BIG AMAZING RESEARCH

 

AMAZING        BEAUTIFUL       MODERN    ALL-ROUND RESEARCH MADE IN MUSEUMS (Третьякая галерея в ЦДХ + Музей современного искусства на Петровке), photos made by myself during the reading week plus some inspiration from internet.  TaDaM!

Paula Rego

Rego is a prolific painter and printmaker, and in earlier years was also a producer of collage work. Her most well known depictions of folk tales and images of young girls, made largely since 1990, bring together the methods of painting and printmaking with an emphasis on strong and clearly drawn forms, in contrast to Rego's earlier more loose style paintings.

Yet in her earliest works, such as Always at Your Excellency's Service, painted in 1961, Rego was strongly influenced by Surrealism, particularly the work of Juan Miro. This manifested itself not only in the type of imagery that appeared in these works but in the method Rego employed which was based on the Surrealist idea of automatic drawing, in which the artist attempts to disengage the conscious mind from the making process to allow the unconscious mind to direct the image making. 

At times these paintings almost verged on abstraction, but as proven bySalazar Vomiting the Homeland,  painted in 1960, even when her work veered toward abstraction a strong narrative element remained in place, with Salazar being the right-wing dictator of Portugal in power at the time.

There are two principal causes for Rego adopting a semi-abstract style in the 1960s. The first is the simple dominance of abstraction in avant garde artistic circles at the time, which set figurative art on the defensive. But Rego was also reacting against her training at the Slade School, where a very strong emphasis had been placed on anatomical figure drawing. Under the encouragement of her fellow student and later husband Victor Willing, Rego kept a 'secret sketchbook', alongside her official school sketchbooks, whilst at the Slade, in which she made free form drawings of a type that would have been frowned upon by her tutors.

 This apparent dislike of crisp drawing techniques in the 1960s manifested itself not only in the style of works such as Faust and the Red Monkey series of the 1980s, which resemble expressionistic comic book drawing, but in her acknowledged influences at the time, which included Jean Dubuffet and Chaim Soutine.^[13]

A notable change of style emerged in 1990 following Rego's appointment to be the first 'Associate Artist' of the National Gallery, London, which was effectively an artist-in-residence scheme. Her brief was to ' work in whatever way she wished around works in the collection.' As the National Gallery is overwhelmingly an Old Master collection Rego seems to have been pulled back towards a much clearer, or tighter, linear style that is reminiscent of the highly wrought drawing technique she would have been taught at the Slade. The result of this was a series of works which came to characterise the popular perception of Rego's style, comprising strong clear drawing, with depictions of equally strong women in sometimes disturbing situations. Works like Crivelli's Gardenhave clear links to the paintings by Carlo Crivelli in the National Gallery, but other works made at the time, like Joseph's Dream and The Fitting, also draw spatially and in their subject matter from Old Master works by artists such as Diego Velázquez.

Having given up collage in the late 1970s, Rego began using pastels as a medium in the early 1990s, and continues to use this medium to this day, almost to the exclusion of oil paint. Amongst the most notable works made in pastel are those of her Dog Women series, in which women are shown sitting, squatting, scratching and generally behaving as if they are dogs. This antithesis of what is considered feminine behaviour, and many other works in which there appears to be either the threat of female violence or its actual manifestation, has associated Rego withfeminism, and she has acknowledged reading Simone de Beauvoir's The Second Sex, a key feminist text, at a young age and this making a deep impression on her.^[16] Her work also chimed with the interest of feminist writers on art such as Griselda Pollock in Freudian criticism in the 1990s, with works such as Girl Lifting up her Skirt to a Dog of 1986, and Two Girls and a Dog of 1987 appearing to have disturbing Freudian sexual undertones. However Rego has been known to slap down critics who read too much sexual connotation into her work.

Another explanation for Rego's depiction of women as unfeminine, animalistic or brutal beings is that this reflects the physical reality of a woman as a human being in the physical world, and not idealised types in the minds of men. 

