 1991.

Glass, steel, formaldehyde solution, shark.

DAMIEN HIRST'S SHARK!!!!! Oh My Gosh!

I could not believe my eyes when i walked into the room and saw this! Seeing this piece in real life is a thousand times better than seeing it on the web and in books. I looked into the sharks gaping mouth and was in utter excitement. The shark was pierced hundreds of times before it was placed in the tank, this was done so the sharks fat could be released. Before i found out this fact i first thought that the fat that floated on the top of the tank was in fact the shark going mouldy.

Martin Kline. Nest 2000. Encaustic on plywood panel with wooden frame.

I do not have a clue what this piece is about but for me it's meaning is not important it is it's appearance. What looks to be wax has been thrown or poured onto the plywood.

I want to rub my hands over this piece because of it's texture. It looks almost like an illusion, there is more of the wax in the centre of the piece this draws the viewers eye to the centre of the work.

When i have worked messy myself i would throw the medium down just like this has been done. Although the piece is quite basic i can't help but be happy that it's up for the world to see it deserves to be seen.

Robert Ryman. Versions iv 1991-92. Oil and graphite on Lumasite with wax paper.

This piece should not be in a gallery it looks like a child has done it. It looks like an experiment with materials not an experiment with meaning.

Paint looks like it has been splatted on the paper and then the paper has been folded in half to give a mirrored effect.

Chuck Close. Mark. 1978-79. Acrylic on canvas.

This painting is absolutely amazing, it is the most realistic painting i have ever seen.

This piece must have took the artist time and dedication to complete. Everything seems so real about it. The hairs look like hairs, and the skin looks fleshy like skin.

This piece is extremely large it towers above surrounding artworks. This scale and realistic quality to it amazes me.

Joal Shapiro, Untitled 2000-2001. Oil paint on cast aluminum.

This piece looks really simple and fun. It is really tall and it does'nt look stable at all as it balances on one foot.

The shadow that the sculpture projects are really interesting.

This piece looks like a figure balancing on one foot. But it could be interpreted as anything that the viewer wants to. It does look like a simplified figure but i think it could also be a collection of block shapes stuck together.

Claes Oldenburg. Symbolic self: Portrait with ''Equals'' 1971

I was amazed when i saw this piece i could not believe it was Oldenburg's. His work is mainly sculpture. This piece is a self portrait of the artist looking in a joking manner. Included among many objects is a ice bag on the artists head. An icebag was an everyday object that Oldenburg used as a soft merchandized sculpture in an oversize scale, the same year which sends delicate drips of water down the artists face.

Behind the main drawing are small skethces which look mathematical and architectural.

NEWYORK NEWYORK!! 10th Nov- 16th Nov 2009

The start of my amazing art journey :)

This is the Whitney gallery.....i never went to the exhibition that was on, which was Georgio O'Keefe. I'm not inspired or interested in O'Keefe and this is why i never went to see her work. I went inside the gallery and had a look in the gift shop.....there was amazing things to buy like artists collectible items...but they were far too expensive. For some reason i expected the Whitney building and it's art work to be old and tradition. The building is very modern and contemporary.

Here is me and my friend sitting on an amazing Alice in wonderland sculpture in Central park.

This is me adoring Egyptian art including these mummies. I love Egyptian art and i was extremely happy to see more than enough of it at the Metropolitan.

Here i took a picture of how there is comfort to admire artwork. Lots of galleries such as the Tate do not have seats to sit and relax. I think you should be in a relaxed state when viewing art as your mind can wander more.

Arthur Dove. Portrait of Ralph Dusenberry 1924.

Oil, folden wooden ruler, wood and pasted printed paper on canvas.

I don't like this piece as it's far too strange and basic. I don't see how this is a portrait of Ralph Dusenberry as i would have expected a painting of his face. Maybe this is a representation of his life or his profession. His job could have been an architect or something to do with maths (because of the rulers.)

Paul Klee. One Who Understands. 1934. Oil and gypsum on unprimed canvas.

The squared circle of the abstract head in Klee's painting is made of the same lines that divide the picture like a cracked windowpane.

