Museum, Studio Gallery visits;

The Vatican Museum 13/04/17

The National Modern Art Museum Rome 14/04/17

BIBLIOGRAPHY Last accessed 18/04/17 Last accessed 18/04/17 Last accessed 18/04/17 Last accessed 18/04/17 Last accessed 18/04/17 Last accessed 18/04/17’s-photographic-sculptures Last accessed 18/04/17 Last accessed 18/04/17 Last accessed 18/04/17 Last accessed 18/04/17 Last accessed 18/04/17

James Gilbraith (2014). Terminal Chancer Silver seasons Atlantic Salmon. Great Britain: The Guild of Reason1-170. 1-170.

James Gilbraith. (2014). Terminal Chancer Silver seasons Atlantic Salmon. Available: Last accessed 06/03/2017.

Tony Oursler. (). Tony Oursler. Available: Last accessed 13/03/2017

Reserve channel. (1 may 2014). Tony Oursler Art in Progress. Available: Last accessed 13/03/2017. Last accessed 18/04/2017

artnet. (). James Welling. Available: Last accessed 20/03/2017. Last accessed 18/04/17 Last accessed 18/04/17

Raynal Pellicer (2010). Photobooth The Art of Automatic Portrait. New york: Abrams. Susan Hiller 140-145.

Edited by Ann Gallagher (2011). Susan Hiller. London: Tate publishing. 1-191

Peter Clothier (1995). David Hockney Modern Masters: Abbeville. 1-127. Last accessed 18/04/17 Last accessed 18/04/17 Last accessed 18/04/17




La Galleria Nazionale Rome.


During my Visit to Rome I wanted to visit the Museum of Modern Art.

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I wasn’t sure what to expect but had read some great reviews of the Museum. I took only a few photographs.

The exhibition, whose title quotes a verse from William Shakespeare’s Hamlet—“The time is out of joint”—investigates the notion of time in its fluidity, non-linearity, and stratification; a fragmented time which seems to embody art historian Hans Belting’s dilemma “the end of the history of art, or art’s freedom.”

Antonio Canova

In this exhibition time needs to be realigned, or “set to rights,” by weaving new, unexpected relationships in the symbolic space of the museum in a sort of simultaneous coexistence. These are relationships that shun the orthodox and codified laws of chronology and history (of art), but move free and unencumbered in a sort of anarchy which, as upheld by a certain feminine tradition I embrace, has nothing to do with disorder but invokes something else that comes before rules. Time is Out of Joint offers a dissent, a disobedience, a subversion so natural that as Edmond Jabès describes, it is “one of the privileged moments when our precarious balance is restored” and a tiny opening appears. A point source and a persistence that defeats all chronological certainty and introduces a plastic temporality that behaves like the Higgs boson, depending therefore on our gaze. And in a true work of assembly, with the partiality that every choice or selection entails, it topples chronological historical time; anachronizes past, present and future; and reconstructs and decants a different time, while emphasizing intervals and durations, advances and setbacks. A time rife with faults, fractures, voids, fits and starts, suggesting numerous combinations like those that Time, without hesitation, exposes to the light of day. We move in space through the viewing rooms and the works, where the images are fixed in simultaneous interaction, as if both prequels and sequels: a cinema in reverse, where “photography” or vision plays a key role in crystallizing and withholding tensions so fertile even in their restrained presence. “Time” reveals a cinematographic tempo, a story, a flow of memory, an anticipation of what will be, and tries to resemble us more than an art history text can do.

A linear vision of history is utterly abandoned: in the exhibition rooms artworks are present as sediments of the long life of the museum, and those from different centuries coexist in the same space, from Antonio Canova, Giacomo Balla, Alighiero Boetti, Alberto Burri, Giuseppe Capogrossi, Paul Cézanne, Giorgio De Chirico, Marcel Duchamp, Lucio Fontana, Alberto Giacometti, Francesco Hayez, Gustav Klimt, Joseph Kosuth, Jannis Kounellis, Amedeo Modigliani, Piet Mondrian, Vincent van Gogh to Marion Baruch, Cristina Lucas, Adrian Paci, Alessandro Piangiamore, Luca Rento, Sophie Ristelhueber, Davide Rivalta, Jeff Wall just to mention but a few.


