I was going to Oxford and managed to make sure I had a few hours clear to visit the Ashmolean Museum whilst I was there. So much that I’ve seen, so where to start? The “Monkey Tales” Exhibition (http://www.ashmolean.org/ashwpress/easternart/2016/07/11/monkey-tales-apes-and-monkeys-in-asian-art-2/, URL Viewed 23/07/2016) seems like a good place. This gave me the chance to see some excellent Chinese brush painting up close. (e.g. Three gibbons swinging on a tree branch, Chen Wen His (1906-1992)) painted c. 1980. Continue reading “Visit: Ashmolean Museum”
…the works of Louise and Noland … look like this because this is how painting must be made to look, c. 1960, if they are to offer the viewer sufficient degree of aesthetic power…”
Carrying on from my consideration of Jackson Pollock and Modern Art in “Modernism in Dispute” [Wood, 1993]. I found the statement, p172, about Saraband (Plate 140) and Bloom (Plate 141) being painted within a year of each other, and one or two years before the first publication of ‘Modernist Painting’:
The two works… are painted in acrylics. Unlike Oils acrylics will retain a high degree of saturation in relatively liquid form … both paintings which exploit the properties of what was at the time a relatively new medium.
I bought “Modernism in Dispute” [Wood, 1993], as it is a set book and I’m interested in “What is Modern Art about anyway?” I’ve never exactly had a love affair with modern art. Jackson Pollock (e.g. “War”, Plate 123) is deemed to be a great artist – but I just don’t engage with his work. Continue reading “Book: Modernism in Dispute and Jackson Pollock”
I’m a little behind on posting my coursework to the Blog. I’ve had a few tries at these exercises and am yet to be happy with them. This is a revisit of the contour drawing for Project 1.2. Still a way to go. Continue reading “Project 1.2: Contour Drawing Revisited”