This drawing in this piece only consists of lines. I don't know whether to call this a drawing or a painting. I think it could be more of a painting as it has been created with oil paint and it is framed. This painting looks like a 5 year old has made it...i know a great majority of Klee's work consists of lines but the lines in this piece make the work look childish.

Alberto Giacometti. Annette the Artists Wife 1961 oil on canvas.

This painting of the artists wife looks like something out of a hooror film. She sits propped with her hands crossed resting on her lap. Her face is the darkest part of the painting this makes it hard to examine her facial features. The painting is quick and messy, and i love this i like working like this myself. The colours are rather dull too. The sketched effect with the surrounding washes highten the features of his wife.

Paul Klee. Small Portrait of a Girl in Yellow 1925 Gypsum and oil on canvas .

This is the only painting i have ever seen that is exhibited in a plastic frame. The reason for this could be it is far too expensive and special for it to get damged or touched. This plastic frame around the piece give the painting a certain quality to it. Because its restricted it makes the viewer drawn in to look at the piece.

This piece is rather different to most of Klee's other works. This consists of no linear lines.

Constantin Brancusi, Sleeping muse 1910 Bronze.

This piece is of a bronze head that looks to be in the heaviness of sleeping. It is one head which i have taken photos of on different angles. I did this because i found not only her sleeping facial expressions interesting but also her her and the hole in her neck. This bronze head rests on a plynth. Just like women centries ago and still sometimes now they are seen as a muse, an object for motherhood, mens fantasies and housewives etc. The goldness to this piece gives the impression that women are special, they are 'golden'.

Arthur Segal. Strasse auf Helgoland ll. 1924. Oil on board with painted frame.

This piece looks like it has references to Cubism. It also reminds me of Picasso in the way he has painted shapes and colours like this in some of his own work.

I was attracted to this painting not only for it's blending colours and abstract shapes but also because the frame is painted in the same way the imagery is. This makes the frame more involved with the painting. It also gives the impression that the piece plays with the viewers eye and it's purpose is to give the impression of it being an illusion.

Not many frames that surround the painting or any artwork are painted just like the piece is. The frame and the piece it surrounds are usually two seperate things.

Charles Ray. Untitled 1973, printed 1989. Gelatin silver print.

This print disturbs me because of it's imagery. A male figure is wrapped up by rope or the branches. Is he dead? Alive? Getting tortured? The piece gives the impression to some sick joke, a joke that i find too shocking to like the piece.

Although i don't like the subject matter i do like the quality to the work and the photograph.

Joan Miro. Painting 1927, Tempera and oil on canvas.

I can't help but be disapointed by this painting, the fact that it is titled painting disapoints me even more. The two boats on the bottom of the piece are the only things that get the chance to interest me. Everything else is splash of paint, squiggle here and a line and shape there...it is too basic and it should not have the oppurtuntity to be up in any gallery. It probably only is because it is Joan Miro and most people know the artists work.

Diego Rivera. Table on a cafe Terrace 1915. Oil on canvas.

In Rivera's distinct brand of Cubism, Pointillism was introduced to amplify contrasts in texture and pattern.

I was extreamly lucky to see a piece of work by Diego...although i expected his work to be much bigger because he is known for his murals. I have just completed an essay were i talked about his wife's work Frida Kahlo.

When i viewed this painted i wanted to took it, it's dotted pattern gave texture that was raised. Objects such as a bottle of absinthe, shiny metal spoon and a cigar box sit on the table. The objects may refer to Diego's personality and heritage.

Zaha Hadid. Gyre Lounge Chair 2006.

Polyester resin, polyurethane lacquer.

I fell in love with this chair when i saw it. It's vibrant green colour, it's sharp retro shape and the fact that it glistens made me want to touch it and relex on it...although its hard shape does'nt look like comfort is it purpose, it's style is it's purpose.

School of Saatchi television series on at the moment.

CHARLES SAATCHI IS LOOKING FOR THE NEXT TRACEY EMIN OR DAMIEN HIRST!!

