make Angel

‘… [T]he unfolding of history gave proof of the law of entropy rather than that of unlimited progress.’
— Simone Weil

‘And every one had four faces, and every one had four wings. And their feet were straight feet; and the sole of their feet was like the sole of a calf’s foot: and they sparkled like the colour of burnished brass…. As for the likeness of their faces, they four had the face of a man, and the face of a lion, on the right side: and they four had the face of an ox on the left side; they four also had the face of an eagle. Thus were their faces: and their wings were stretched upward; two wings of every one were joined one to another, and two covered their bodies.’
— Ezekiel 1: 6-11

‘From as early as the second millennium B.C. humanity has created artifacts and pictures of winged creatures, messengers; angels. The ferocious and capable creatures described in Ezekiel are far from commonplace in modern depictions of the angelic orders so, what are angels? Who are they? What is their enduring appeal, and why do we still appear to have a need for—representation by—them?

The project briefing will take off on Monday morning at 9.30 from Studio 3 — on the back of a winged human-headed bull (a lamassu) dating from the Neo-Assyrian Period (721-705 B.C.E.) We’ll then ‘walk a sky together’ (after Sweeney Reed) where in flight training will be provided by Vanessa Bell, Trisha Brown, Paul Klee, Sheila Legge, A.R. Penck and others … landing, unscheduled, later in the morning at Nikola Tesla airport in Belgrade. Thereafter, your task is a straightforward one: learn about an object or aspect of the subject that interests you; reflect on it and, make Angel.’ — from the Project Brief

What follows are pictures, and pictures of artworks I made reference to in my introductory talk; pictures too above of my notes. After this there is a list of other references provided in the project brief (under the headings of writing, music, film, radio and web) and all other information (titles of work, artists names, dates, photography credits etc.) may be found in the ‘tags’ at the bottom of the post.

writing:
Walter Benjamin | Theses on the Philosophy of History in ‘Illuminations’ trans. Harry Zohn (New York: Schocken Books 1969)
Adam Harper | Retracing Mark Fisher and Justin Barton’s Eerie Pilgrimage https://frieze.com/article/retracing-mark-fisher-and-justin-bartons-eerie-pilgrimage-on-vanishing-land-hyperdub
Lucy Lippard | Eva Hesse (New York University Press, 1976)
Sheila Legge | I Have Done My Best For You, in ‘Contemporary Poetry and Prose’ (1936)
Rainer Maria Rilke | Sonnets to Orpheus | translated from the German by Christiane Marks (Open Letter, 2019),
Duino Elegies (The Hogarth Press, 1942) & Don Paterson | Orpheus: A version of Rilke’s ‘Die Sonette an Orpheus’ (Faber and Faber, 2006)
Virginia Woolf | The Waves (First published by Hogarth Press, 1931;  Vintage, 2000)
Simone Weil | Gravity and Grace (Routledge and Kegan Paul, 1952)

music:
Wolfgang Amadeus Mozart | Requiem in D Minor, K. 626 | Bach Choir & Orchestra of the Netherlands, conducted by Pieter Jan Leusink; live recording made on 28th of February 2014 at the Royal Concertgebouw Amsterdam. https://www.youtube.com/watch?v=kBkr7JF1ur4
Portishead | Roads | with New York Philharmonic Orchestra July 24, 1997 Roseland Ballroom, New York City https://www.youtube.com/watch?v=52bAsZI9xm8 & Live at Glastonbury 2013 https://www.youtube.com/watch?v=h47sSXH93P4
Mura Masa | No hope Generation | ‘R.Y.C.’ (Polydor, 2020) https://www.muramasa.me/
Cocteau Twins | Treasure Hiding |  ‘Milk & Kisses’ 1995 Mercury Records Limited https://www.youtube.com/watch?v=za5r35RSDDM (Remastered 2006) https://www.youtube.com/watch?v=OyRknf-mZbg
David Sylvian (& Ryuichi Sakamoto) Heartbeat (Full EP): https://www.youtube.com/watch?v=h2ITB3C3mlU & When Poets Dreamed Of Angels: https://www.youtube.com/watch?v=5PUNS-yjc8k

