Modern & Contemporary Art

specialises in framed modern and contemporary art by 20th century artists


Can it be allowed by the law to sale oil painting duplication in Canada?

It’s prohibited you should market a replicated from your performer assist no initial designer authorization. That may be Trademark breach. There are plenty of variables, however. … Refering from others’ artworks like photographs, and instagrams, can be a element and copying total piece of art an additional.

Is dependent how prolonged in the past the original piece of art was created. Typically, copyrights lengthen until finally 70 yrs pursuing the artist’s death. So, picasso (or his family) still hold copyrights to his works. Da Vinci’s, no.

There are plenty of the complete technique of art work copyright and forgery infringement that concerns the reproduction of gas components of craft. The trademark regulations and lawsrules and regulations is distinct among states within the You.S. even so there is absolutely no trademark violation that concerns a artwork 70 yrs carrying out a death from the designer.

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Absolutely nothing inhibits you from artwork “inside the design” of another musician, neither does anything at all prevent you from piece of art the identical arena/subject matter, inside the identical perspective. A painstaking copy is simply that, however: a replicated – whether or not made by computerized skim or perhaps the conventional way, by palms. Exams in which volume of likeness comprises an breach may vary by authority.

Is painting reproduciton illegal

Published by Delores Jackson, on May 18th, 2019 at 6:15 pm. Filled under: UncategorizedNo Comments

Could it be legal to sale oil painting copy in United states?

There are numerous the full technique of artwork copyright and forgery infringement that concerns the reproduction of gas components of craft. The trademark regulations and lawsrules and regulations is unique among states inside the You.S. even so there is not any copyright laws violation that pertains to a artwork 70 yrs carrying out a perishing in the performer.

_Giovanni_-_Staircase_painting_in_the_W├╝rzburg_Residence

It’s prohibited that you need to market a replicated in the musician deal with no initial designer consent. That could be Trademark infringement. There are plenty of variables, however. … Refering from others’ artworks like pictures, and instagrams, is actually a aspect and copying comprehensive piece of art one more.

Will depend on how extended back the original artwork was created. Usually, copyrights lengthen until finally 70 yrs after the artist’s perishing. So, picasso (or his family) still hold copyrights to his works. Da Vinci’s, no.

Absolutely nothing stops you from artwork “inside the fashion” of a few other performer, neither does anything at all keep you from piece of art precisely the same picture/issue, inside the identical perspective. A painstaking copy is simply that, however: a replicated – whether or not manufactured by electronic digital skim and even the standard way, by hands and wrists. Assessments where level of likeness comprises an infringement varies by legal system.

Is oil reproductions illegal

Published by Delores Jackson, on May 17th, 2019 at 2:24 am. Filled under: UncategorizedNo Comments

My initial opinions on Francoise Nielly’s Art work

She has discovered the numerous elements of “picture” all her existence, by way of artwork, roughs, virtual, photography and illustrations, laptop or computer created cartoon visuals. It is actually obvious given that artwork is her path and her desire.

Francoise Nielly’s piece of art is expressive, demonstrating a brute push, an amazing crucial power. knife and Oil mix shape her photos from the fabric that may be , simultaneously, biting and carnal, incisive and sensual. Whether or not she paints your body or portraits, the musician has a chance : her piece of art is erotic, her colours totally free,surprising and exuberant, even incredible, the lower of her blade incisive, her coloration pallet stunning.

Its abstract with funky colours. That’s my first impressions on this piece of work. It displays dark areas in which more dark shades are, and light-weight where by less heavy hues are. In my opinion its too colorful, however. I prefer just a few colours. Alternatively, just dark colours.

Because you can see the brush strokes, and the rough colour blocks, the piece of work looks rough textured. Its diverse to a lot of designers who sleek out their remember to brush cerebral vascular accidents, and who merge their shades. I really like the abstract impact it presents.

In her own personal way, Francoise Nielly paints a persons deal with in all of his works of art. And she paints it over and over yet again, with slashes of fresh paint throughout their deal with. Instances of daily life that develop from her artwork are given birth to coming from a clinch together with the material. Shade is released just like a projectile.

