tag:blogger.com,1999:blog-75619920959319642232023-11-16T09:05:37.859-08:00Pip Dickens | Paintings Blog by UK painter Pip Dickens.
MFA Slade and independent professional artist.
Co-author of 'Shibusa - Extracting Beauty' examining Japanese aesthetics within British art and music.
Lecturer in Fine Art (Painting) at Lancaster University.
www.pip-dickens.comPip Dickenshttp://www.blogger.com/profile/16540762896749775590noreply@blogger.comBlogger14125tag:blogger.com,1999:blog-7561992095931964223.post-579683822580338852015-01-24T07:43:00.000-08:002015-04-12T08:08:33.021-07:00In Light of the Monochrome | Exhibition & Symposium<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgClsKvrWlRKeBaf5eht9wvuYoCXi2lM13jcAOp5ig3vEbU-gdUDalu_ahF0pSSRi5W9vvI632yd7aNBLhni4Nr9DzQhtatQlHP9xbt0c6k3asO-8eZhAUTRCqAdh-JKLojapymPRmFnks/s1600/secretlifeofseam.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgClsKvrWlRKeBaf5eht9wvuYoCXi2lM13jcAOp5ig3vEbU-gdUDalu_ahF0pSSRi5W9vvI632yd7aNBLhni4Nr9DzQhtatQlHP9xbt0c6k3asO-8eZhAUTRCqAdh-JKLojapymPRmFnks/s1600/secretlifeofseam.jpg" height="313" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8000001907349px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The Secret Life of Seams and Borders, oil on canvas, from the SHIBUSA series. Copyright <a href="http://www.pip-dickens.com/" target="_blank">Pip Dickens</a></span></td></tr>
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<span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">An exhibition exploring the genre of the monochrome in painting</span></h3>
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<span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">curated by Heather Boxall | Bradford College</span></h3>
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<em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">In Light of the Monochrome</em> explores the many interpretations of the monochrome genre. The monochrome has the quality of being luminous, emitting or reflecting light through the painted surface. Light can also be regarded as a condition of spiritual awareness, divine illumination, which references the ‘transcendental’ or ‘sublime’ often attributed to the monochrome. Artists are also exploring the monochrome through digital and photographic light techniques. This exhibition brings together some contemporary reflections on the genre.</div>
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<span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Exhibiting artists include Jane Harris, David Batchelor, Pip Dickens, Estelle Thompson, Heather Boxall, Manya Donaque and Clare Booker.</span></h4>
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<span style="line-height: 24.2999992370605px;">Private View: 5</span><span style="border: 0px; bottom: 1ex; font-size: 11.25px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: 0px; line-height: 11.25px; margin: 0px; padding: 0px; position: relative; vertical-align: 0px;">th</span><span style="line-height: 24.2999992370605px;"> March 2015 from 4.30pm until 7.30pm</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="line-height: 24.2999992370605px;">Exhibition runs from 6</span><span style="border: 0px; bottom: 1ex; font-size: 11.25px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: 0px; line-height: 11.25px; margin: 0px; padding: 0px; position: relative; vertical-align: 0px;">th</span><span style="line-height: 24.2999992370605px;"> </span><span style="line-height: 24.2999992370605px;">March until 25</span><span style="border: 0px; bottom: 1ex; font-size: 11.25px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: 0px; line-height: 11.25px; margin: 0px; padding: 0px; position: relative; vertical-align: 0px;">th</span><span style="line-height: 24.2999992370605px;"> </span><span style="line-height: 24.2999992370605px;">March 2015.</span><span style="line-height: 24.2999992370605px;"> </span></span></h3>
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<span style="line-height: 24.2999992370605px;">Bradford College, The Dye House Gallery is open weekdays, from 11am until 4pm</span></div>
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More information: <a href="https://www.bradfordcollege.ac.uk/about/arts-culture/news-events/inlightofmonochrome" style="-webkit-transition: color 0.25s ease, margin 0.25s ease; border: 0px; color: #21759b; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: none; transition: color 0.25s ease, margin 0.25s ease; vertical-align: baseline;" target="_blank" title="In Light of Monochrome">https://www.bradfordcollege.ac.uk/about/arts-culture/news-events/inlightofmonochrome</a> - includes downloadable PDF exhibition catalogue</div>
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Pip Dickens symposium paper : "<em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Netherworlds and Greyness: Green-lipped Geishas and Old Sheep Dogs"</em></div>
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<br />Pip Dickenshttp://www.blogger.com/profile/16540762896749775590noreply@blogger.com0tag:blogger.com,1999:blog-7561992095931964223.post-28217779200130083142013-07-21T08:33:00.002-07:002019-05-02T07:51:25.468-07:00Review of SCREEN Exhibition - Coventry Telegraph<h1 class="">
<span style="font-family: "trebuchet ms" , sans-serif;">Colour and precision from Orient in Warwickshire </span></h1>
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<span style="font-family: "trebuchet ms" , sans-serif;">Julie Chamberlain explores a new exhibition influenced by cinematography and Japanese costume.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://www.coventrytelegraph.net/whats-on/find-things-to-do/rugby-art-gallery--museum-5072303" target="_blank">Coventry Telegraph</a> </span></div>
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<time class="published-date" datetime="2013-07-12T09:01:22" itemprop="datePublished">
<a href="http://www.coventrytelegraph.net/by-date/12-07-2013">
12 Jul 2013 10:01
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvxaq7p7HV6vLSAlEHpo80WlUagXgHkohJa8T4W2iRsGLhbt1X1rbez3XcncCkXT83bjekAzAiOAbQBKc7iBvs9HhI3_Gxqo0HIAfqLIkrcDibyCFPZyV2g7nJubO9BAN6i7D4nHmZt4c/s1600/pipdickens-screen-ai.gif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvxaq7p7HV6vLSAlEHpo80WlUagXgHkohJa8T4W2iRsGLhbt1X1rbez3XcncCkXT83bjekAzAiOAbQBKc7iBvs9HhI3_Gxqo0HIAfqLIkrcDibyCFPZyV2g7nJubO9BAN6i7D4nHmZt4c/s320/pipdickens-screen-ai.gif" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">Artificial Intelligence, oil on canvas, copyright <a href="http://www.pip-dickens.com/" target="_blank">Pip Dickens</a></span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;">Colourful paintings with the varied influences of Japanese kimono
designs and cinematic films make up a new exhibition in Warwickshire.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">Screen is the title of the exhibition at Rugby Art