film:
Stan Brakhage | The Text of Light (1974): http://www.ubu.com/film/brakhage_light.html
Werner Herzog | Little Dieter Needs to Fly (1997) complete film: https://www.youtube.com/watch?v=MBRJn69L9ao
Mike Stubbs | Zero (2000) https://www.youtube.com/watch?v=OkCSzOSbgYs
Andrei Tarkovsky | Solaris (1972), Stalker (1979) … and everything else.
Wim Wenders | Der Himmel über Berlin (Heaven Over Berlin) or Wings of Desire (1987) Official trailer: https://www.youtube.com/watch?v=wlkdLLqBux0

radio:
Angels | Melvyn Bragg discusses Angels with Martin Palmer, theologian and Director of the International Consultancy on Religion, Education and Culture; Valery Rees, Renaissance Scholar at the School of Economic Science; John Haldane, Professor of Philosophy, University of St Andrews. (First broadcast on 24 March, 2005)
https://www.bbc.co.uk/programmes/p003k9gf
Nadim Ednan-Laperouse | A Bright Yellow Light https://www.bbc.co.uk/programmes/m000cmsf

web:
Winged Victory of Samothracehttp://musee.louvre.fr/oal/victoiredesamothrace/victoiredesamothrace_acc_en.html
The Fall of Rebel Angels (by Pieter Bruegel the Elder): https://artsandculture.google.com/exhibit/the-fall-of-the-rebel-angels/lQLy-oPTgMeLKg
Angels and Archangels: https://artsandculture.google.com/exhibit/angels-and-archangels/RwLyJpsRM_hUIw
Gian Lorenzo Bernini: https://artsandculture.google.com/usergallery/NgKy_gyjuZrqJQ

What is colour — without Language?

‘Like an auditorium built by the Bauhaus on the edge of a park, all green and green swans.
Green swans, she said.’
—Quinn Latimer


—Jude Walton, The return of Nadja-Léona

‘The title of this project has been adapted from a poem by the French writer Jean Follain. The project started out life in Follain’s use of language—his sense of the miniature, the modesty of his subjects, and the relationship of his poems to memory. These continue to influence its overall scope. By starting out from one of the texts selected for you to study we would like you to explore the subject of colour and make an artwork from your discoveries.’ (from the Project Brief)


The writers
Baudelaire, Charles A Carrion | ‘Selected Poems of Charles Baudelaire’ translated by Geoffrey Wagner (NY: Grove Press, 1974)
Bishop, Elizabeth Sandpiper | ‘Poems’ (Chatto & Windus, 2011)
Brecht, Bertolt On Thinking About Hell | ‘Poems 1913–1956’ this poem translated by Nicholas Jacobs (Methuen, 1976)
Connolly, Geraldine The Summer I Was Sixteen | in ‘Poetry 180: A Turning Back to Poetry’ (Random House, 2013)
Follain, Jean In This Light, The Key & Works | ‘From Elsewhere’ translated by Ciaran Carson (The Gallery Press, 2014)
Glenday, John A Difficult Colour | ‘The Apple Ghost’ (Peterloo Poets, 1989)
Houellebecq, Michel Veroniqué & Grey House | ‘Unreconciled: Poems 1991-2013’ translated by Gavin Bowd (William Heinemann, 2017)
Longley, Michael Telling Yellow | ‘Angel Hill’ (Cape Poetry, 2017)
Oliver, Mary Blue Horses | ‘Blue Horses’ (Penguin, 2014)
Pizarnik, Alejandra le temps tombant … | ‘The Galloping Hour: French Poems’ translated by Patricio Ferrari & Forrest Gander (New Directions, 2018)
Ponge, Francis The Umbels & The Magnolia | ‘Unfinished Ode to Mud’ translated by Beverley Bie Brahic (CB Editions, 2008)
Sappho Fragment 6, 34, 54, 151 and 152 | ‘If Not, Winter: Fragments of Sappho’ translated by Anne Carson (Virago, 2002)
Södergran, Edith The Colours’ Longing & Violet Twilights | ‘Love & Solitude: Selected Poems 1916-1923’ (Seattle: Fjord Press, 1992) & ‘Dikter’ both translated by Stina Katchadourian (Helsinki: Holger Schildts Förlagsaktiebolag, 1916)
Woolf, Virginia Thursday 4 October 1934 | ‘The Diary of Virginia Woolf’ Vol. 4/1931-1935 (The Hogarth Press,1982)

