CRITICAL DISCOURCES & ENCOUNTERS: The Abstract - research question in here - rough notes!!
Abstract
This is using archival information - road map to produce paper. You can then use this to keep your paper on track- it might stray which you can negotiate but this is essentially a contract re what you'll produce
what purpose do you want it to serve? themes. is making the bronze maleable a thing? its only relevent if you know the sculpture and it can be accessed
I'm interested in the specificy of the production of this work venus
If work is well lknown and i do a transcription - its always in conversation but if i base work on this - very few people wil, relate it . I'm excavating themes to reflect on them
What can explore in a paper that doesn't need to explore everything and relates to different discources. Different shape to a research. Who can i pull on thats out there can support the arguemnt.
Needs to be something that is feeding your practice. Paper explores your position.
https://shop.whitechapelgallery.org/products/documents-of-contemporary-art-magic on order
https://annshelton.com/works/i-am-an-old-phenomenon
Reason witch was feared was because she had power. (not understood ) need to tap into magic
autoethnography is a method.
You need a question to form the abstract. What is the question?
How can we think that a global social pandemic, hysteria ? 500 years ago has no impact on society now, when we're still societally incapable of linking perceptions of witchcraft to current feminist issues?
too broad - is it too broad?
How do the witch trials still undermine feminist experience now - so what contemporary art feeds into this? How is contemporary feminsit thinking impacted by previous notions of...?
Artist - uses unruly primal figure as figure of agency - \Ann Shelton - root wart bane book - research into witch, Mikala Dwyer
I explore this through responses that I have to art works created in the last 500 years, and use paint to translate my reading of the work into artistic intention to explore contemporary feminist issues.
Using paint, I translate solid objects intended to inform the audience of what it is to be female, into paintings of flesh, that take on a maluable form and indicate movement - the result - hopefully, is an unsettling interpretation that raises questions around complicity and defiance, sexuality, boundaries, objectification and gender roles.
Explores matriarchy in relation to maternal. nature in relation to social nurture. Feral women; doesn't sound positive but actually, women returning to their true empowered nature and rebuking their domesitcated objectified - numbed, distracted, over loaded mental dispositions, is positive.
Paper
Builds on the abstract
Maleable bodies -the transcription of sculpture into painting. What does this do to the work? Does the flesh become more human, and do we then need to know who owns the body or is it still a 'body' that is the vehicle for discourse in 2 distinct areas- the Venus and the Veil.
Is there an ethical question around transformation into a 'person' and what you do with that?
Sculpture is an object; cold, solid, still. flesh demands a different reaction from the viewer; flesh and movement are indicated.
Venus - represents love, victory, prosperity, beauty, desire, sex and fertility and is represented as such she is attractive, sexual, purposeful, and is a prequal to mother. Queen of charity, the highest of virtues.
Veil is a contradiction - represents pure, virginal, innocent, sacred, humility before god. A visible sign that a woman is under the autority of a man.
The process -
Process that takes the sculpture into paint - Transcription / Translation / Transformation
- Photographic references - who's/ permissions, angles, focus and non focus
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