Gallery & Museum by <a href="http://www.pip-dickens.com/" target="_blank">Pip Dickens</a>, using its several meanings,
including film, and something used to obscure things, or mark off space.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">There are a few paintings from her <a href="http://www.pip-dickens.com/shibusa.html" target="_blank">Shibusa</a> series of works, which feature oil paints on a handy dyed and washed canvas.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Using
what looks like a raking effect, similar to that used on Japanese
gardens, works such as <i>Composition #4</i> look like they could be kimonos. <i>
Composition #7</i> has blobs of paint as interlopers in the pattern.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">There
are also some amazingly detailed and precise Japanese Katagani stencils
on show from Pip’s own collection, which are used to print fabric for
kimonos in Japan, apparently made by highly-trained Living National
Treasures as they are known for their expertise.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Kan
no Uchi, (The Cold Time)</i>, is the largest in the Shibusa series, and is
a lovely big abstract oil work featuring different colours and what could be snow storms over a landscape.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEd4We0KUuxgeTzI_ekbLCAjElYNELFfhuTiX9CcBemfhh3FtifNae5k0HZL-IIffy_25kMkBHZ5X2zkMO5APEfdsoh7t57m-CUmoz8Fr6MVUkNmsne9LhMAMECEnWealVbU3YB9QB8E8/s1600/pipdickens-screen-lastcells.gif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEd4We0KUuxgeTzI_ekbLCAjElYNELFfhuTiX9CcBemfhh3FtifNae5k0HZL-IIffy_25kMkBHZ5X2zkMO5APEfdsoh7t57m-CUmoz8Fr6MVUkNmsne9LhMAMECEnWealVbU3YB9QB8E8/s320/pipdickens-screen-lastcells.gif" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">The Last Cells - Final Cut, oil on canvas, copyright <a href="http://www.pip-dickens.com/" target="_blank">Pip Dickens</a></span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;">Works
that use more of the cinematic influences include <i>The Last Cells</i>,
featuring rectangles of paint all over the canvas, like bits of clipped,
edited film.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Split
Screen</i> features two sides of striped materials similar to the earlier
kimono-fabric works, which look like they could close in on each other.
<i>Hikari To Kage (Light and Shadow)</i> is my personal favourite, the top and
bottom black swathes of colour, with the central panel from left to
right a curtain of different reds and pinks, with what looks like sun
from a window shining across it. The impact is very cinematic, and dramatic.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Artificial
Intelligence</i> has a mix of influences, and features an intense blue
apparently used in the “blue fairy” scene in the Spielberg film of the
same name, and <i>Superimposition-Opalesque</i> features a subaquatic feel to
it, with what looks like fronds of underwater plants growing up from the
bottom. <i>When
the Stars Fall</i> is also quite dramatic and cinematic, with a lot of
blackness and what looks like stars falling across a purple background.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">It’s an exhibition featuring a number of abstract works showing interesting and well-thought out influences.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">...........</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">My website: <a href="https://www.pip-dickens.com/">www.pip-dickens.com</a> </span></div>
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Pip Dickenshttp://www.blogger.com/profile/16540762896749775590noreply@blogger.com0tag:blogger.com,1999:blog-7561992095931964223.post-61100024299561549852013-07-02T08:53:00.002-07:002013-09-07T07:20:56.309-07:00Review for SCREEN exhibition by Michael Shaw on a-n online<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">You can read a lengthy review of my latest solo exhibition 'SCREEN' written by artist, writer and sometimes exhibition organiser, Michael Shaw at a-n (artist's newsletter) online.</span><br />
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<a href="http://www.a-n.co.uk/interface/reviews/single/3539128"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">http://www.a-n.co.uk/interface/reviews/single/3539128</span></a><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><b>About Michael Shaw</b></span><br />
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<tr><td style="text-align: center;"><img alt="" border="0" height="255" src="http://www.michaelshaw.org/assets/Shaw,-INF10-.jpg" style="margin-left: auto; margin-right: auto;" width="340" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br />INF10, 2008, Inflated PVC, 240 x 110 x 110cm, copyright <a href="http://www.michaelshaw.org/index.html" target="_blank">Michael Shaw</a></span></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td></tr>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><b> </b></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Michael Shaw studied his BA (Hons) Fine Art at Leeds Metropolitan University (1993-96) and completed his PhD in Sculpture at the University of Gloucestershire in 2005.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br />He has completed many commissions and public projects including a permanent sculpture for Gleeson Homes, Peak District and <i>'Neon Ice House</i>' - a permanent sculpture for Burghley Sculpture Garden, Sheffield Council Winter Gardens and the V&A Museum.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br />Solo exhibitions include Leeds City Art Gallery: Palazzo Pretorio, Sala Espositiva, Sansepolcro, Italy: RBS Gallery, London – touring to: Stamford Arts Centre;<br />Otter Gallery, Chichester; Babylon Gallery, Ely; Hans Price Gallery, Weston-Super-Mare: Alternatives Gallery, Rome; Il Gianicolo, Perugia, Italy; Thelma Hulbert Gallery, Honiton – touring to 20/21 Visual Arts Centre, Scunthorpe; MAC,Birmingham and ; Red Gallery, Hull; Clapham Picture House, London; The Study Gallery, Poole & South Hill Arts Centre, Bracknell; Schwartz Gallery, London and Gallery Oldham.</span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrSWAahDr6-OzadcqOJOeIxG8ztCP4xjzQ1fbkhl6BvgVbMhPy-QLFgw1YZZYyKcvfAOQx7juaQwT9mqYNXnxWe3ZV0WNwF96fQeJEhH032zJD45pD6ouI5NqZwSCd2NwJPEIJ5HuETaQ/s1600/Michael+Shaw+INF+11+pvc+air+440+x+440+x+220+cm++2009.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrSWAahDr6-OzadcqOJOeIxG8ztCP4xjzQ1fbkhl6BvgVbMhPy-QLFgw1YZZYyKcvfAOQx7juaQwT9mqYNXnxWe3ZV0WNwF96fQeJEhH032zJD45pD6ouI5NqZwSCd2NwJPEIJ5HuETaQ/s320/Michael+Shaw+INF+11+pvc+air+440+x+440+x+220+cm++2009.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;">INF11, inflated pvc, 440 x 440 x220 cm, 2009. Copyright <a href="http://www.michaelshaw.org/" target="_blank">Michael Shaw</a></span></td></tr>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">You can find out more about artist Michael Shaw at his website</span> : <a href="http://www.michaelshaw.org/"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">http://www.michaelshaw.org/</span></a><br />