Reading | Resources:
Literature
Marguerite Duras, Albert of the Capitals (Rough Draft) Translated by Linda Coverdale: ‘Wartime Notebooks’—the Pink Marbled Notebook—in The Lover, Wartime Notebooks, Practicalities (Everyman’s library, 2018)
Derek Jarman, Chroma: A Book of Colour (Century, 1994)
Quinn Latimer, Like A Woman: Essays, Readings, Poems (Sternberg Press, 2017)
Maggie Nelson, Bluets (Jonathan Cape, 2009)
Mary Oliver, an interview with Krista Tippet first broadcast as an edited extract on Radio 4’s ’Short Cuts’ programme by Josie Long. Find the full interview here: https://onbeing.org/programs/mary-oliver-listening-to-the-world-jan2019/

Visual Art
Stan Brakhage, The Text of Light (1974): ubu.com/film/brakhage.html
Aleks Danko, Here we turn everything into fun to kill time, 2003 & No! No! No! No More Museum of Créche Art – cut the boredom (after Bruce Nauman), 2019 https://suttongallery.com.au/artists/aleks-danko/
Graham Fagen, Our Shared, Common, Private Space, 2011 & Scheme for Consciousness, 2014: http://www.grahamfagen.com/works/year/2011
Derek Jarman, Blue (1993) https://www.tate.org.uk/art/artworks/jarman-blue-t14555
Yves Klein, IKB 79 (1959) https://www.tate.org.uk/art/artworks/klein-ikb-79-t01513
Ana Mendieta, Selected Film Works (1972-1981): http://www.ubu.com/film/mendieta_selected.html
Carolee Schneeman, Interior Scroll (1975): https://www.tate.org.uk/art/artworks/schneemann-interior-scroll-p13282
Carolee Schneeman & Mary Beatty, Interior Scroll – The Cave (1975 – 1979): http://www.ubu.com/film/schneemann_interior.html
‘When Home Won’t Let You Stay’: https://www.icaboston.org/exhibitions/when-home-won%E2%80%99t-let-you-stay-migration-through-contemporary-art

What is Sculpture? | To appear … … … radiant?


Alice Aycock, Maze: Aerial view (1972) black and white photograph.

Eight collections of ‘sculptural material’ — artists (a few examples of their work), historical and contemporary PDF documents of artist’s statements, press releases, interviews, web and library references — that may be of interest in relation to this years General Foundation fine art project, What is Sculpture?

1—’Chatter’
Aleks Danko, Wait … I think this is where I lost my hula-hoop (2017)

2—’This was at hand’
A.R. Penck, Standart – Modell (1972-73), Definition of Similarity (1970-71) and Untitled (1966)

3—Late works 1981-85
Ana Mendieta:
http://www.galerielelong.com/exhibitions/ana-mendieta3

4—Living and working in Scotland

Claire Barclay, Fault on the right side (2007)
https://www.clairebarclay.net/


Karla Black, Vanity Matters (2009)
https://www.tate.org.uk/art/artworks/black-vanity-matters-t13282
Kate McLeod (DJCAD Staff), Something Else (2014)
https://sculptors.org.uk/artists/kate-mcleod
Cathy Wilkes, Untitled (2012)
https://www.themoderninstitute.com/artists/cathy-wilkes

5—Jupiter Artland, West Lothian, Scotland.

Phyllida Barlow, Quarry—‘Two towering cement and steel columns and a mountainous flight of ruined stairs.’


Christian Boltanski, Animitas—‘Hundreds of small Japanese bells attached to long stems planted in the ground. The bells chiming to the wind let out the ‘music of souls’ and reproduce the map of the stars on the night Boltanski was born.’


Ian Hamilton Finlay, Only Connect—‘Northumbrian Limestone: arched bridge between two milestones each inscribed with the closing words of ‘Howards End’ by E.M. Forster.’ And, Xth Muse—‘Portland stone head on plinth. Sappho, the tenth muse, is the poetess of erotic lyricism and the symbol of love and beauty.’


