First we explored the Tate Liverpool.
Claude Parent; Wolfson Gallery.
The gallery had slanted floors and ramps, giving the viewer a whole new way to view the art works in a different space.
Carlos Cruz- Diez, Physichromie No.123, 1964
This work forms part of a series in which the artist demonstrates the way colour changes according to perception.
I liked the holographic affect, the geometric structure and overall aesthetic quality about this piece. I also think the connection to individual human presence is an intriguing connection with the viewer.
Roy Lichtenstein, Moonscape, 1965, Screenprint on plastic.
I was also attracted to the holographic affect of this image. The way the image looks like ripples on the background. It could look like a satin fabric.
TATE COLLECTION DISPLAY - PART OF A NEEDLE WALKS INTO A HAYSTACK- SECOND FLOOR:
Mary Martin, Inversions, 1966, Aluminium, oil paint and wood.
This work focuses on reflections. The way that each of the planes is angled is created with the human viewer in mind- as the viewer passes by the mirrored panels reflect a fragmented image.
The way the artist combines human presence, reflection, passing of time and perspective is impressive. Also the materials used is aesthetically pleasing- relating to my practise.
Nigel Henderson, Untitled No.8 (shattered Glass) 1959. Photographs, gelatin silver print on paper and ink paper.
I love the precision in this piece, and the composition and structure. I think i'm quite attracted to aesthetically pleasing imagery with precision and this has the perfect variation in line depth and structure.
Next place we visited was Fact. Featuring Sharon Lockhart. Podworka, 2009, film. There were some other photographs, sculptural installation text works, and a new film commissioned by the Biennial. I watched the films and thought they were mesmerising and quite hypnotic in a way.
We also visited the Bluecoat, featuring James McNeill Whistler. I didn't like that at all. It was so boring.
We finally visited Group Show, in The Old Blind School. The place itself was more interesting than the art. It had a strange nostalgic, spooky aura about it. It was crumbling down, layers of wall exposed, a horrible cold feel and old smell. Left for years. It created a sense of the uncanny.
A particular piece that really creates this sense of the uncanny for me was Micheal Stevenson- Strategic - level spiritual Warfare 2014. Using Doors, steel frames, pneumatic controls, compressed air, computing hardware, software, display screens, posters, amplified sound. The viewer was encouraged to walk through the doors which set off the whole thing in motion. Although this has nothing to do with what I want to create, it 's just kind of weirdly interesting.
The building was definitely a strange place. Interesting, but not where I would put an exhibition myself.
Overall, liverpool itself was amazing. The whole feel of the city was a lot more inspiring than the art itself, although I have taken some art inspirations from it.
No comments:
Post a Comment