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<![endif]--><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: 12pt;"><a href="https://www.youtube.com/watch?v=ow82vux5bNk"></a></span></span><br />
<br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Michael is currently developing a new giant breathing inflatable that will pass from room to room in the City Gallery, Peterborough in September 2013.<br /><br />He is also pleased to reveal his participation in the <a href="http://www.sculpturebythesea.dk/en/Medier/Nyheder/2013/2-kvartal/Udstillingen-underlagt-naturen.aspx" target="_blank">Sculpture on the Beach festival in Aarhus Denmark in June 2013</a>.</span><br />
<br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">........</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">My website: <a href="http://www.pip-dickens.com/">www.pip-dickens.com</a> </span>Pip Dickenshttp://www.blogger.com/profile/16540762896749775590noreply@blogger.com0tag:blogger.com,1999:blog-7561992095931964223.post-336034836865690822013-05-18T04:20:00.000-07:002019-05-02T08:10:59.905-07:00PIP DICKENS: SCREEN exhibition Rugby Art Gallery & Museum (Jun-Aug 2013)<h2>
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<span style="font-family: "tahoma" , "sans-serif"; mso-fareast-font-family: "Times New Roman";"><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">ILLUSIONS, KIMONOS AND GLORIOUS TECHNICOLOUR –<br />
''SCREEN: PIP DICKENS''</span></span></span></h2>
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<span style="color: #444444;"><span style="font-size: small;"><span style="font-family: "tahoma" , "sans-serif";"><span style="font-family: "trebuchet ms" , sans-serif;">29 June - 31 August 2013<span style="font-size: small;"> | </span>Rugby Art Gallery & Museum</span></span></span></span></h4>
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<span style="color: #444444;"><span style="font-size: small;"><span style="font-family: "tahoma" , "sans-serif";"><span style="font-family: "trebuchet ms" , sans-serif;">Private View:</span></span></span><span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Friday 28 June 2013, 6.30pm – 8pm</span></span></h3>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span class="Normal-C-C2"><a href="http://www.pip-dickens.com/screen.html" style="text-decoration: none;">SCREEN</a><a href="http://www.thefestivalgallery.com/gallery/pip-dickens-in-conversation/" style="text-decoration: none;"> </a>is supported using public funding by the National Lottery through Arts Council
England and is <a href="http://www.rugbyfestivalofculture.co.uk/" style="text-decoration: none;">Part of the Rugby Festival of Culture.</a></span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Note: The opening ceremony for Rugby Festival Culture will take place in the Gallery at 5.30pm prior to the exhibition opening.</span><br />
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<![endif]--><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #444444; font-size: small;"><span style="font-weight: normal;"><span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt;">A further <span style="font-size: small;">d</span>edicated web page about this new series of works can also be found at:</span></span></span></span><br />
<a href="https://www.pip-dickens.com/screen-series"><span style="font-family: "verdana" , sans-serif; font-size: x-small;">https://www.pip-dickens.com/screen-series</span></a><br />
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</xml><![endif]--><span style="background-color: white;"><span style="font-size: x-small;"><i>'Superimposition–Opalesque'</i>¸ 68 cm x 62.3 cm, oil on canvas, 2013. Copyright Pip Dickens</span></span></td></tr>
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<span style="font-weight: normal;"><span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><b>SCREEN: Pip Dickens</b> is a solo exhibition of
new paintings opening at Rugby Art Gallery and Museum from 29 June 2013 that
explores intriguing connections between Japanese kimono textile design
techniques and ‘Glorious’ Technicolour cinema. Dickens employs masking,
cutting, wrapping, intense colour staining and double exposure through tint,
grisaille and varnishing techniques.</span></span><br />
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<tr><td style="text-align: center;"><a href="http://www.pip-dickens.com/screen.html" imageanchor="1" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpSv19LyUYibWbdb9MaBeqFSFMiWV-V-6nGVPj47hiriCKmrI2uyXeCwv-5dawZtmzGYCBU5M0NjIk70ZDYLBslSENGtd4xg5XrK7jnYvtNCjIgpWZ1RG-MrTjvfNCaWJhGcONnfi3f28/s320/pipdickens-screen-vignette.gif" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #444444;"><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;">Vignette/DreamScene,56 cm x 56 cm, oil on canvas, 2013. Copyright Pip Dickens</span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNXKH2KbnlmihHYybz9c6Q8ucvgo4GQ9d_kbVTGxvmaJMF_F9mZ64u98CJu-4AUfj2eFdp9NGB_zFHYXlubUzLrfxJg_HY1MMCX3toOOLtVkErMSO2GXbK7FJc9Upvmuj2SjdsykhIbhE/s1600/okdream.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNXKH2KbnlmihHYybz9c6Q8ucvgo4GQ9d_kbVTGxvmaJMF_F9mZ64u98CJu-4AUfj2eFdp9NGB_zFHYXlubUzLrfxJg_HY1MMCX3toOOLtVkErMSO2GXbK7FJc9Upvmuj2SjdsykhIbhE/s320/okdream.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="color: #444444;"><span style="font-size: x-small;">S</span>till from dream/ballet sequence in <i>'Oklahoma!' (</i>not the artist's image<i>)</i></span></span></td></tr>
</tbody></table>
<span style="font-weight: normal;"><span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"></span></span><br />
<span style="font-weight: normal;"><span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"></span></span><br />
<span style="font-weight: normal;"><span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">
Titles such as <i><span style="font-family: "tahoma" , "sans-serif";">‘Flash-back’</span></i>
and <i><span style="font-family: "tahoma" , "sans-serif";">'Méliès: Kingdom of the Fairies’</span></i> offer clues to her source material whilst other
paintings such as<i><span style="font-family: "tahoma" , "sans-serif";">
'Vignette/Dream Sequence’</span></i> are more cryptic but, she says, allude to
a bygone age of cinema using photochemical technologies which resulted in a
distinctly unique and identifiable colour palette experience. Films such as
<i>‘Oklahoma!’</i> and <i>‘South Pacific’</i> are examples of films produced using Todd-AO
technology for example. These works herald the beginning of further in-depth research, and responses - through painting - of this specific colour experience - what she terms as <i>'The Lost Colour Palette of Technicolour'</i>.
