dodgson pdf book

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Transcript of dodgson pdf book

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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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