Unit 3 - PP - Academic tutorial - 24/8/2021- Collections - Sticky Objects- Eleanor Bowen
- Sarah Chalkie Cloonan
- Aug 25, 2021
- 3 min read
Updated: Dec 3, 2021
Academic tutorial Eleanor Bowen 24/8/2021 - I asked to discuss collections, sticky objects.
Notes:
Due to my growing interest in collections and my desire to respond to them I spoke Elenor about collections - I spotted she was giving a talk about the Ual collections in September. she was very informative and suggested I email both the UAL curators and gave me their name and a few responses to reflect upon.
16:21 hannah grout at h.grout@arts.ac.uk
16:29 g.orgill@lcc.arts.ac.uk - Georgina Orgill
My questions were linked to my four paths of Knowledge and directly to my ideas about "place to learn".
does the author of a piece or the curator of a collection control the information delivered and therefore the knowledge acquired via synergistic learning.
E- Absolutely
Is the collection a statement in itself self and therefore propaganda eg. V&A - Beauty Collected by the powerful and wealthy of the Empire?
E- Yes, a big question for the curators right now and suggested I Emailed both Hanna & Georgina from the UAL collections,
Does indexicality with in a piece of art become even more relevant when an artist responds to a collection?
E- suggested looking at Gile Deleuze on Francis Bacon.
-I have a foggy recollection of this piece and found a link
and then found a senopis -
In this landmark text by one of the most influential philosophers of the twentieth century, Gilles Deleuze takes the paintings of Francis Bacon as his object of his study. The book presents a deep engagement with Bacon's work and the nature of art. Deleuze analyzes the distinctive innovations that came to mark Bacon's style: the isolation of the figure, the violation and deformations of the flesh, the complex use of color, the method of chance, and the use of the triptych form. Here Deleuze creates a number of his well-known concepts, such as the 'body without organs' and contrasts his own approach to painting with that of both the phenomenological and the art historical traditions. Deleuze links Bacon's work to Cezanne's notion of a 'logic' of sensation and, investigating this logic, explores Bacon's crucial relation to past painters such as Cezanne, Velasquez, and Soutine.
https://www.bloomsbury.com/uk/francis-bacon-9781350040847
Why do we collect, is it a an inbuilt emotional response?
E - suggested more research And i reread some pieces by Freud on the subject.
As we had a few moments left, we discussed the philosophy’s behind my practise,- this is an area I am still trying to simplify into a coherent statement. Eleanor felt that my interests lay in phenomenology and suggested I read some Seamus Heaney.
Seamus Heaney was awarded The Nobel Prize in Literature 1995 "for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past."
I listened to Seamus Heaney in a pub in Galway Bay in the 80's, after climbing over The Burren. I drank Guinness and ate fish chowder with hunks of Irish bread. I had no idea who this golden tongued man was, but had that feeling that I had slipped down a rabbit hole into a utopian dream as I listened to him speak. Time faded and the entire room was suspended, we all breathed as one.
So may be Eleanor is right, but I don't paint about Phenomenology, I speak it.
Phenomenology is a philosophy of experience. ... The task of the philosopher, according to phenomenology, is to describe the structures of experience, in particular consciousness, the imagination, relations with other persons, and the situatedness of the human subject in society and history.
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