</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-size: x-small;">Still from Meilies' 1903 film <i>'Kingdom of the Fairies'. </i>Melies achieved the sub-aquatic atmosphere by placing a tank of fish between the camera and action. (not the artist's image)</span><i><br /></i></span></td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="http://www.pip-dickens.com/screen.html" imageanchor="1" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz1P4-PacdJZTxVWMIZgKS06u_LJiVmSAsjj-paJAXzi7WJUTZ5UYciAisijZggfvlcXw2KkQmysox4DrRBe2FE3F7cyGnfB-99KCxIQizqXrzP9QeLS2y0VsY8GvA0hyphenhyphenkP2rtIt3LU0Y/s320/pipdickens-screen-meliere.gif" width="320" /></a></td></tr>
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</xml><![endif]--><a href="http://www.pip-dickens.com/screen.html" target="_blank"><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span lang="EN-US" style="color: black;">Méliès:
Kingdom of the Fairies, </span></i></span></span><span lang="EN-US" style="color: black; font-family: "times new roman" , "serif"; font-size: 10.0pt;"><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;">62cm x 68cm, oil on canvas, 2013.</span></span></span></a><br />
<a href="http://www.pip-dickens.com/screen.html" target="_blank"><span lang="EN-US" style="color: black; font-family: "times new roman" , "serif"; font-size: 10.0pt;"><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">Copyright </span>Pip Dickens</span></span><span style="font-size: large;"> </span></span></a></td></tr>
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</span><div style="line-height: 150%;">
<span style="font-weight: normal;"><span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">These references build on recent
research published in her book<i><span style="font-family: "tahoma" , "sans-serif";">
<a href="http://pip-dickens.blogspot.co.uk/p/book-shibusa-extracting-beauty.html">‘Shibusa
– Extracting Beauty’</a></span></i><a href="http://pip-dickens.blogspot.co.uk/p/book-shibusa-extracting-beauty.html"> </a>
co-authored with <a href="http://www.hud.ac.uk/ourstaff/profile/index.php?staffuid=smusma2" target="_blank">Professor Monty Adkins</a> through a Leverhulme Trust Award
(2011-2012) which explored synergy between music, painting and Japanese
aesthetics – the results of which were showcased at her solo exhibition at
<a href="http://www.dajf.org.uk/exhibition/patterns-of-shadows-by-pip-dickens" target="_blank">Daiwa Anglo-Japanese Foundation</a> London last year. In SCREEN she
re-introduces cinematic themes from previous series of works (ie,<i><span style="font-family: "tahoma" , "sans-serif";"> Film Forensic; Dr Zhivago</span></i>
and Femme Fatale series) which employed the use of colour translucency and cinematic’
‘letterbox’ formats characteristic of the cinematic experience. She says:</span></span></div>
<span style="font-weight: normal;">
</span><div style="line-height: 150%;">
<span style="font-weight: normal;"><span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><br />
<i><span style="font-family: "tahoma" , "sans-serif";">“Both of these references
represent highly skilled technologies within their own genre – both, however,
are dwindling. In terms of Japanese kimonos, the market is mired in a
slump and few young artisans can dedicate the time (often 10 years) to
apprentice themselves to a master craftsman. Similarly, the film industry
is poised at a threshold of transference from photochemical to digital technology.
A 2011 report on the Hollywood film industry (<a href="http://www.telegraph.co.uk/culture/film/film-news/8975284/Hollywood-says-goodbye-to-celluloid.html">The
Telegraph</a>) announced that, by the end of 2013, celluloid film would cease
to be used, unless championed by those directors who can afford, and insist
upon, using it for its innate qualities. Whilst new technology offers
plenty for us to be happy about, we are standing at a threshold where some
highly flexible, inventive skills and technologies could be lost forever.</span></i></span></span></div>
<span style="font-weight: normal;">
</span><div style="line-height: 150%;">
<span style="font-weight: normal;"><span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><br />
<i><span style="font-family: "tahoma" , "sans-serif";">"These paintings hold
a mirror up to these qualities but, also, attempt to highlight the inherent
magic and illusionistic capabilities that reside in painting – an example,
itself, of an ancient technology that is still evolving and pushing its own
boundaries.”</span></i></span></span><br />
<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Still from Speilberg's 2001 film <i>A.I. Artificial Intelligence<span style="font-size: x-small;">.<span style="font-size: x-small;"> </span></span></i><span style="font-size: x-small;">David meets the Blue Fairy. (not the artist's image)</span><i><span style="font-size: x-small;"><br /></span></i></span></td></tr>
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<span style="font-size: x-small;"><i><span lang="EN-US" style="color: windowtext;">'Artificial Intelligence'</span></i><span lang="EN-US" style="color: windowtext;">, 115.5 cm x 120.2 cm, oil on canvas,
2013.</span></span></div>
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<a href="http://www.pip-dickens.com/screen.html" target="_blank"><span style="font-size: x-small;"><span style="color: #444444;">Copyright Pip Dickens</span></span> </a></div>
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</span></i></span></span></div>
<span style="font-weight: normal;">
</span><div style="line-height: 150%;">
<span style="font-weight: normal;"><span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Senior Exhibition Officer, Jess Morgan said:<i><span style="font-family: "tahoma" , "sans-serif";"> "We are very excited to be
hosting this beautiful series of new works by Pip Dickens. The pieces
contain an inner luminosity that is not easy to judge in a printed or digital
reproduction- these are paintings that as a viewer you need to stand in front
of and immerse yourself in, just like a visit to the cinema."</span></i></span></span></div>
<div style="line-height: 150%;">
<br /></div>
<span style="font-weight: normal;">
</span><div style="line-height: 150%;">
<span style="font-weight: normal;"><span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">An exhibition of celebration and loss,