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I resurrect things that have been killed off... My work is all about the potential of materials - even when it looks like they've lost all possibilities

Research about Narrative. Part 2.

I am trying to do a research of the different medias. So next artist is usually doing the sculptures and the installations. As for me, the installations is probably the most difficult media because you have in fact no propa  simbols. You need to do the one the framing and putting the staff in the right way as a methos of expressing yourself.
  In the future, i will try to do the installations anyway but the thing is that you need to use space much as an object of the project. I mean the place there you put your outcome influence on it powerfully and it is one of the mains aspect which will influence on the result.
A successful example of the installation are works of the British sculptor and installation artist Cornelia Parker. 
  From the Wikipedia: "Parker is best known for large-scale installations such as Cold Dark Matter: An Exploded View (1991), for which she had a garden shed blown up by the British Army and suspended the fragments as if suspending the explosion process in time. In the centre was a light which cast the shadows of the wood dramatically on the walls of the room.

In contrast, in 1997 at the Turner Prize exhibition, Parker exhibited Mass (Colder Darker Matter) (1997), arranging the charred remains of a church that had been struck by lightning in Texas into a visual form looking like a suspended cube. Eight years later, Parker made a companion piece "Anti-Mass" (2005), using charcoal from a black congregation church in Kentucky, which had been destroyed by arson. "With the garden shed, I was the person who killed off the object, whereas the church was killed off by fire and the piece is resurrected in the gallery—like a cartoon character."

Parker's compelling transformations of familiar, everyday objects investigate the nature of matter, test physical properties and play on private and public meaning and value. Using materials that have a history loaded with association, a feather from Sigmund Freud's pillow for example, Parker has employed numerous methods of exploration- suspending, exploding, crushing, stretching objects and even language through her titles.

The Maybe (1995) at the Serpentine Gallery, was a performance piece conceived by Tilda Swinton, who lay, apparently asleep, inside a vitrine. She asked parker to collaborate with her on the installation in London (the piece was later re-performed in Rome without Parker's involvement.) She was surrounded by other glass cases containing relics that belonged to famous historical figures, such as Mrs. Simpson's ice skates, Charles Dickens' quill pen and Queen Victoria's stocking. 

She has made other interventions involving historical artworks. For example, she wrapped Rodin's The Kiss sculpture in Tate Britain with a mile of string (2003)  as her contribution to the 2003 Tate Triennial Days Like These at Tate Britain . The intervention was titled The Distance (A Kiss With String Attached). Subconscious of a Monument (2005) is composed of fragments of dry soil, which are suspended on wires from the gallery ceiling. These lumps are the now-desiccated clay which was removed from beneath the Leaning Tower of Pisa in order to prevent its collapse.

Avoided Object is the title of an ongoing series of smaller works which have been developed in liaison with various institutions, including the Royal Armouries and Madame Tussauds. These “avoided” objects have often had their identities transformed by being burned, shot, squashed, stretched, drawn, exploded, cut, or simply dropped off cliffs. Cartoon deaths have long held a fascination for Parker: ‘Tom being run over by a steamroller or Jerry riddled with bullet holes. Sometimes the objects demise has been orchestrated, or it may have occurred accidentally or by natural causes. They might be “preempted” objects that have not yet achieved a fully formed identity, having been plucked prematurely from the production line like Embryo Firearms 1995. They may not even be classified as objects: things like cracks, creases, shadows, dust or dirt The Negative of Whispers 1997: Earplugs made with fluff gathered in the Whispering Gallery, St Paul's Cathedral). Or they might be those territories you want to avoid psychologically, such as the backs, underbellies or tarnished surfaces of things. "

She squashed a whole brass band of instruments with a 250-tonne press and suspend the dimly lit results in mid-air. To my mind the powerful and interesting thing in this project is how the result after pressing was put in the air. It's look like it is floating in the air. 

