Don Judd- Specific Objects

In 1965, sculptor and art critic Donald Judd coined the term "specific objects" to describe artwork that challenged the traditional categories of painting and sculpture by exploring the ideas of structure, seriality, and material.

Here is a link to the essay Specific Objects,(1965)

http://cepa.newschool.edu/~quigleyt/vcs/judd-so.pdf



During the first half of the 1980s, Judd drew the plans for the Chinati Foundation, Marfa; the renovated compound of buildings opened in 1986 as a showcase for his sculptures, as well as for the work of other contemporary artists.

Ya wen public reading

Ya wen will be performing a public reading of the thesis in the Commons and providing people with drawing materials so they can draw in response to Kalnin's proposals, or invent their own proposals for what Elam could be as a place.

It'll run from 10am to 2pm this Friday and people are free to come and go as they wish.


Hi all

Please come along! You don't have to stay for the whole duration of the reading, just come and go as you want, and I will take breaks to answer questions and talk and stuff.

Your support will be hugely appreciated!

Thanks
Ya-wen

Book Works Artist books

15 Lombard St.
by Janice Kerbel (2000)

15 Lombard St. is a rigorously researched masterplan of how to rob a particular bank in the City of London. By observing the daily routine in and around the bank, Kerbel reveals the most detailed security measures such as: the exact route and time of money transportation; the location of CCTV cameras in and around the bank along with precise floor plans that mark the building's blind spots.

Kerbel's meticulous plans include every possible detail required to commit the perfect crime. The ubiquitous fantasy of a bank robbery functions as a backdrop for Kerbel's 'play of subversion'. By surveying surveillance Kerbel shows how different systems are interrelated, forming a web of control. Kerbel's aim is not simply to subvert but to emphasise the fact that the idea of absolute control and the fantasy of robbing a bank are interconnected and mutually sustaining.

ISBN 978 1 870699 45 7




Below is a link to an interesting organisation which publishes artists books come of the descriptions of past titles give an idea of the range of the projects they take on.

http://www.bookworks.org.uk/asp/home.asp

Vincente Guallart -How To Make A Mountain

Something I came across I thought was an interesting example of analysis.
See the full set of images at:
http://www.guallart.com/05howToMakeAMountain/default.htm

Its comes from an architecture practice:
http://www.guallart.com/
I thought their dictionary was interesting, (find it on their homepage, above)

J.M.W Turner

I thought the description of J.M Turner painting environment was great, in particular the application of paint one colour at a time.



Sir Richard Owen (1804-1892), one of the best known scientists of his day,met J.M.W. Turner in August 1845.

He tells how, on a very bright August day, Broderip and he walked together to Turner’s residence, which was slightly dingy in outward appearance. When they arrived at the door, they awaited some time before their ring at the bell was answered. At last an elderly person opened the door a few inches, and asked them suspiciously what they wanted. They replied that they wished to see Mr Turner. The door was immediately shut in their faces ; but after a time the person came back to say that they might enter. When they got into the hall she showed them into a room, and forthwith shut the door upon them. They then discovered with some dismay that this apartment was in total darkness, with the blinds down and the shutters up. After a prolonged interval, they were told they might go upstairs. Upon arriving at the topmost storey they perceived Turner standing before several easels, and taking his colours from a circular table, which he swung round to get at the paints required. He was painting several pictures as once, passing on from one to the other, and applying to each in its turn the particular colour he was using, till it was exhausted.
'

This account can be found in The Life of Richard Owen by his Grandson The Rev. Richard Owen. Murray, London 1894. p.263-4

Tate Britain has virtually reconstructed J.M.W. Turner's Gallery which he built in his house so that he could control how his paintings were shown.