Francoise Nielly day-to-day lives within a arena of photos.

She will get her sensation of construction and space from her daddy, who has been an designer. Being raised from the Southern of France exactly where she existed involving Saint and Cannes-Tropez, is rarely far away from the lighting, the hue sensation and also the surroundings that permeates the Southern of France. This can be along with her scientific studies along with her reports in the Beaux artistry and Ornamental Artistry, and her spontaneity as well as party.

Published by Delores Jackson, on May 16th, 2019 at 2:31 am. Filled under: UncategorizedNo Comments

Canvases of colorful faces certainly are a must-see

Francoise Nielly’s piece of art is expressive, demonstrating a brute push, a remarkable crucial vitality. knife and Oil mix develop her pictures from your substance that is certainly , concurrently, biting and sensual, incisive and carnal. Regardless of whether she paints the body or portraits, the designer has a danger : her piece of art is sex, her colours free of charge,surprising and exuberant, even incredible, the lower of her blade incisive, her colour pallet stunning.

She becomes her experience of construction and space from her daddy, who had been an designer. Being raised from the To the south of France in which she existed in between Saint and Cannes-Tropez, is rarely far away from light, the hue perception along with the ambiance that permeates the To the south of France. This can be in conjunction with her research along with her scientific studies with the Beaux artistry and Elaborate Disciplines, and her spontaneity and also of party.

In the individual way, Francoise Nielly paints a persons experience in every one of his artwork. And she paints it over and over once more, with slashes of color all over their deal with. Times of existence that develop from her works of art are brought into this world coming from a clinch with all the fabric. Colour is released similar to a projectile.

Francoise Nielly day-to-day lives inside a arena of pictures.

Its abstract with funky colours. That’s my first impressions on this piece of work. It demonstrates dark areas in which deeper shades are, and light-weight in which less heavy hues are. In my opinion its too colorful, however. I prefer just a few colours. Alternatively, just dark colours.

She has investigated the numerous elements of “impression” all her daily life, by way of artwork, virtual, illustrations, roughs and photography, personal computer produced computer animated visuals. It is actually very clear seeing that piece of art is her course and her enthusiasm.

Because you can see the brush strokes, and the rough colour blocks, the piece of work looks rough textured. Its distinct to a lot of designers who easy out their remember to brush cerebral vascular accidents, and who combine their colors. I really like the abstract impact it presents.

Passionate French Francoise Nielly

Published by Delores Jackson, on May 15th, 2019 at 9:43 pm. Filled under: UncategorizedNo Comments

Francoise Nielly original paintings

In her own way, Francoise Nielly portray an individual’s face in every of his drawings. And then she paints it consistently, with slashes of paint all over their face. Moments of daily life that pop up from her works of art are created using a clinch with the canvas. Color choice is formed to be a projectile.

In Francoise Nielly’s work, she would not use any modern tools and uses only oil plus palette knife. The colors are scattered roughly on the canvas and turn into a really impressive work. Her portraits encapsulate potency of colour like a fantastic method of experiencing life. The notion and form are just beginning factors.

Nielly indicates a protective research for impression and becomes an intuitive and wild target of expression. As soon as you close your eyes, you probably would not imagine a face, which has colors, though if you consider it very closely, everything gains a form via our desires. The most anxious soul can get colors, that happen to be covered but always alive. Most people believe in a portrait, there’s always a harmony that runs away, however in my estimation, every meaning is printed in their face. Eyes get sins and passion, a smile opens enjoyment or even a decisive lie, and glowing colorings reveal choices without excessive movement.

Francoise draws lines to find elegance, emotion, while focusing of memories. Pretty much every portrait symbolizes a sense of happiness and depression. When we discover these types francoise-nielly forest of sensuous, expressive and tremendous drawing, we understand that focus can touch sincerely inside a look, at a gesture, in position that identifies ones methods for being. The shades are why are Nielly’s art so realistic and natural and it is extremely hard not to enjoy her subjects. Several could be inspirations, which often dancing inside such sensibility, and lots of perhaps be the interpretations which are portrayed. ?Have you ever questioned yourselves how essential this is of having colors? You may have been curious about how important it may be to tame this kind of colorings?