I have been watching this programme and i have loved it. I don't think any good artists got through to the competition, the most silliest with the most ridiculous ideas for art have been entered and have got through the next stage. The programme is good inspiration for my own art work at uni as it is contemporary and i like my work to be contemporary. This programme was a competition before hand, it circulated the uni by email when i heard about it. I was going to enter it but i was under pressure with uni work............i wish i would have now as i think my ideas work have been better than the ones shown. I suppose their silly ideas = 'THE SHOCK VALUE' that Saatchi and the contemporary art world crave.

Like a king on his throne Saatchi waits for his new mini Emin's and Hirst's. I don't think he will get this from the artists on the programme as i don't see them anything like Emin or Hirst...they are trying to be someone else....themselves.

This programme has influenced me to search and look out for any other art programmes, I know from this programme that i will enjoy them and it will help me at uni in my artistic practice, by giving me knowledge and inspiration.

Here is a link to view any of the episodes on the bbc iplayer http://bbc.co.uk/i/p4gq5/

Summer workshops 2009 at the Conservation Centre

This is a mosaic piece i made. It took me around 2 hours to make. The process to make a mosaic tile is quite simple. The design is drawn onto the tile and then mosaic tiles are cut and chipped to shapes and sizes needed and then stuck down on the strong glue. Once everything is in place, the piece needs to dry for a day or two and then it is allowed to be filled with grout. Grout comes in many colours here i have used white. I have never created a mosaic piece before this workshop helped me gain the skills to make more in the future.

Here i learnt how to write in calligraphy. I used a pen that had a brush end, this made it easy to write freely. I played around lots of times with different ways of holding the pen and applying pressure to create various outcomes of calligraphy. I found calligraphy hard at the start as i could not get the letters to 'flick' that much i learnt that i could not do this as i was holding the pen to firmly. This piece took me around an hour to write. Calligraphy is a skill that is not that easy, it takes a lot of time, practice and patience.

Here i have learnt how to engrave in glass. I used a small glass and a sharp nibbed, metal pen to scratch into the glass. This was very time consuming as your had to constantly scratch ro achieve your design. Shavings of glass were all over my hand and on the table. The instructor did not tell the group about health and safety precautions, because of this by mistake i got a shaving of glass in my eye. Although this happened i am very happy i learnt how to engrave in glass. Even though it gave my hand cramp and it took FOREVER to complete i was happy with my result. Glass engraving is not as complicated as i first thought it would be.

I chose this module as i wanted to get out to lots of galleries and see lots of art. This module has been good for that but i expected to go to more galleries. I went to Newyork a few weeks ago and i saw more art in them 5 days than this whole module. I have chosen the collaboration module for next semester as i want to make connections with the people i work with such as artists.

Cian Quayle and Pete Flowers Bluecoat Lecture 3rd November 2009 06:30-08:00

My notes from Cian Quayle speech, he talks about one of his works.

The sea is an important metaphor to Lowry. His work shows a run down shack in Doulton. Departure and arrival, looks for recurrent motifs. Loss to a place that was once familiar. The work is autobiographical, it is about the artist and his journey. He lived in London for 10 years.

My notes from Pete Flowers talk

His work is about 'Day of the dead' Iconic imagery from Buddahism, Hinduism etc seeped into his way of working. Fascination of having skeletons and angels. He has dealt with religious iconography. Religion and spirituality works in layers in his paintings, iconic and formalised. Pete Flowers started his career as a printmaker. The artist was going to have a candle placed below one of his paintings so that people would have to kneel down in a praying position to read the inscription on the candle. But this was not allowed for health and safety reasons. Lowry wrote in layers like Pete Flowers does in his paintings.

Exhibition Proposals lecture 3rd November 2009

I had a lecture today with Jagjit about exhibition propasals we have to do. After listening and taking notes at the lecture i come away feeling confused. An example of an exhibition proposal would be more help than guidelines to follow. I think i may email Jagjit and ask if it is possible to see an example.

