dodgson pdf book
TRANSCRIPT
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2010 - 2013alexander dodgson
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This body of work stands as acomparison between two dierentaesthetic judgments: one handfocuses upon the beautifullyaesthetic nature of painting andportrait photography, the other,a discomforting insight into theharsh actuality of the process.This book presents a personalconict centered on the sacriceof identity. The comparisonsbetween the reality of theperformance and the falsehoodof aesthetic outcomes acts as ablurred metaphor of an anxiety
towards an over-saturated mediaculture and as an experiencethat reects the inherentlysubjective nature of perspectivein contemporary art.
~For Nan~
alexander dodgson
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# 12011
A play of colour
1-4
# 2
2012The mark maker
5-6
# 3
2012
Aesthetic anxieties7-8
# 42012
The consumer of
nothing9-10
# 5A testament to
witness
11-12
# 6
2011
I could never seeit coming
12-13
# 7
2011
The consumer ofsomething
14-15
# 8
2012
The experimentationof an explanation
16-17
# 9
2012
Monitored areas18-19
# 102012
Painted portraits¹ 20-21
# 11
2012Painted portraits² 22-23
# 12
2013
Oh my
transgressions24-25
# 13
2013The artist’s body
26-27
# 14
2013
A self-abdictionof Terms
28-29
# 15
2013
Never trust amadman in a box
30-31
# 16
2013
The deception ofyour perception
32-33
# 17
2013
Painted portraits³ 34-35
# 182012
Painted portraits4 36-37
contents
# 192013
Painted portraits5 38-39
# 20
2012Colour your minders
40-41
# 21
2013
Painted portraits6 42-43
# 222013
Post-operatic
representation44-45
# 232013
The betrayal of
the self46-47
# 242013
The matter of
the mind48-49
# 252013
A need for
the other
50-53
# 26
2013I could
never live
without you54-57
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Art is experience; the audience surrenderstheir passivity and becomes their own mark-making tools.
A play of colour
1 2
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3 4
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The artist should understand the principlesof process; they make for a betterunderstanding of narratives and journeys.
5
The mark maker
6
A th ti i ti
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7
Where do we nd the artistic value in awork? Is it in the aesthetic outcome of thenal piece or is it found in the processof creation?
Aesthetic anxieties
38
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The notions of interaction,participation and performancehave remained vital, as methods ofexploration and experimentation.
9
The consumer of nothing
10
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This work asks the viewer to consider thepower relationships between audience andartist, who in this situation is truly incontrol?
11
A testament to witness
12
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The juxtaposition of the passive anddeant nature of this performance is anattempt to dene what role the artistholds within society.
12
I could never seeit coming
13
The consumer of
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In order torepresent aself-reectiveexperience, theartist must taketime to step backand consider thecontexts andrelationships ofthe world aroundthem. Art making isconsistent failureafter failure theninstant successthen failure again.
14
something
15
Theexperimentation
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In questioningour collectiveunderstanding ofartistic practiceand the valuableart object, webegin to seethe breakdown ofbarriers betweenhigh art andthe public.
16
experimentationof an explanation
17
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In comparison to ‘aesthetic anxieties’, thiswork contrasts the nature of the artistthrough a physical representation of theboundaries (or lack of) between the processand the outcome.
18
Monitored areas
19
Painted portraits¹
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20 21
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22
Painted portraits²
23
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By losing purpose, one can lead to certainmiss-understandings. This is a reaction todevelopment of an unwanted aesthetic and theloss of the self.
Oh my transgressions
24 25
The artist must
The artist’s body
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The artist mustsuspend his ownspecic purpose inorder to representthe hero’s sacrice,by doing so, ndinghimself on equalground politicallyand inuentially.
26 27
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The combination of applied paint indexedthrough gesture and self-representationalmark making authenticate the process ofcreation and establish a transcendent signof presence highlighted by the artist’s body.
A self-abdication of terms
28 29
Never trust amadman in a box
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The artist is nolonger conned tolimitations oftraditional mediumsand applicationof aesthetic is asecondary concern.Instead, the artistconsiders thesocial bonds ofcivilization andnavigates their ownpersonal trajectorythrough it.
30 31
The artist must demonstrate all the qualityof poetry acting writing and artwork in
The deception of your perception
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of poetry, acting, writing and artwork inso far as he is publically enacting thesurrender of his egotism, his isolation andhis supposed authorial autonomy.
32 33
Painted portraits³
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34 35
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Painted portraits4
36 37
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38
Painted portraits5
39
Situating aroundephemeralperformances with
Colour your minders
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40
performances withan alternativeagenda, therealm of humaninter-action, tohighlight theprominence ofissues in betweenthe social dynamic
41
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42
Painted portraits6
43
This mirroredassortment ofbj t d th
Post-Operaticrepresentation
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objects and thepaint stained bodywere used to createa stylizationof social formthat complimentsthe complexity,seriousness andconsequences ofartistic sacrice.
44 45
These Artworksconsider theaudience as
The betrayal ofthe Self
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audience asan integralelement to itscreation, withoutparticipantsin this socialexperiment, thework wouldcease to functionand thereforebecome obsolete.
46 47
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The artist should not become an iconof his own making to be revered by aseparate and distant audience, where thecelebrity of art is more important thanthe product of thought surrounding it.
The matter of the mind
48 49
This paradoxical self-abdication into the masses has allowedthe artist room to directly control the audience at his ownwill, giving them an equal stake in the creation of an artwork,by removing them from their passive and detached position asthe viewer.
A Need for the Other
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50 51
The artist must consider the body as a medium tochallenge authorial ideology and present the audiencewith innate psychological dilemmas about their ownexperience of an art event.
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52 53
The nal public performance, its subsequentdocumentation and exhibition are the culminationof a desire to unite the artist and the audiencecollaboratively in the art making process. Thisnarrative is representative of the artistic sacriceof identity, the need for passing over from egotisminto communism and the celebrated death/birth of
I could never livewithout you
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into communism and the celebrated death/birth ofthe artist.
54 55
The interpretations of colour can prove somewhatdistracting from this context; the deliberatedesaturation of the documentation emphasisesthe intrinsically transgressive nature of theevents unfolded, and creates a dialogue betweenthe audience/artist that might function as ametaphor for a wider experience of life and its
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artistic struggles.
56 57
Photographers
Alesandro De Besi
pg 36-37
Declan Gerharty
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Designer
Chris van Niekerk
Assistants
Katie Hoskin
Kendle Topping
William Gasdby Peet
William Leeming
pg 32, 33
Joseph Mayers
pg 1-4.
Karen Rangley
pg 52-53, 56-57
Aknowledgements
Many thanks to all the tutorsand stang at Leeds College ofArt for their help and patiencethroughout university.
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