Did you adore Francoise Nielly’s paintings? Would you like to buy a portrait painting from the painter? I don’t know if Francoise receive commission job? But in the case she do, i bet the price will be very expensive as most of her artworks sell $10,000 to $30,000. Then, basically, it is almost extremely hard to let Francoise Nielly create your portrait, nonetheless, guess what happens, our experienced artists can! We are able to create your image exactly like Francoise Nielly do!

Art pieces by painter Franoise Nielly employ a real depth that project out of each one composition. Having perfected palette knife art techniques, the painter applies heavy strokes of oil on canvas combine a specific abstraction into these figurative paintings. The paintings, which are based away basic black and white photographs, feature serious light, shadow, deepness, and lively neon colours. According to her bio on Behance, Nielly carries a risk: her portrait is sexual, her styles free, joyful, unusual, even powerful, the cut of her knife incisive, her coloring pallete stunning.

Francoise Nielly is surely an artist described as challenging and complicated techniques making charming and very important energy and strength.

Published by Delores Jackson, on May 9th, 2019 at 8:15 am. Filled under: UncategorizedNo Comments

Everything is marked by difference or duplication.

We could say that Graham’s demonstrator, this machine in which we see him demonstrate for himself the possibility/impossibility of this event, this little stunt whereby he attempts to give himself an experience, marks nothing other than a structure of reproduction. Thus, I recommend that, later on, you too go and see for yourselves. And what you will see – first and last – will be an image, the inscription of a scene which opens and closes – like a mirror – upon itself.

Outpost Art Gallery

In the first and last analysis, what you will have had to face up to, come face-to-face with there, in the depths of a mirror whose abyssal effects labour to return you – but not only you – to yourself, is the revelation that “the ghostly is not far away.” (1) In other words, in a situation “given” as live and direct – and you only have to listen to Graham himself when he says that the mirror “simply reflects (statically) present time,” or “the symmetry of mirrors tends to conceal or cancel the passage of time,” or “video is a present-time medium. . . . The space/time it presents, is continuous, unbroken and congruent to that of the real time which is the shared time of its perceivers and their individual and collective real environments” – one comes to be set upon, that is to say carried away, deported by a relation with a certain experience of nothingness, of the nonexistent. In a word: something spectral.

X, Y, Z, and U exhibition

Oddly enough, in his book titled Dan Graham’s Kammerspiel, Jeff Wall speaks of a spectre, or to be more precise, of a certain disembodied, theoretical being: the vampire. (2) Without commenting further on Wall’s text – which I support insofar as it raises the issue, within the context of a thinking of architecture, of the quasi-logic of the phantom and of the crypt – it will suffice to say that it calls, to this reader at least, for another “ghost story,” another spectral reading which would no longer be derived from or necessarily refer to the traditional reserves of Romantic literature; rather, the “law of the phantom” would be the result of one’s contact, or as they say, one’s hooking up with the modern technologies of reproduction. (3)

In short, I would have to say that Graham’s constructions, his large-scale models or demonstrators are indeed haunted. Looking at the cover illustration for Video-Architecture-Television – an image of Mirror-Window-Corner Piece (1976) – we are presented with nothing less than a disorienting play of mirror effects. Given this bewildering profusion of reflections, superimpositions, ghostings, one can begin to appreciate why, when it comes to analyzing Graham’s constructions, one might be convinced that the logic of identity, the order of presentation, re-presentation or reproduction, should be replaced by the “spectral experience,” by “the memory of the phantom,” of that which, like Wall’s vampire, “is neither alive or dead, but exists in an accursed state of irremediable tension and anxiety.”