Black-E Gallery 28th October 2009

The gallery is called the 'Black-E' as over a centuries worth of grime used to cover the building. The colour of the building in the 60's used to be called the black church. A name that came from children in Liverpool. The spiral staircase in the gallery reminds me of the Guggenheims in Newyork. The Black-E's staircase area is going to be refurbished and hopefully used as the entrance. The gallery used to be a church so the place is really old and run down. The gallery is aimed at young people who want to create art, perform, dance, sing, rap etc. Theatre, music events etc are set up within spaces in the gallery. Workshops are available today, this would'nt of happened 20-30 years ago. The gallery gets money from the City Council and arts council. Donations are a major help to the gallery. There are charges for hiring the building, and events etc. There is oppurtunitys to get involved at the gallery such as becoming a volunteer. I have a slight interest to become a volunteer here as i know i would learn many things and it would get me started helping out at a gallery.

Emma Roberts lecture at the Tate. 27th October 2009

Frida Kahlo 'Broken Column' 1944




Her art is very personal. She had lots of operations because of her accident. Her art is ok to be about the personal and appearance. She should accept that she is being viewed by others. A womans life is all about pain and suffering. Her work was not as large as her husbands Diego Rivera's. Frida Kahlo is controlled by her body.










Hans Baldung Grien 'Adam and Eve' (1484/85-1514)


Women were like nature. Women had less control than men. They were powerless in terms of their body. Men had more choice in life. Artists were de-feminised. Here we see Adam and Eve naked in what looks to be a forest. Adams body looks very slim and muscley whereas Eves body is very curvy and feminine. The snake on the tree looks out angry to Adam as if he doesn't want him to advise Eve on the deadly fruits she may eat. There is lots of animals an objects etc that are symbolic in the work.







Artemisia Gentileschi 1612-21 'Judith and Halofernes'.







This painting portrays two women in control. If raped in the 17Th century the woman would have been seen as the cause, it was always the woman's fault. Women were never seen as powerful. Men who raped probably gained power from doing it. In the painting the women have strong manly arms, they have physical strength to hold down the man. The women look more like men because of the physical strength. Women in that era were passive whereas men were active. Women stayed at home to weep while the men went out to war. Women were seen as muses (objects.) ''Men act and women appear'' John Berger.


In the 19th century women became more powerful and free. Being free to do whatever they wanted could lose their virtue. Clothes formed and shaped womens bodies for mens ideal.

Womens ribs were squashed because they wore corsets. Women were prone to fainting, because corsets were too tight. Women wer'nt allowed to view the nude model to do life drawing. Until the 18th century womens work was done at home. Womens role was to be mother, housewife and wife.

Photograph of Jane Morris 1865 and 'La Donna della Frammia 1870, by Dante Gabriel Rossetti






Jane Morris looks modist in the photo. Her body is posed. Jane Morris was a painter and designer. Jane Morris was one of Rossetti's favourite models after the death of his beloved wife. She was married to his great fellow painter William Morris.








William Morris 1883 'The Strawberry thief.'




This piece is a piece of wallpaper. Executed by women in the workshop. Jane Morris most likely gave her husband ideas for this piece. The men are the womens creators.

James Iveson seminar. 27th October 2009

The artist abandoned painting at the start of his career. James explained the following:
*Biggest names pay the least amount of money for your designs
*Some techniques interfere with the production.
*Scale can be tricky especially in his own work.
*He believes that more can be learnt when the work doesn't take that long to create.
*Life today is fast, ideas can be fast.
*If you face the topic of the work everyday you should'nt get bored.

I didn't really find this seminar that helpful as not that much information was given off the artist and people were asking some silly and confusing questions.

James Iveson lecture. 27th October 2009

'Decision to make a pattern or let it happen'. Worked on the subject of boxer shorts. He used a repetitive technique and he worked using a system (method.) He takes inspiration from anywhere and sticks to it. He likes to work with things he is familiar with. For some of his process of making his work he stretches and then cuts the canvas. 'It is editing in some way'

I found James's lecture quite interesting and different to most lectures i have attended as his ideas were probably the most random therefore making his work include an element of fun. He made me realise that your inspiration doesn't have to be something big and important to most, as long as YOU have been inspired by something you can use it and stick to it.