similarity and difference, light and shadow, Pip Dickens’ SCREEN runs
until 31 August 2013.</span></span></div>
<div style="line-height: 150%;">
<span style="font-size: small;"><br /></span></div>
<span style="font-size: small;">
</span><div style="line-height: 150%;">
</div>
</span></span></span><span style="font-family: "tahoma" , "sans-serif"; mso-fareast-font-family: "Times New Roman";"><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_eBI5K3S8nDd1mtFMk-Qoyx_jSiVM7JvG7h7Geu3IEMl1w2C6gEy7kGMvly28ESxF1WvTFG8-k019kD7EZB3oglLs7E0UmQR94tiv0NGXkn9SxxDTIIqWRIPchqd6dKlXS448pg2zd_g/s1600/pipdickens-screencatalogue.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_eBI5K3S8nDd1mtFMk-Qoyx_jSiVM7JvG7h7Geu3IEMl1w2C6gEy7kGMvly28ESxF1WvTFG8-k019kD7EZB3oglLs7E0UmQR94tiv0NGXkn9SxxDTIIqWRIPchqd6dKlXS448pg2zd_g/s1600/pipdickens-screencatalogue.gif" /></a></div>
</span></span></span></h3>
<span style="font-family: "tahoma" , "sans-serif"; mso-fareast-font-family: "Times New Roman";"><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"></span></span></span><br />
<div style="line-height: 150%;">
<span style="font-size: large;"><span style="font-weight: normal;"><span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> </span></span><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #444444;"><span style="font-weight: normal;"><span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt;"><i>'SCREEN: Pip Dickens'</i>
catalogue is available from the Gallery, or the artist's website as a downloadable <a href="https://www.pip-dickens.com/reviews">PDF</a>, and includes a
commissioned essay by arts writer and critic, David Sweet. ISBN
978-0-9550829-6-2.</span></span></span></span></span></span></div>
<br />
<h3>
<span style="color: #444444;"><span style="font-weight: normal;"><span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt;"> </span></span></span></h3>
<h3>
<span style="color: #444444;"><span style="font-weight: normal;"><span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt;"> </span></span></span></h3>
<h3>
<span style="color: #444444;"><span style="font-weight: normal;"><span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt;"> </span></span></span></h3>
<h3>
<span style="color: #444444;"><span style="font-weight: normal;"><span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt;"><div style="line-height: 150%;">
<span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Rugby Art Gallery and Museum is FREE to
visit and is open Tuesday – Friday, 10am – 5pm and Saturday, 10am – 4pm.
Closed Sundays and Mondays except Bank Holiday Mondays, 12 – 4pm.<br />
For further information, contact Rugby Art Gallery & Museum on (01788) 533
201 or <a href="mailto:ragm@rugby.gov.uk?subject=Pip%20Dickens%3A%20Screen%20-%20Press%20Enquiry">ragm@rugby.gov.uk</a>.
Alternatively, visit <a href="http://www.ragm.org.uk/">www.ragm.org.uk</a></span><br />
<br />
<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1A7jSyqmaNJ0v9e14Y7j7eIkuMnsN7rI5DFrMLkcMaH1AG7vexsMf2GTgzNiXbgXvF-3dbuNx8mO2Rw4ZgAO5i81myyPV76dnbb4IsPe7wepmX-gTTPwYPjkF471IF0FV-1sxAsR8PRE/s1600/2+Logos+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="101" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1A7jSyqmaNJ0v9e14Y7j7eIkuMnsN7rI5DFrMLkcMaH1AG7vexsMf2GTgzNiXbgXvF-3dbuNx8mO2Rw4ZgAO5i81myyPV76dnbb4IsPe7wepmX-gTTPwYPjkF471IF0FV-1sxAsR8PRE/s200/2+Logos+copy.jpg" width="200" /></a></div>
<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOUmZ1Fbd0uAfnpfMuAp39M25miltajjk5H_rKoggNXQ42LxGDJcyBr6HXMkOPD7N11JVljdrAyZ7VzcDvoP-RduHPEHduzC0RiEcC7kOGhelpflQCOncbedwCRGcEX6LaKbY_Mix_HGw/s1600/bwlogo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="101" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOUmZ1Fbd0uAfnpfMuAp39M25miltajjk5H_rKoggNXQ42LxGDJcyBr6HXMkOPD7N11JVljdrAyZ7VzcDvoP-RduHPEHduzC0RiEcC7kOGhelpflQCOncbedwCRGcEX6LaKbY_Mix_HGw/s200/bwlogo.jpg" width="200" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> </span><a href="http://www.artscouncil.org.uk/" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img border="0" height="86" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLrDU7Y6k4d3fUQuvCF33jjy1g86YNVRJMtyOQgoxdmvNBoc-C2PV2yoyInrUx7072ISSWLj_qm8jgE7HkQl94GRN__g3NUepD3c_FW6xhBiUfhf8geJQYCATFwknMo4S6-0ts93dPA4U/s320/lottery__black.jpg" width="320" /></a></div>
</div>
</span></span></span></h3>
<br />
<div style="line-height: 150%;">
<span style="font-size: large;"><span style="font-weight: normal;"><span style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"></span></span></span></div>
<br />
<br />
<br />
...........<br />
<span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;">My website: <a href="https://www.pip-dickens.com/">www.pip-dickens.com</a></span></span><br />
<h3>
<span style="font-family: "tahoma" , "sans-serif"; mso-fareast-font-family: "Times New Roman";"><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span>
<span style="color: #262626;"></span></span></h3>
<h2>
</h2>
</div>
Pip Dickenshttp://www.blogger.com/profile/16540762896749775590noreply@blogger.com0tag:blogger.com,1999:blog-7561992095931964223.post-54463310699314221712013-05-18T03:40:00.001-07:002013-09-07T07:22:49.209-07:00Pip Dickens in Conversation with Aileen McEvoy at The Festival Gallery<br />
<span style="font-family: "Trebuchet MS",sans-serif;"> </span><img alt="" class="alignright size-full wp-image-1646" height="312" src="http://www.thefestivalgallery.com/gallery/wp-content/uploads/2012/11/PipBlWhite2.jpg" title="PipBlWhite2" width="500" /><br />
<br />
<span style="font-family: "Trebuchet MS",sans-serif;">Here is a link to an interview with director and curator of The Festival Gallery, Aileen McEvoy.</span><br />
<br />
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://www.thefestivalgallery.com/gallery/pip-dickens-in-conversation/">http://www.thefestivalgallery.com/gallery/pip-dickens-in-conversation/</a></span><br />
<br />
<br />
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://www.thefestivalgallery.com/gallery/" target="_blank">The Festival Gallery</a> is a new online gallery with scheduled pop-up exhibitions at various locations. It was launched last year by Aileen McEvoy. Aileen worked for North West Arts Board and Arts Council England in the
north west as Director of Visual Arts & Media / Deputy Chief