Published by Delores Jackson, on April 30th, 2019 at 9:00 am. Filled under: UncategorizedNo Comments

Therrien’s wall reliefs

Therrien’s wall reliefs, by their dual, ambiguous status as paintings/sculptures are well equipped to mediate between real and imaginary space. The reliefs partake of the potentiality that is central to drawing as an activity. In their case the white wall becomes an imaginary ground analogous to a blank sheet of paper, that functions as a matrix of silence and potentiality from which the image crystallizes. The habitual sparseness of Therrien’s exhibitions, the way he likes to surround his sculptures with a good deal of empty space, contributes to the interiority of the work, to its feeling of suspension, and to its dual sense of internal concentration and spaciousness. Generally, in Therrien’s art the contours of the sculptures are more accentuated and defined than the interior areas. The schematic nature of his shapes in contrast to the objects’ subtly moulded or inflected volumes and surfaces, supports a dual sense of abstraction and corporeality. Distributed in the gallery space the objects appear as discrete yet morphologically resonant individuals. Their partial abstractness is reinforced by the atopic abstractness of the white gallery space itself. By virtue of their discreteness as objects, by their ambiguous status as nouns and as verbs (“Keyhole” (1995), for example, represents equally a thing, an empty space, and the act of looking (1)), and by the sense of suspension which operates in the work in various ways, Therrien’s objects become endowed with an augmented metaphoricity that invites imaginative engagement and speculation.

Often Therrien’s sculptures are cued to actual things in his immediate surroundings, things that happen to suggest formal conundrums, or that trigger fantasies and memories whether of other artworks or of personal experiences. Occasionally, too, works are prompted by stories read. Therrien likes fiction and poetry that relies heavily on visual descriptions of things to convey a character’s emotional life or situation, such as in the poetry of Robert Creeley, the stories of Willa Cather and the fiction of Steven Millhauser. These descriptions, true to his own sculptures, are not detailed but are kept as simple and general as possible.

Queen’s Nails Annex in conjunction with the Outpost for Contemporary Art

Outpost ARt at Worky

While it would be a mistake to overemphasize the impact of personal memories on Therrien’s iconography, as this would upset the balance that holds in his work between its formal/structural and its psychological aspects, I want to isolate a certain thematic strand that runs through his work and contributes a definite psychological valence to it. I am referring to certain images in the work that belong to traditional religious iconography – a coffin; a chapel; a gothic arch; a red demon; a primitive head with a halo; a silver tray bearing the cameo silhouette bust of an anonymous person, which conflates aspects of the memento and votive object; an angular construction that reads as a gantry or a scaffold (with connotations perhaps of the child’s word game “Hangman”), or else as a truncated cross; and, finally, an image nicknamed the “Dutch Door” (1996) that (especially in its graphic version) smuggles in a disguised cruciform under the mantle of its constructivist, emblematic formality. From these examples I would argue that there are various coded traces in Therrien’s work of an interest in the sacred and that the subterraneity or guarded position of this interest reflects the problematic status of the sacred, its unspeakability, in our culture. The problematic status of the sacred today is signaled and aggravated by its almost total eclipse from high-brow culture and its betrayal in popular culture through the tragic polarization of its belief structures between brute materialism and antediluvian fundamentalism. I would suggest that Therrien’s art seeks to dissolve this unfortunate dichotomy and that it mediates between sacrality and banality.

Published by Delores Jackson, on April 27th, 2019 at 10:56 pm. Filled under: UncategorizedNo Comments

Emmanuelle Leonard

Emmanuelle Leonard is one seductive grifter of a photographic artist. Why, you ask? Because she lures us into a psychological space where we want to believe her dramatic fictions are true. Once we cross the threshold into her consummately pieced together maze of photographic and filmed evidence, it is hard to retrace our steps. She preys upon our willing suspension of disbelief, while putatively presenting an examination of the “unemotional” realm of police photography. Leading us into her labyrinth, she makes us believe a lurid story that might have been torn from the pages of the Quebec tabloids.

A truck driver has plowed his rig off the road and it has sunk beneath the icy waters of a river. The owner of a suburban home near the scene of the tragedy appears on the news. With just a few colour photographs, Leonard kick-starts her brilliantly layered con game. What exactly happened, and why? A wall of large, spooky black-and-white images of the outside of an abandoned building not only convinces us that something is amiss, but even that we are implicated in the narrative, as police detectives or, better, as stealthy perps at the periphery of our very own dirty story. The associated video further implicates us, as we move with the camera down darkened roads to arrive at what seems like the same building we saw in the black-and-white photos, this time looking as if it has arrived from the set of the Blair Witch Project or David Lynch’s Twin Peaks (the velvet curtain black, not red). Leonard also shows an enlarged photocopy of evidence she acquired while visiting the Quebec evidence archives.