The Rebel. Tony Hancock. 1962

Tony Hancock was an important English comedian in the 1950's. He was a insecure man and was an alcoholic. Socio-political subject. Although the film was probably not funny to some we needed to look at the context of the film. It would of been funny to people in 1962. Hancock committed suicide and George Sanders killed himself. Hancock could'nt cope with being famous and being a alcoholic. All the men at the start of the film are alike they wear the same clothes are in the same job and are going in the same direction in life. The actor is bored with his job in the film. He draws to make his job less boring. He thinks he has been working too hard and thats why he feels he needs to draw. The actor starts to crack up in front of his boss. Every day he goes to his job he can't wait to finish and leave.

Although the actor has a office job, he wants to be an artist. In his home he has a locked room full of artwork such as paintings on the wall and a giant sculpture. He puts his beret hat on when he creates his work. He calls his sculture the 'Aprodiati of the waterhole'. 'It's a nymth' Nude modelling. He sculpts women as he see's them from memory. The landlady doesn't appreciate art and especially in her home. 'Turning my house into a rubbish dump'. The artist is perticular for example he likes no froth on his coffee. He wants to go to Paris to get his art appreciated. Takes his art onto a train to Paris. He took 3 years to complete his sculpture and on transit it gets dropped by accident into the sea. 'Art should reflect life like a mirror.' 'You feel like what you are painting.' Hancock gives a entirely new exception to art. Hancock is an expressionist. Hancock has a new approach to art. He created a action painting in the film by laying a sheet of canvas onto the floor and throwing tins of paint over it aswell as stapping and riding a bike over it. His painting looked like one Jackson Pollock has made. His friend (flatmate) decides to leave Paris to go back to England because he feels his painting doesn't say anthing. Tony Hancock is a obsquer artist. 'Who painted that cow?' His friends work gets noticed butnot his work. His work gets mocked. Hancock takes the credit for his friends painting and gets £1000 for exhibiting his work. The curator of the exhibiton explains to Tony that 'they don't belong to you they belong to the world.' He confesses that he never painted the paintings, he painted 'the rubbish'.

At the start of this film i didn't find it very funny but as it got into it i found it more interesting as art was introduced and the actor became more funny when he became an artist. The film was about the myth of the artist and changes in society. The art is the film could refer to Surrealism and abstract expressionism. The film also links to how artists are pecieved then and still today.

I did not find the film particually helpful to my art but i did find watching the film to be funny.

Emma Roberts lecture at the tate 13th October 2009..CONTINUED

The National gallery in London had an extension built in 1987. It was owned by the Sainsbury family, the same family that owns the Sainsbury's supermarkets. The gallery was built in 1824. Many more people wanted to collect art and view it. 19Th century art got much smaller as people's homes got smaller and art became more popular.



Home of Leo and Gertrude Stein 1907.




The patrons were American and not majorly rich. They were patrons, they bought works by artists such as Matisse, Picasso etc. The relationships between artist and patron were important. Some artists did paintings of their patrons such as Picasso's Portrait of Gertrude Stein 1906

From the 20Th century the America's became big lovers of art. Art was bought more so if it was going to be famous in the future. Picasso was aware of who was important to promote his work.

Picasso, 'Ambroise vollard' 1910

Vollard bought work cheaply and sold it at higher prices to rich people. Vollard realised that artists need emotional support and practical support. Artists leaned on dealers and dealers relied on the artists.

Van Gogh 'Pere Tanguy' 1887



Van Gogh never had any money and never sold any of his paintings while he was alive. 'Pere Tanguy' was Van Gogh's friend. He gave Gogh free oils and canvas etc. Tanguy helped the poor. 1957 was a critical year. That year was the year of the collection of William Wineberg. The sale of the art became an event were even the queen and celebrities turned up.....i think it was Sotherby's in London. Sotherby's is an auction house. Black tanoy sales and night sales were introduced. Warhol's work was sold in the 80's and people turned up with blond wigs on to look like Warhol. Art had public appeal. It was the art boom in 1989. This painting sold for 8.1 million in 1985.