In my opinion, the idea of using the real forest to make the pic is amazing, this gun is 9 metres height, just imagine it inside the building. I have already read all the articles and interviews with Ms Parker and here i want to put an interesting in my opinion ideas about this particular project.  "Parker's monster gun is playful and disturbing, and poses many questions: what is this blot on the landscape, who does it belong to, what life has it seen? She doesn't provide the answers. She creates stories without plots. A huge gun in an empty landscape: it could be Cormac McCarthy's most pared-down novel." 

 This mess to the first sight looks like rubbish but if you spend a bit more bite plus you will move inside the room you will see the right geometry of this installation. Such projects are a bit tricky but of the public is smart the project seems to be successful.

 What i like a lot in this artwork is the normality of the pressing the objects. You look on them and think that they look much more better in 2d than in 3d way. In this article i looked through 4 projects made by Parker and i can say that the way, the style she squashing the objects is completely her style. 

Narrative: what's the story Mister Pushkin...

Research.
5 artists:
stanley spencer
gregory crewdson
cornelia parker
Paula Rego

STANLEY SPENCER

Spencer has been described as an early modernist painter. His works often express his fervent if unconventional Christianfaith. This is especially evident in the scenes that he envisioned and depicted in Cookham. Very evident in these too is the compassion that he felt for his fellow residents. His quirky romantic and sexual obsessions were also expressed within this home environment, but it is a mistake to regard him merely as some sort of quaint village innocent, inextricably tied to small-town England. His works originally provoked great shock and controversy. Nowadays, they still seem stylistic and experimental, whilst the nudes that arose through the futile relationship with Patricia Preece, such as the Leg of mutton nude, foreshadow some of the much later works of Lucian Freud, who expressed admiration for Spencer.

Spencer's early work is regarded as a synthesis of French Post-Impressionism, exemplified for instance by Paul Gauguin, plus early Italian painting typified by Giotto. This was a conscious choice, and Spencer was a key member of a group who called themselves the "Neo-Primitives." Allied with him were David Bomberg, William Roberts and other young contemporaries at the Slade.

His most ambitious work was the consequence of his Great War experiences: a cycle of 19 wall paintings for the Sandham Memorial Chapel (see above), which took five years to complete. During the Second World War, he was recruited by the War Artists' Advisory Committee to help in the war effort by recording activities that were taking place on the home front. Spencer chose to paint Clyde shipbuilders at work; when the war ended, he was in the process of planning a three-tier frieze 70 feet long representing their work.

Today, works such as The Resurrection, Cookham (1923–27), clearly set in the village and with actual residents taking part, rarely come up for auction, but when they do, they sell for immense sums. However, during Spencer's lifetime, it was his landscapes that were in demand. His dealer would press him to produce more, but Spencer expressed impatience, and professed that they were a chore. Nevertheless these landscapes of Cookham and its environs are still favored by many of the public.

Spencer made only three lithographs, all under the guidance of Henry Trivick.

   
   In my opinion, these pics attracts people attention because of the plenty of the layers inside. You want to watch them as a tv show, i mean it is possible to find completely different materials, scenes, characters, etc.

GREROGY CREWDSON

You know if it was possible to give a present to a person who made SUPERrealistic pics, i ll give

to the MR crewdson. I can say that the attachments which he put into each his pics commands respect. 

In those pics there are still some mystery. In fact, you have no idea what does the author means. All the light, make-up, details, decorations, etc. Each picture take lots time to make. 

http://listverse.com/2010/11/27/top-10-woody-allen-movies/
http://www.craveonline.com/film/articles/180621-five-great-movies-woody-allen
http://www.screenjunkies.com/movies/movie-lists/5-best-woody-allen-movies/


my plan for this weekends
to watch all the good (!) films made by Woody Allen ( some screen shoots ) + start changing the reality of them

Posters. Woody Allen films

You will meet a tall dark stranger

 ofiicial one 

 the new one (cannabis lovers)

photos vol 2