Emmanuelle-Leonard-Drowning

In her previous series, Les travailleurs (2002), Les travailleurs de l’eglise Sainte-Rita, Nice (2003) and Les marcheurs (2004), Leonard worked towards a critical practice in which both the photographic image and the role of the observer as conspirator were her primary subjects. The artist deftly performs triage on the history of photography and the credulous propensities of her viewers concerning exactly what it is they are looking at. As a custom oil painting gallery, Paint My Photos took a few orders about turning Emmanuelle Leonard’s photography into oil paintings. They turned out to be high in demand in the market today for this kind of business mode. Accoding to Matt, the manager, they are now reaching out to contact a large number of great artists to work together.

Leonard focuses on the conventions of police photography to question its unexamined doxa: that emotion is always gratuitous–a contaminant, a dirty word. Apparently, to be effective in court, the police photography must insist on absolute objectivity and objectifying norms: “The photograph must not appeal to the emotions” states the Field Evidence Technician Course (a reference volume from the California State University that can be found online). But Leonard gives the lie to this doctrine. She very ably demonstrates that subtracting emotion from the photographic image is well nigh impossible. Some vestiges of subjectivity will always be transposed there by the voluptuous optic of the viewer. That her work palpably sends a frisson up and down your spine proves her right.

Emmanuelle-Leonard-Accident

Leonard gained access to the archives at the Quebec City courthouse, but was granted no special privileges. She was allowed, like other members of the public, to examine items of evidence from closed cases, including police photographs, but was able only to photocopy the photographs. Still, these documents served her purpose well. Using the images against themselves, she undermines our faith in their supposed objectivity, and involves us in a fragmented, atmospheric narrative that is as fraught with feelings–fear, anxiety, intrigue, surprise-as it is exacting.

Elsewhere, equipped with a portable radio, a latter-day Weegee in the Naked City, Leonard drives through the night seeking sudden confrontation with the tragic and the profane. It is no exaggeration to suggest that Leonard is Weegee’s spiritual heir (by way of Abigail Solomon-Godeau), but she puts the image on trial in a way he never did. Her eye is as unflinching in the face of horror as it is unswervingly fixated on it.

Presumably, Leonard has looked long and hard at Weegee’s work. In New York, Weegee was the first photojournalist permitted a police radio in his car, and he would often arrive at the scene of the crime before the police, as if he had used a Ouija board to predict the crimes. Leonard, like Weegee, eavesdrops, as noted, on police communications, and seeks out sad stories in the wake of their denouement. Her noir-style photoworks effortlessly conjure up moods and capture the raucous music of the night.

What we are immersed in is a police procedure with overtures of the supernatural horror we find in fiction. With all the evidentiary detail she provides, Leonard makes us want to believe. By shifting the onus onto us to construct a tale from the “evidence” she provides, she shows that it is impossible to remain neutral in the face of the tremendum, the nameless Other, that her work so beautifully evokes.

Annie-MacDonnell-Mount-Wadd

Published by Delores Jackson, on August 2nd, 2015 at 10:06 am. Filled under: artistsNo Comments

Edge 88: Britain’s first biennale of experimental art in Clerkenwell

Edge 88 was Britain’s first biennale presenting artists working in experimental media, both performance and installation work, which has neither the availability nor historical context of sculpture or painting. The event was housed in churches and in the relatively young galleries which have sprung up in the East End of London over the past few years.

I wonder if such locations were the most diplomatic, considering the hostility already experienced by experimental art. What were the cultural intentions of the organisers in terms of the community as an audience as opposed to an art-educated elite? Much of the work was made specifically for the event and intended locations.

