Critical Annotation
Each artist presented in my dossier has a sense of obscuring the view of the work itself. In the case of some (such as Rebecca Najdowski and Gerhard Richter) it is a literal obstruction through interference with the surface of the work. For others (Diane Schere, Kimiyo Mishima, Robert Smithson) the obstruction relies on shifts of contect to adjust the ways in which we view objects. In doing so, each challenges the way that we see the world by adding or subtracting elements from their work in comparison with phenomenological reality. In Thomas Demand’s art for example, everything is not what it seems - the permanent appearing subject is a temporary paper reconstruction.
In this dossier I explored many of the critical frameworks discussed in class. The common theme is an exploration of dualities in these works. They stand across a middle space of neither here nor there . Signs and memesis is also common, particularly with Mishima, Demand and Scherer. Gerhard Richter is an artist often associated with expressionism (whether he agrees is another matter), but this thread can be followed through Lewitt, Horner, Najdowski, and even Smithson. Feminism and embodiment are particularly explored by Najdowski, Scherer and Smithson as they co-create with nature, decentring the human man and partnering with natural elements and processes. Lastly, there is a tension between form and antiform across each of these artists. Some are meticulous in planning, design and construction whereas others are happy to allow process to take a part in the construction and development of their art.
Each artist, when I added them to the dossier reflected an aspect of my thought at the time of addition. Some artists were added as a draft post and completed later. Two artists (JMW Turner and Anselm Kiefer) are still in draft form and will be completed shortly. The core element of selection was a recognition of a similar pattern in my practice or a possible way forward to solve an artistic problem that I am facing. For example, earlier in the semester object making was a path I was pursuing in my work and hence Kimiyo Michima, Joe Horner and Thomas Demand featured. Lately, I have been exploring using photographic images to reflect a ‘more than visual’ reality. Hence Rebecca Najdowski, Thomas Demand, Saul Leiter and Gerhard Richter were all a good fit. Reflecting on what each of these artists has done in their work and comparing it against my work has also given me a starting sense of the directions that I wish to travel. Richter and Leiter, for example, showed me that I can visually explore the world and access elements that cannot be ‘seen’ with human eyes through careful construction, composition and execution of photographic images – particularly digital.
Richter and Najdowski are currently guiding me in my image making processes and are opening my horizons to new possibilities such as distressing photographic materials and prints as well as embracing the simplicity of ‘light’. Here are an example of my work embracing these references.
Daniel A’Vard - Alter IV (2022)