Mantegna. 'Adoration of the Magi'

The painting sold for £1460. To understand art is not just a matter of viewing them but actually knowing what the art is about and where and who it has been passed to.

Van Gogh 'Sunflowers' 1889

The painting was bought for 24 million pound by a Japenese buyer. Japanese people bought art at the highest prices. Dr Gachet was bought for 84 million by another Japanese buyer. Sometimes in some galleries the most famous works are forged. Power has moved away from King's and Queens etc to corporations. Are corporations taking over galleries and museums? Some corporations buy artwork never to be seen. Corporations not only buy art that is cutting edge but also boring and bland works of art. Is art only about the money now? Art gives a sense of immortality and aura. Art now is about lifestyle and consumerism.

Emma Roberts lecture at the Tate. Artists and practices. Artists and the art market. 13th October 2009

This is the first lecture that i have attended at the Tate led by Emma Roberts, i really enjoyed it and i will try to go to her 1 hour lectures every Tuesday from now on.

Collectors make art history and art histories document it.



Borghese Gallery, Rome.







Borghese filled his home with works
of art both antique and contemporary.

Bernini, 'Abduction of persephone' 1622-1625.

This piece is currently at the Borghese gallery. It is made from marble. Era around 1600 is the end of the Reinaisance, and the beginning of the Bavoc period. The artist did more than one picture of the cardinal to massage his ego.









Rubens, 'Ceiling of the banqueting room' Whitehall, 1630-4

Britain's parliament. Enhances Britain's power when visitors are taken into this room. Rubens was thought to be the best artist of his day. Big, diplomatic painting. The painting on the ceiling would take years to complete.

David Tenier. 'The Archduke Leopold's gallery 1651

Easel paintings are smaller and easier to move around. The artist was commissioned by high up people. He became a private dealer and artist. Had a royal connection. He was rich among noble men, that he became a noble man himself. He became filthy rich. There was a demand in them days to buy the right type of art.

Johann Zoffany. 'Charles Townley' 1782

The artist had a passion for antique sculpture. He filled his home with Roman statues. There was no galleries in that time period. If you knew about art you would have been expected to have a big home. Paintings were mainly big in that era. The artist built a wing on his home to put art into. His works were bought from the British museum. The British museum was founded in 1910. Art transferred from being in private homes to public museums. Middle class people wanted what rich people had, they wanted to see art. Visiting galleries became free for working class people. The National gallery in London was built in Trafalgar square as everyone could access it. The collections of art in the gallery is rather mixed now as it suit's everyone's tastes. The work was filtered to boost Britishness. The work was owned by the British government

The Conservation Centre. Felt making workshop. 8th Ocober 2009.

^ >From going to the felt workshop and making felt pieces of my own i went out and bought some actual felt (flat felt) to sew into. All of these felt pieces are for my practical work which is based on war.

In this free, 3 hour workshop i learnt how to create felt pieces with sheep's wool. The process is quite simple. You get a tray with some depth and some cream coloured wool. And then you feather the wool out every time you pull a piece and lay it down on the tray in a vertical direction. You carry on doing this until you think the wool is thick enough, once you have done this you start feathering more wool to lay it down in the opposite direction. You give the wool base a few layers, until you go onto using coloured wool for your design. You use the same feathering process to lay the coloured wool down to create your design. For me i created 2 felt pieces, one of the United States flag and one of a hand gun firing. Once your design was layed out, you pour warm water over it and rub soap over it and then agitate it by wrapping the piece in bubble wrap and massaging it, this brings the fibres of the wool closely together. Once agitated enough you take the felt piece and place it onto a bamboo mat. Once placed you roll the bamboo mat with the felt piece in it in a rigorous way. This helps shape and flatten the piece. Also if rolled you can squeeze the excess water out. Once shaped, rolled and drained the piece can then be quickly washed and drained again and then left to dry. The process of drying takes a few days. Once dried the felt piece can be left as it is or embroidered into.

I really enjoyed this workshop as i now know how to create a felt piece. I have been to the Conservation Centre in the past to go to various workshops. I enjoyed them all as i learnt for free and in a friendly, helpful environment. I will be going to more in the future.