Executive and latterly Regional Executive Director. Aileen also served on the
Advisory Council for Tate Liverpool for six years; is a fellow of the
Royal Society of Arts and a member of the Contemporary Art Society in
the north west. Currently she is Chair of Kendal Arts International (
Lakes Alive ); and Committee member of the Macclesfield Barnaby
Festival. Aileen is now fulfilling a lifetime ambition as founding
Director and Curator of The Festival Gallery.</span><br />
<br />
<span style="font-family: "Trebuchet MS",sans-serif;">I am one of the Gallery's six <a href="http://www.thefestivalgallery.com/gallery/product-category/the-festival-gallery/festival-gallery-artists/" target="_blank">'Festival Gallery Artists'</a>. However the Gallery sells work by many other artists including Claes Oldenberg, Cornelia Parker, John Piper and Howard Hodgkin and Michael Craig-Martin. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1dx715EIKyJ4tk229khDeV1Yp7jsqWfeV46hrhDFSVhY4j3cnt0ci7RnRiJm5dOMI8hf_I0Qgp7iLUQBrIkMBrn8F2nXsTQiU-kRv9cN6eyMHgruPnIBjpzKwPeCJIr4RpahA3w_CRbw/s1600/block1-copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1dx715EIKyJ4tk229khDeV1Yp7jsqWfeV46hrhDFSVhY4j3cnt0ci7RnRiJm5dOMI8hf_I0Qgp7iLUQBrIkMBrn8F2nXsTQiU-kRv9cN6eyMHgruPnIBjpzKwPeCJIr4RpahA3w_CRbw/s400/block1-copy.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><b>Title:</b> Block #1</span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b>Year:</b> 2009</span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b>Size:</b> 46.3cm x 56.6cm</span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b>Medium:</b> Oil on paper</span></td></tr>
</tbody></table>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">.............</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Website: <a href="http://www.pip-dickens.com/">www.pip-dickens.com</a></span>Pip Dickenshttp://www.blogger.com/profile/16540762896749775590noreply@blogger.com0tag:blogger.com,1999:blog-7561992095931964223.post-1607195402738925752013-01-14T02:05:00.000-08:002013-09-07T07:24:05.742-07:00<span style="font-family: "Trebuchet MS",sans-serif;">SHIBUSA - Extracting Beauty<br /><b>BOOK REVIEW</b><br /><br />Issue No 51 <a href="http://www.textilesociety.org.uk/" target="_blank">The Textile Society</a> (December 2012) by Margaret Waring.<br /> </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><b>Shibusa – Extracting Beauty</b> Edited by <a href="http://www.hud.ac.uk/ourstaff/profile/index.php?staffuid=smusma2" target="_blank">Monty Adkins</a> and <a href="http://www.pip-dickens.com/" target="_blank">Pip Dickens</a><br /><a href="http://www.store.hud.ac.uk/browse/extra_info.asp?modid=1&prodid=847&deptid=168&compid=1&prodvarid=0&catid=26" target="_blank">University of Huddersfield Press 2012</a>, £20 (currently reduced from £24)<br /><br />This is a fascinating book taking its title from the Japanese concept that revolves around the skilful blending of restraint and spontaneity. Shibusa has a refinement that gives spiritual joy.<br /><br />This series of 8 essays, grouped into 3 parts, will appeal to both the specialist and the generalist reader. The artist partners explore the language of art and the relationship it has with this quintessential Japanese concept using the 7 attributes defined by Yanagi Setsu.<br /><br />In ‘Exploding Stillness’ Adkins lays out his approach to composition and sound-scapes with interesting examples of musicians and artists coming together in the recent past, citing Rothko, Riley, Bacon and others, whilst Dickens essay The Katagami Stencil- Hand-made Machine’ focuses on the hub of the collaboration, for it rests on the 4 elements in the careful and painstaking making of the stencil for dyeing Kimonos - smudging, repetitiveness, and layering and the interlocking of linear and motifs. These are elements that are frequently used by listeners and observers when describing music or visual art.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">The website Vimeo includes the video, Dickens paintings and Adkins composition brought together. </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://www.linkedin.com/pub/roy-exley/9/735/985" target="_blank">Roy Exley</a>’s essay ‘Sharing Textures: Crossovers in Art’ gives the reader a superb summary of contemporary crossovers and is well worth reading first. </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">The shared characteristics are set out and reiterate what has been said by both the artists. The final two essays, by Dickens and Mori, concentrate on the Kimono’s history, making and future and provide thought provoking comments for discussion, especially on the modern use of beautiful but damaged kimonos. Dickens interviewed contemporary designers in Kyoto in 2011 specificall y for the book. </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">The cover image “Katagami Sketch 32”is grey - a colour which is regarded very positively in the text!</span><br />
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<a href="http://www.store.hud.ac.uk/browse/extra_info.asp?modid=1&prodid=847&deptid=168&compid=1&prodvarid=0&catid=26" target="_blank"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMw5I8MmgHS7XTUr0Assu5Rqxj2U-uBtNGj2cfOlp-jgJrjoJ7slmly6gYu7RWH59NgQzw9cchosf1SOhP4htAYYyA1Hk9nDGE5r98NMG29NvpihOtG02nMcwJTMi7TLKG4BOQPqibt2U/s320/shibusabookcover.jpg" width="238" /></a></div>
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<span style="font-family: Lucida Sans Unicode; font-size: xx-small;">Book details:<br />
</span><span style="font-family: Lucida Sans Unicode; font-size: xx-small;">Shibusa - Extracting Beauty</span><span style="font-family: Lucida Sans Unicode; font-size: xx-small;"><br />
Edited by <a href="http://montyadkins.com/" target="_blank">Monty Adkins</a> and <a href="http://www.pip-dickens.com/" target="_blank">Pip Dickens</a><br />
<i>ISBN-13: 978-1-86218-101-4</i><br />
</span><span style="font-family: Lucida Sans Unicode; font-size: xx-small;">Size: 280 x 210mm<br />
Pages: 144<br />
Number of images: 97<br />
Images in colour: 89</span><span style="font-family: Lucida Sans Unicode; font-size: xx-small;"><br />
published by University Huddersfield
Press<br />
Email enquiries to: university.press@hud.ac.uk</span></div>