I really loved my visit and the Exhibition was fascinating. I really liked what the collection in the Exhibition represented and the mix of  Ancient and Contemporary sculptures, photography and Paintings.  I was reminded of a lecture in which my Tutor Jamie had said that all Art was Contemporary in the time it was made and I couldn’t agree more. There wasn’t anything that felt out of place.

What I will personally take away from the experience is not to hold back with my exploration in processes and experimentation.




Exploring Photography and Digital manipulation artists and Effects.

James Welling born 1951 is an American Conceptual Artist and self taught Photographer that experiments with a variety of different  Photographic Mediums. I have been trying to look for a Digital Artist that best resembles some of the work I have been experimenting with when I came across this image which inspired me to do more layering of photographs involving different light and colour.

James Welling has been questioning the norms of representation since the 1970s. His work centers on an exploration of photography, shuffling the elemental components of the medium to produce a distinctly uncompromising body of work. Welling is also intensely interested in cultural and personal ideas of memory in his work. In opening up the medium of photography for experimentation, Welling’s practice has influenced an entire generation of artists and photographers.

Welling was born in 1951 in Hartford, Connecticut. He studied at Carnegie Mellon University and the University of Pittsburgh and received his B.F.A. and M.F.A. from the California Institute of the Arts in Valencia, California. Since 2005, his work has been represented by David Zwirner. In 2015, James Welling: Choreograph marked his sixth solo show at the gallery in New York.

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I have also been looking at Wolfgang Tilmans born 1968 a German Fine art photographer and his portrait photography.

Wolfgang Tillmans

Born in 1968 in Remscheid, Germany, Wolfgang Tillmans studied at Bournemouth and Poole College of Art and Design in Bournemouth, England from 1990 to 1992. In 2000, Tillmans was the first photographer and first non-British artist to receive the Turner Prize, an award given annually by Tate in London.

Few artists have shaped the scope of contemporary art and influenced a younger generation more than Wolfgang Tillmans. Since the early 1990s, his works have epitomized a new kind of subjectivity in photography, pairing intimacy and playfulness with social critique and the persistent questioning of existing values and hierarchies. Through his seamless integration of genres, subjects, techniques, and exhibition strategies, he has expanded conventional ways of approaching the medium and his practice continues to address the fundamental question of what it means to create pictures in an increasingly image-saturated world.

Wolfgang Tillmans: Lighter

American born 1940, Contemporary artist Susan Hillar and her use of Photography and Projection Installation in her work.

Susan Hiller has been based mainly in London since the early 1960’s. After several exhibitions of her paintings and a series of collaborative ‘group investigations’, in the early 1980’s she began to make innovative use of audio and visual technology. Her groundbreaking installations, multi-screen videos and audio works have achieved international recognition and are widely acknowledged to be a major influence on younger British artists.

Each of Susan Hiller’s works is based on specific cultural artefacts from our society, which she uses as basic materials. Many of her works explore the liminality of certain phenomena including the practice of automatic writing (Sisters of Menon, 1972/79; Homage to Gertrude Stein, 2010), near death experiences (Channels, 2013), and collective experiences of unconscious, subconscious and paranormal activity (Dream Mapping, 1974; Belshazzar’s Feast, 1983-4; Dream Screens, 1996;Psi Girls, 1999; Witness, 2000). In describing this area of Hiller’s work, art historian Dr. Alexandra Kokoli draws attention to its palpable political subtext: “Hiller’s work unearths the repressed permeability … of … unstable yet prized constructs, such as rationality and consciousness, aesthetic value and artistic canons. Hiller refers to this precarious positioning of her oeuvre as ‘paraconceptual,’ just sideways of conceptualism and neighbouring the paranormal, a devalued site of culture where women and the feminine have been conversely privileged. Most interestingly, in the hybrid field of ‘paraconceptualism,’ neither conceptualism nor the paranormal are left intact … as … the prefix ‘para’ -symbolizes the force of contamination through a proximity so great that it threatens the soundness of all boundaries.”

I love the use of light, Colour and distortion in the images and projections.

Auras; Homage to Marcel Duchamp.

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Susan Hiller, 'Psi Girls' 1999

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Dianne Arbus Twin Photography.

One of my tutors Pete suggested I should look at photographer Dianne Arbus because Arbus was known for her photographs of Marginalised people and took some great photographs of Twins.