Helen Chadwick‘s piece Blood Hyphen, an installation, was made for the Chapel of the Clerkenwell Medical Mission. I found this piece far too reliant upon the ambiguity of the name of the church; the red tape, on the floor, guided you up the steps onto the altar where poking your head through the suspended ceiling, into the otherwise hidden space, you saw a singe red laser beam shooting diagonally across the space. Intruding upon the privacy of people worshipping there, one was put in a position of questioning moral Christian values; or was it a question of nostalgia, or a political statement about contemporary life? Was it just an aesthetic line? I was annoyed by its play on sociological phenonema of spiritual communication. I felt it was built for an art audience who could intellectualise upon its inner meaning and significance in terms of visual language, rather than the community of the church in which it was housed. To me it was a mystifying cliche which relied on the existence of recreating mythology, via the conceptual metaphor.

helen2

The performance by Ulrike Rosenbach, In the House of Women, set in the cloister garden of the Grand Priory Church Order of St John again had the connotation of ‘Christianity’ but differently experienced. The three trees in the garden were wound with red wool creating a triangular shape; the performance began after a bowl of incense had been lit, she had switched on the ‘flickering red light’ in the cloister and hung up her coat. The tape played repetitive music, similar to Eno’s ‘Music for airports’, she was in a red dress and began slowly to enter the garden from the cloister. She moved in methodical circles around the shape, tentatively touching the wool but always with caution so as not to get caught in it in any way. In the background was a statue of Christ; it seemed insignificant to the piece but could be read as a convenient connotation. The piece lasted for 30 minutes, rich in terms of metaphor if the construction was meant to be more than just dance. The concepts of the piece were again ambiguous and multiple.

Rosenbach also had an installation piece in the basement of the Air Gallery, Or-phelia, a video construction of three monitors, face upward beneath a rectangular box of trapped water. Yet another shrine, another reiteration of the need to create safe sanctuary, which to me seems to have become an easy trap, that has taken on a condition of emotional communication in order to provoke passion and danger to an audience by means of mystification. It is a question for any artist to confront, as it has the elements of manipulation of metaphor, but seems to lack the confidence of direct confrontation which characterises the unreadability, in which the ambivalence seems to be the fashion, rather than a step forward in language to create a capacity for widespread appeal; because of this I feel, that in many ways, this keeps the work in some kind of suspended aura.

The Business of Frightened Desires (or the Making of a Pornographer) by Vera Frenkel, also at the Air Gallery, was a piece which I did feel had taken on an issue, and rather than being vague set itself up to communicate in an informative manner, but at the same time questioning–is it fact, or is it fiction? She had arranged the space in three sections, first an introductory corridor of text and imagery, then video and seating followed by a more intimate section with personal objects and text. It was literal and concise, it did not depend on location or on its audience having prior knowledge.

helen1

In the same way Rose Garrard’s installation Out of Line, at the Slaughterhouse Gallery, had a point to make. Entering the damp space down the stairs there was a video sequence of an ambulance arriving at an accident and the subsequent events thereafter. The room to the left was used to process the clothing into plaster cast objects; these were then transferred to the walls of the larger room on the right. The large table, occupying the whole space, was laid with two long rows of cream-coloured telephones, some with the receiver off the hook repeating their recorded conversations. The personal intimacy of holding the receiver to one’s ear and listening to a complete stranger’s plea relating to a particular time of despair, gave an insight of oneself both internally and externally. I felt that Garrard’s investigation was more a personal statement and not an inflection from society of how one should feel and react in such a situation.

Beside of the modern installation, there is also one oil paintings supplier selling hand-painted canvas art at wholesale prices. They showed a wide range of oil painting of reproductions including popular Van Gogh and Monet’s artworks.

Claude Monet003

As I myself work in the media of performance and installation I feel it is important that clear statements are made by artists using this direct medium. A common predicament for women artists is that we are all too often trying to place ourselves in society, historically and morally, rather than investigating what we are as people. It is easy to be influenced by fashion and society’s expectations: this is why the use of the sanctuary building, for me, becomes so much of a hiding place wrapped by connotations of sexual identity, which itself has become so taboo.

The Festival was well balanced in its selection of male/female artists but the choice was unfortunately predictable; no risks were taken to include less established artists. I hope that in the next biennale, Edge 90 will make room on this unique platform to include them.