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<span style="font-size: x-small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">My Website: <a href="http://www.pip-dickens.com/">www.pip-dickens.com</a></span></span>Pip Dickenshttp://www.blogger.com/profile/16540762896749775590noreply@blogger.com0tag:blogger.com,1999:blog-7561992095931964223.post-23425689042556296652012-07-03T07:07:00.004-07:002019-05-02T08:02:38.999-07:00BOOK: Shibusa - PART 3 - Chapter 8<b><span style="font-family: "trebuchet ms" , sans-serif;">SHIBUSA - Extracting Beauty</span></b><br />
<b><span style="font-family: "trebuchet ms" , sans-serif;">See <a href="http://pip-dickens.blogspot.co.uk/2012/07/shibusa-extracting-beauty-composition-7.html" target="_blank">Overview</a> if you are not sure what this page is about (it can be found on the header bar also)</span></b><br />
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<b><span style="font-family: "trebuchet ms" , sans-serif;">PART THREE</span></b><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><b>Contextual Writings</b></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">Chapter 8: History and Techniques of The Kimono</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">by <b>Makoto Mori (edited by <a href="https://www.pip-dickens.com/" target="_blank">Pip Dickens</a>)</b></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small;">Extract (with kind permission of University of Huddersfield Press)</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;">Hikari To Kage (Light & Shadow), oil on canvas, copyright Pip Dickens</span></span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><b>History of the kimono</b></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><b> </b><br />The original meaning of the word ‘kimono’ is ‘clothing’, although today it is often translated as ‘something to wear’. In modern-day Japan the term also often refers to traditional Japanese clothing in general. Although the history of Japanese clothing prior to the Nara period (710–94) is not known in great detail, during the Heian period (794–1185) there are records that describe the clothing of the day. Here we find evidence of the origin of the contemporary kimono in the kosode, which was originally worn by the aristocracy as an undergarment.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><br />The kosode is a garment with a body, sleeves and a pair of collars that drape from both shoulders and cross over each other in front of the chest. Kosode means ‘small cuffs’; another type of clothing worn prior to the kosode had a larger cuff opening – as wide as the length of the sleeves – and was called osode (see Figures 8.1, 8.2 and 8.3). Clothes for the nobility during the Heian period had smaller cuffed openings in order to keep the body warm, so the kosode became a popular undergarment for the nobility from the end of the tenth century through to the beginning of the eleventh century.<br /><br />The kosode became popular with aristocrats as an outer garment from the latter period of the Heian period to the beginning of the Kamakura period (1185–1333), and many nobles wore a kosode tailored from gorgeous cloth. A samurai’s daily clothing (or formal public clothing) since the Heian period was a tube-shaped single costume called teboso, which was very similar in shape to the nobility’skosodeundergarment.<br /><br />In the Kamakura period (1185–1333) samurai began to call the teboso garment kosode. Later, kimonos worn by the general public also began to be referred to as kosode because of the similarity of their shape. Ordinary people’s teboso had a white ground without a pattern and were worn as outer garments. Occasionally, plain or easy tie-dyeing was applied, but there were often bans on their decoration.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><br />From the late Muromachi period (1336–1573) to the Momoyama period (1568–1603) the kosode developed further, with direct similarities to today’s kimonos. During this time Japan was often engaged in intensive warfare (both feudal and with the Mongols), which led to a general shortage of textiles and clothing. As a result, the simple kosode was adopted as the formal outerwear among samurai in the ascending class. Its smaller sleeves were also more practicable for physical movement. Thus the kosode became common throughout society, and not merely the exclusive garment of the nobility.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><br />During the Heian period (794–1185), the narrow tube-shaped sleeves of the kosode became larger, although the cuff width remained almost the same. By the Momoyama period (1568–1603) the kosode shape had evolved into a configuration similar to the modern kimono. We also know that the word ‘kimono’ had become synonymous with kosode; for example, it is used in a report by the Portuguese missionary Joao Rodrigues, who came to Japan in around 1577. We can assume, therefore, that people began to use the word ‘kimono’ to mean not only clothing in general, but to refer specifically to the kosode. As economic prosperity increased during the Muromachi and Momoyama eras, and through to the Edo period (1603–1868), female apparel became more decorative, thanks to the relatively peaceful and prosperous social conditions. Patterns on clothes became larger, and loose clothes with longer sleeves, or length, became popular (see Figure 8.4). Despite the Edo shogunate often prohibiting the wearing of this kind of clothing, the advent of bolder patterns and highly innovative yuzen techniques (hand-applied decoration of textiles, described below) heralded an explosion in kimono design. The Edo period represents the pinnacle of traditional kimono design (see Figures 8.5 and 8.6), and many modern designs are influenced by kimonos from this period.</span><br />
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<b><i><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;">[End
of Extract] Makoto Mori's history of kimono also includes data of the kimono economy and also contemporary approaches to kimono design and production. pages 117-134 ] </span></span></i></b><br />
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<span lang="EN-US" style="font-size: x-small;">More information about this book, and ordering information:</span></div>