Diane Arbus (born Diane Nemerov, 1923–1971) was an American photographer whose work captured 1950s and 1960s America and transformed the art of photography.

‘Nothing is ever the same as they said it was. It’s what I’ve never seen before that I recognize.’
Diane Arbus

Diane Arbus was born in New York City and found most of her subjects there. She was a photographer primarily of people she discovered in the metropolis and its environs. Her ‘contemporary anthropology’ – portraits of couples, children, carnival performers, nudists, middle-class families, transvestites, people on the street, zealots, eccentrics, and celebrities – stands as an allegory of postwar America and an exploration of the relationship between appearance and identity, illusion and belief, theatre and reality.

For Arbus, photography was a medium that tangled with the facts. Many of her subjects face the camera implicitly aware of their collaboration in the portrait-making process. In her photographs, the self-conscious
encounter between photographer and subject becomes a central drama of the picture

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While professionally continuing to thrive in the late 1960s, Arbus had some personal challenges. Her marriage to Allan Arbus ended in 1969, and she later struggled with depression. She committed suicide in her New York City apartment on July 26, 1971. Her work remains a subject of intense interest, and her life was the basis of the 2006 film Fur, starring Nicole Kidman as Arbus.

Moving on I hope to replicate and experiment with some of the Arbus style photography portraits with Paige and Taylor. Here are a few I took this week. I tried to replicate the Face to Face twin photography using Paige and Taylor and got an interesting photograph that looks like a mirror image.



Tutorial 07/03/2017

Today Kim asked me how I was getting on with my New Blog and we talked about Harvard referencing and using Neil’s tool box to help reference it properly. I showed Kim what I had done so far with the Paper Photographic structures and how I had been looking at David Hockney for inspiration for the arrangements of the photographs. I talked to her about how I hope to look at various block sculptures this week and how I want to experiment with them. We talked about when the best time to get Paige and Taylor my identical Twins daughters in to college to cast their faces, hands and feet.

Next week I will be experimenting with Projections for the videos and this weekend I will start extending the photographs with a photoshoot of the girls at home.

I need to extend my Contextual research and evidence development.  I need to explore further potential for Materials that I want to work with as well as Artists that inspire me and make sure I keep referring to them in my blog posts.

James Gilbraith 2/3/17

James Gilbraith is the Author of Terminal Chancer Silver Seasons Atlantic Salmon and also set up website.

A book about passion and hope at the waters edge.

James was just like what I had imagined him to be, he was a down to earth broad Lancastrian, very humorous, enthusiastic and happy to talk about his book. He told us of how he started to write the book almost 20 years in the making but it only truly evolved after Danny a friend and Illustrator spurred him on with his praise and enthusiasm, otherwise it may never have been accomplished . James would set aside time in the evening after a long day at work and after settling the kids to bed. He would work on it at least a couple of hours a night, unless his creativity was on a roll and before he realised it would be the early hours of the morning. James prefers to call this book a piece of Artwork as his approach to writing it was much the same as an artist will approach an Art piece.

He hopes that in the future he will purchase back the books from all over the world and display them in a gallery like a piece of work. James also funded the book like an Artist would and he paid for the publishing by selling his watch. James also collaborated with Illustrator and T-shirt designer Daniel Davidson using his illustrations in the book.

I have to admit that I haven’t read all the book yet but what I have read shows promise of a great book. I will make it my goal to update this post when I have finished it.

Reading Group

A book about passion and hope at the waters edge.

I am taking part in a small group trial every Wednesday to help with critique and improving my written language skills. So far I have only attended one session.  The book we are currently reading and discussing is Terminal Chancer silver seasons Atlantic salmon by James Gilbraith. I am at a disadvantage that I have no idea what is going on as I had missed the first session due to attending the making rooms. I have borrowed a copy of the book and will try to catch up at home. In a group Jamie asked us to take some words from a sentence to discuss it.  It was interesting how our ideas of what pictures come to mind with the sentence differed from each other and I think this another way Jamie wants us to think about our work and how people perceive it in different ways. They are hoping to get the author in to talk about his book which will be interesting to see how the author and the book compare and what his inspiration was for writing it. The illustrations in the book are really good and are done by Danny Davidson with 2 Collages done by Christopher Aughton.