Anya Gallaccio, The Light Pours Out Of Me—‘An underground chamber of amethyst surrounded by obsidian in its natural state, protected by gold barbed wire.’

6—A survey
Revolution in the Making: Abstract Sculpture by Women, 1947–2016.
An exhibition by Hauser Wirth & Schimmel, Los Angeles, 2016.
The Artists: Magdalena Abakanowicz, Ruth Asawa, Phyllida Barlow, Lynda Benglis, Karla Black, Lee Bontecou, Louise Bourgeois, Heidi Bucher, Abigail De Ville, Claire Falkenstein, Gego, Isa Genzken, Sonia Gomes, Francoise Grossen, Eva Hesse, Sheila Hicks, Cristina Iglesias, Rachel Khedoori, Yayoi Kusama, Liz Larner, Anna Maria Maiolina, Marisa Merz, Senga Nengudi, Louise Nevelson, Lygia Pape, Mira Schendel, Lara Schnitger, Shinique Smith, Jessica Stockholder, Michellle Stuart, Kaari Upson, Ursula Von Rydingsvard, Hannah Wilke, Jackie Windsor.

7—Documents
phyllida-barlow-vincent-fecteau.pdf
Francis Alÿs A to Z.pdf
Aleks Danko Wait…I think this is where I lost my hula-hoop_2017-2.pdf
Claes Oldenburg.pdf

8—Frieze Magazine
https://frieze.com/article/natascha-suder-happelmann-will-represent-germany-2019-venice-biennale
https://frieze.com/article/mrinalini-mukherjees-garden-earthly-delights
https://frieze.com/article/olga-jevrics-pioneering-experiments-abstraction-are-shown-london-first-time
https://frieze.com/article/i-want-liberate-full-life-interview-roger-hiorns

What is Drawing? | project reference and my notes

‘It’s not something we’re usually given to think about: What is it to draw? To make a drawing? To draw some thing, and to do so in some place. John Berger, in an essay in ‘Bento’s Sketchbook’ wrote: ‘We who draw do so not only to make something observed visible to others, but also to accompany something invisible to its incalculable destination.’ What do you think he meant?

The aim of this project is to encourage you to reflect on your current understanding and experience of drawing and to reconsider what drawing might be, as an activity in its own right, as well as what it might be used for.’

‘By starting out from one of the examples listed below we would like you to study and make a drawing from your discoveries.’—from the Project Brief: Albrecht Dürer, The Large Turf (1503); watercolour with body colour on paper | George Seurat, Femmes Avec Deux Filletes (1882-84); conté on paper | Piet Mondrian, Blossoming Apple Tree (1912); oil on canvas | Edvard Munch, Cabbage Field (1915); oil on canvas | Emma Kunz, Work no. 020 (1939); pencil, crayon and oil colour on paper | Mel Bochner, Wrap: Portrait of Eva Hesse (1966); pen & ink on graph paper | Ray Johnson, Nothing (1927-1995) | Mike Parr, 12 Untitled Self Portraits (1990); drypoint on paper | Janine Antoni, Butterfly Kisses (1996-99); Cover Girl Thick Lash mascara on paper | Alison Watt, Phantom (2008); oil on canvas | Joyce Cairns, Conversations with a Kestrel (2018); oil on board

Landfill – Forgetting | project reference and my notes

‘A Klee painting named Angelus Novus shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.’
— Walter Benjamin

‘The role of forgetting and remembering have changed, from a default of forgetting to one of remembering.
Technology (cheap storage, easy retrieval, global access …) has altered the culture and economy of remembering and ushered in the demise of forgetting. Everything, across generations and time, is now indiscriminately ‘remembered.’ The objects we think with into our past and toward our futures are increasingly dematerialised into digital environments, where, for instance, touch and smell are hard to come by.
But forgetting has been of central importance to our development, as individuals, as societies. It allows us to live in the present and think abstractedly, while if we were unable to forget, we would – as the philosopher E.M. Cioran noted in A Brief History of Decay – ‘be crushed by the weight of our memories.’
Is this happening?
And if so, what effect might this ‘remembering’ be having on us, as individuals, as a society?
How is it changing our social lives, our understanding of family, employment, Time and art?
And what might we learn from the material that we do discard, abandon, throw away and bury as waste? Landfill – that other archive; our material unconscious.