Published by Delores Jackson, on July 27th, 2015 at 7:35 am. Filled under: EventsNo Comments

WOMEN MAKING SCULPTURE

Women Making Sculpture was a one-day conference organised in conjunction with the exhibition Women Sculptors which ran jointly in three venues: The Maidstone Library Gallery, The Maidstone Museum and Mote Park. The show was organised by Nicholette Golf and co-selected from The WASL membership by WASL and Veronica Tonge, Keeper of Fine Art at Maidstone Museum.

The emphasis of the Conference focussed on the women who make sculpture rather than the theme of women making sculpture as an issue. Thus it began with the seven women exhibiting in the show: Lorna Green, Mouse Katz, Renate Meyer, Val Murray, Annalisa Smith, Anne Tappedden and myself, talking for twenty minutes about our work. In this way each was able to place work in the exhibition within a wider context and issues relevant to women making sculpture were able to emerge naturally. After lunch we met in small groups to concentrate on questions which arose in the morning and concluded with a large group discussion.

While there was no formal theoretical basis to our individual talks, coherence was achieved through the way in which the artists’ work interrelated. Common concerns with media, processes, sources for ideas and attitudes toward the handling of materials and subject matter linked the work. There was a striking diversity in all of the work, although shared ponits of reference became clearly evident: soft materials; domestic references; autobiography; symbolism; construction through stacking, suspending and linking many small components; combining painting and sculpture; using unexpected and supposedly inappropriate materials; spending a long period working through one theme and, most strikingly, the impermanence of all the work. The willingness to break rules, experiment and take risks also came through strongly.

Frieze Art Fair 2009.  Photo by Linda Nylind.  15/10/2009

Perhaps because everyone attending the conference worked as a practitioner, the day acquired a momentum through the sheer force of interest generated by listening, seeing and talking. Questions ultimately centred round how we work, how we survive financially, where we work, how we exhibit and how we can improve accessibility to our work. Veronica Tenge suggested using video to explain how and why work was produced as a way of introducing the work to a public well accustomed to receiving information through television but possibly intimidated by the thought of talking with the artist.

The question of economic survival for women in sculpture is particularly apt. Materials, space for working and storage are costly and finding assistance with large and heavy work can be difficult. Ways can be found to circumvent many of these problems by using cheap or lightweight materials, collapsable structures, small components or working on site. Women have in fact helped give sculpture a new face through their inventiveness in seeking ways of resolving some of these aspects of creation and handling. However feedback from the Conference suggests that we still need encouragement and reassurance when working against accepted practices. Additionally, more women seem to be moving towards using traditional materials and methods.

While it was not the specific aim of this Conference to attempt an analysis of women’s sculpture, I left feeling that such a re-assessment is necessary. Val Murray provided the most succinct observations of the day when she suggested that work by women in sculpture is characterised by a resistance to being tied down; the source of the work comes out of a personal or direct experience; the attitude to materials and processes used ‘anything goes’ and the openness to place or context.

Horse-SculptureLg

Fifteen years ago these characteristics could have been perceived as typical of a Feminist art practice, yet today probably not. But if not, where does sculpture lie within a Feminist perspective of contemporary art?

Have we reached a point where certain materials and processes might remain entrenched in the women’s category rather than a Feminist or even mainstream one? In order to avoid slipping backwards we need to re-consider the question of a female language in sculpture which goes beyond the materials and subject matter, encompassing other aspects such as structure, time, space, context. Is there, for instance, structuring which could be described as non-hierarchal and hence possibly female or even feminist? For example, in Overlay Lucy Lippard analyses earthworks in terms of gender, equating the intervention or imposition of the male artist’s mark on the land with the “double need to become part of a nurturing nature and to master a threatening nature …” She suggests it is “the attitude toward the land, the artist’s sensitivity to the place that determines the effect of the imagery.”

There are many questions we could ask about the ways women work in sculpture. Sculpture needs to be returned to the Feminist agenda for critical analysis and evaluation which is in step with the developments in Feminist debate, cultural theory and the ever widening definitions of contemporary sculpture generally.

Berlin_sculpture,_Gedachtniskirche

Published by Delores Jackson, on July 27th, 2015 at 6:48 am. Filled under: SculptureNo Comments