I enjoy writing about art and about what guides the development of my work. Click on the below links to read more of my thoughts.
MAKING 'A CATASTROPHE OF UNSPEAKABLE MAGNITUDE'
The aim of this project was to somehow represent a broad interpretation of the experience of motherhood amongst X Generation women and to challenge invested sensitivities around fertility, value, self-belief and sanity.
Making 'ABout Creativity'
The aim of this project was to somehow represent a broad interpretation of creativity in the lives of women within my social circle. I am interested in the idea that creativity is a ‘vital’ act of being human and I am interested in the idea that art can be a social tool . I am inspired with the knowledge that I am surrounded by amazing women who do amazing things every day. This document refers to the original 16 minute long version of the film.
Art vs. Craft
This year UAL (University Arts London) is celebrating a ‘Year of Craft’. In the recent past craftsmanship has been belittled by the conceptually based world of fine art. It seems however, that craft is making a comeback. Again. I decided to conduct a little local research and to explore my own feelings about the place of craft in the world of art. As a start I interviewed London based master potter Gregory Tingay and Surrey based artist Jane Bohane.
Value in Art
I recently attended a lecture given by Kim Pace at UAL. She suggested that our current perception of value in art is linked to two conditions: pluralism and globalization. We looked at Marxist theories on value: material, labour and use. This contrasted with the idea of the readymade. We looked at art in a digital world, how artists might engage with technology and the return to an appreciation of craft and effort. The lecture looked at a wide definition of ‘value’ not just limited to how much a work might be worth in money.
Two Works of Film Juxtaposed
Sitting and observing Parreno's 'Anywhen' for an hour leaves one disappointed and dissatisfied. It is surely a day’s work to come close to understanding what the artist intended. As a musician I was aware that the sound element was complex and in a large way responsible for my successful immersion in an atmospheric and subaquatic world. However, the multiple screens and floating fish seemed too small for such a large place. Was Parreno not ambitious enough?
Sculpture in the Expanded Field & Pseudo-modernism
Krauss defines a structure which attempts to map how sculpture has developed beyond the historically limited meaning of the word. She equates this mapping to post-modernism as understood in the field of painting. Modernist sculpture is defined as not-landscape and not-architecture. Krauss looks at what happens when an artist’s work is landscape and / or architecture. Krauss applies a mathematical logic to arrive at a definition of sculpture for the change in what artists were doing as seen in the years 1968 – 1971.
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