This project asks you to consider ‘the role of forgetting’ in society and make an artwork based on your reflections.’
— from the project brief.

Angel, Still Ugly

The strapline on the back page of the newspaper said, The Last Goodbye.
I was looking.
He was an ugly old man who had got on the train at Stonehaven.
Moving slowly – like the train is now – he gripped the table with both hands and lowered himself into a seat.
He had brittle pubic hairs growing out of the top of his nose, dirty spectacles, grey hair. I could feel the coldness
in his hands.
The previous occupant of the seat had left behind a big empty crisp packet and a travel ticket.
With clenched fists he violently punched these off the table into the seat opposite, clearing space for a newspaper.
And I wondered.
On how many other occasions in his life had he dealt with things
that he didn’t like, things that were in his way, things that he didn’t want to see,
occasions now forgotten,
by punching them into the seat opposite;
out of the room,
out of the ring.





What is colour – without Language? | project reference and notes

‘The title of this project has been adapted from a poem by the French writer Jean Follain.
Follain’s use of language, his sense of the miniature, the modesty of his subjects, and the relationship of his poems to memory have influenced its general outline – A project that asks you to think about colour as the material of art.
‘A small painting of seven apples by Paul Cézanne arrived in England in 1918. It sat in the hedge at the bottom of the farm lane leading up to Charleston, while the economist Maynard Keynes, who had acquired it from the sale of Edgar Degas’s collection in Paris, carried the rest of his luggage up to the house. Duncan Grant ran down to fetch it. From then on at Charleston, where Keynes left the Cézanne for a period, and then in Roger Fry’s studio, where it also lodged for a while, it became the object of intense scrutiny. ‘What can six apples not be?’ Woolf asked, miscounting the apples in her amazement at the attention this small painting attracted. She wanted to understand its power, for as her diary entry records, the apples seemed to get redder and rounder and greener, while the other paintings in the room seemed to recede, to pale into insignificance.’
(Frances Spalding, Virginia Woolf: Art, Life and Vision. National Portrait Gallery Publications, 2014.)

By starting out from one of thirty (30) poems/pieces of writing selected for you to study (by John Berger, Charles Baudelaire, John Berryman, Elizabeth Bishop, Paul Bowles, Geraldine Connolly, Jean Follain, John Glenday, Geoffrey Hill, Michel Houellebecq, Kathleen Jamie, Jane Kenyon, Hester Knibbe, Michael Longley, Mary Oliver, Francis Ponge, Marion Poschmann, Rainer Marie Rilke, Edith Södergran, Katherine Towers, Natasha Trethewey and Virginia Woolf) we would like you to study the question, what is colour? within the context of a fluid understanding of the landscapes of language and technology, and in particular, the visual and critical languages of fine art … … and make an artwork out of your discoveries, the only stipulation is that it starts out from your response to one of the pieces of writing provided.’

(from ‘What is colour – without Language?’ The third of three first semester Fine Art studio projects; General Foundation in Art & Design, DJCAD, University of Dundee.)


And complementing my reference to comments that Geoffrey Hill made in an interview:

‘In my view, difficult poetry is the most democratic, because you are doing your audience the honour of supposing that they are intelligent human beings. So much of the populist poetry of today treats people as if they were fools.’
And Hill continued …
‘We are difficult. Human beings are difficult. We’re difficult to ourselves, we’re difficult to each other. And we are mysteries to ourselves, we are mysteries to each other. One encounters in any ordinary day far more real difficulty than one confronts in the most ‘intellectual’ piece of work. Why is it believed that poetry, prose, painting, music should be less than we are? Why does music, why does poetry have to address in simplified terms, when if such simplification were applied to a description of our own inner selves we would find it demeaning? I think art has a right—not an obligation—to be difficult if it wishes.’

… further related arguments may be found in this article by Rebecca Watt – https://www.pnreview.co.uk/cgi-bin/scribe?item_id=10090 – taken from PN Review 239, Volume 44 Number 3, January – February 2018.