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Emi and
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STUDIO magazine
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John Berger / Ways of Seeing , Episode 1 (1972)
youtube.comBerger examines the impact of photography and reproduction on our appreciation of art.
Some highlights:
Manipulation by sound, movement, context
Reproductions have allowed images to come to us, vs us going to them. There is no longer one unique position an image belongs to. They are seen through millions of reproductions, in millions of contexts - e.g. through your screen, surrounded by your own furniture etc.
Paitings modified by movement and sound
Meaning is liable to be manipulated and transformed. no longer a constant
Silence and Stillness
The images in paitings are silent, still
the lines on your screen, even pages of a book are ever moving, never still.
But paitings demonstrate silence.
Occasionally, this uninterrupted silence and the stillness of a painting can be very striking.
Corridoors through time
The paiting, absolutely still, soundless becomes a corridoor, connecting the moment it represents, with the moment at which you’re looking at it. Something travels through that corridoor at a speed greater than light - throws in thw question of the way of measuring time itself
Unfolding of time
In a film sequence, the details are selected and re-arranged into a narrative, which depends on unfolding time. In paitings, there is no unfolding time as all elements are present simultaneously.
Accessibility of meaning
While reproductions make paitings accessible, the text (usually by experts) begins to make them inaccessible to our own interpretations. Kids interpret images directly as they are.
Reproduction as a languge beyond images
Using the means of reproduction as though they offered a language, as though pictures were like words rather than holy relics
A need for dialogue
He finishes off saying the images may be like words, but there is no dialogue yet - limiting the possibility of active interperation - he calls out the need for
‘access to tv to be extended beyond its present narrow limits’ for this to be born (1972) and invites the watcher to stay skeptical of the arranged programme he just presented.
The greater the artist, the greater the doubt. Perfect confidence is granted to the less talented as a consolation prize.
— Robert Hughes, 1996
— Robert Hughes, 1996
Dylan O'Sullivan • Tweet
Astrophysicist Neil deGrasse Tyson has a beautiful explanation as to why Van Gogh’s masterpiece has resonated for over a century.
“You know what I like about The Starry Night?
It’s not what Van Gogh saw that night, it’s what he felt.
[The painting] is not a representation of reality and anything that deviates from is reality that has filtered through... See more
“You know what I like about The Starry Night?
It’s not what Van Gogh saw that night, it’s what he felt.
[The painting] is not a representation of reality and anything that deviates from is reality that has filtered through... See more
Hear ye! Hear ye! Due to overwhelming interest and applications, we are moving the deadline to apply for our print shop apprenticeship FROM MARCH 15th to MARCH 1st! This means applications are due via email or post marked snail mail by next Friday, March 1st. And THANK YOU! to everyone that has already applied.
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A crazy night in the museum by @koketit
instagram.comCrazy night in the museum
Yet what they best represent is the current state of art, where artists must skillfully package themselves as products for buyers to consume.
It’s precisely the kind of work that is uncomfortable for most artists, who by definition concern themselves with what it means to be a person in the world, not what it means to be a brand.
It’s precisely the kind of work that is uncomfortable for most artists, who by definition concern themselves with what it means to be a person in the world, not what it means to be a brand.
Rebecca Jennings • Everybody Has to Self-Promote Now. Nobody Wants To.
Use or ornament? The social impact of participation in the arts
François Matarasso • 3 highlights
artshealthresources.org.uk