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<span style="font-family: "lucida sans unicode"; font-size: x-small;">Book details:<br />
</span><span style="font-family: "lucida sans unicode"; font-size: x-small;">Shibusa - Extracting Beauty</span><span style="font-family: "lucida sans unicode"; font-size: x-small;"><br />
Edited by <a href="http://montyadkins.com/" target="_blank">Monty Adkins</a> and <a href="http://www.pip-dickens.com/" target="_blank">Pip Dickens</a><br />
<i>ISBN-13: 978-1-86218-101-4</i><br />
</span><span style="font-family: "lucida sans unicode"; font-size: x-small;">Size: 280 x 210mm<br />
Pages: 144<br />
Number of images: 97<br />
Images in colour: 89</span><span style="font-family: "lucida sans unicode"; font-size: x-small;"><br />
published by University Huddersfield
Press<br />
Email enquiries to: university.press@hud.ac.uk</span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: "Trebuchet MS",sans-serif;">
<span style="font-family: "lucida sans unicode"; font-size: x-small;"><a href="http://www.store.hud.ac.uk/browse/extra_info.asp?compid=1&catid=26&modid=1&prodid=847&deptid=168&prodvarid=0" target="_blank">Online Shop</a></span><br />
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Pip Dickenshttp://www.blogger.com/profile/16540762896749775590noreply@blogger.com0tag:blogger.com,1999:blog-7561992095931964223.post-16808822436102328672012-07-03T06:48:00.004-07:002019-05-02T08:03:21.186-07:00BOOK: Shibusa - PART 3 - Chapter 7<b><span style="font-family: "trebuchet ms" , sans-serif;">SHIBUSA - Extracting Beauty</span></b><br />
<b><span style="font-family: "trebuchet ms" , sans-serif;">See <a href="http://pip-dickens.blogspot.co.uk/2012/07/shibusa-extracting-beauty-composition-7.html" target="_blank">Overview</a> if you are not sure what this page is about (it can be found on the header bar also)</span></b><br />
<br />
<b><span style="font-family: "trebuchet ms" , sans-serif;">PART THREE</span></b><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><b>Contextual Writings</b></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">Chapter 7: The Craftsmen of Kyoto</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">by <b>Pip Dickens</b></span><br />
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<span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;">Extract (with kind permission of University of Huddersfield Press)</span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">The art and craft of kimono making precedes the Western concept of haute couture (developed in mid-nineteenth century Paris by British designer Charles Worth), where many skilled people combine to produce specific elements of a bespoke garment. As outlined in <a href="http://pip-dickens.blogspot.co.uk/2012/07/book-shibusa-contents-overview-part-2.html" target="_blank">Chapter 2</a>, it takes many skilled artisans to make a katagami stencil and this, in turn, is but one element contributing to a kimono’s fabrication and design. There are a very significant number of different, highly skilled, procedures and techniques employed at each stage. Dyeing, painting, embroidery, and silk making are fast disappearing in Japan. No computer can completely replace these skills and there is real danger of exchanging original skill for simulacrum effect – for example, a computer-generated pattern that replicates a shibori technique. However, computers are able to capture, record and archive a vast library of techniques as reference material. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">The kimono industry is suffering a Janus-faced conundrum of transition versus tradition. It shares parallels with Western Art’s recent history of reproduction in the mechanical age in that a computer-generated image of a painting is not an artwork – it is an image of an artwork. The painting becomes something different once it has been reproduced – colours change, spatial depth is lost, materiality is lost. Reproduction is only as a good as the camera that has photographed the original work. As we move further and further away from the original, we move further away from the point of art itself – the object, and how it is made and what it is made of. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">The reason for this transition in the kimono industry is due in part to the decline of skilled artisans and a younger generation who cannot justify, economically, the time-investment in apprenticeships to learn these skills. The pressure on the industry to build a viable business practice has required it to explore and exploit other technologies. The alternative of hiring in traditional skill sets and expertise from a diverse yet ever-dwindling pool of resources is becoming less and less practicable. Writing in 2007, Anthony Faiola from the Washington Post described the last generation of skilled artisans in the Nishijin district of Kyoto:</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">Yasujiro Yamaguchi worked the humming loom in his private workshop. Patiently lacing golden threads through a warp of auburn silk, he fashioned a bolt of kimono</span> <span style="font-family: "trebuchet ms" , sans-serif;">fabric blooming with an autumn garden in</span> <span style="font-family: "trebuchet ms" , sans-serif;">shades of tea green, ginger and plum. But</span> <span style="font-family: "trebuchet ms" , sans-serif;">Yamaguchi, like Japan’s signature kimono, </span><span style="font-family: "trebuchet ms" , sans-serif;">is slipping into winter. At 102, he is among</span> <span style="font-family: "trebuchet ms" , sans-serif;">the last master weavers of Nishijin, the </span><span style="font-family: "trebuchet ms" , sans-serif;">country’s most celebrated kimono district,</span> <span style="font-family: "trebuchet ms" , sans-serif;">and his pace has slowed. He rubbed the </span><span style="font-family: "trebuchet ms" , sans-serif;">morning chill from his knuckles, fitted his</span> <span style="font-family: "trebuchet ms" , sans-serif;">hunched shoulders deeper inside his indigo </span><span style="font-family: "trebuchet ms" , sans-serif;">jacket and resolutely pushed on.</span><span style="font-family: "trebuchet ms" , sans-serif;"></span></blockquote>
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<span style="font-family: "trebuchet ms" , sans-serif;">At the time of the interview with Faiola,</span> <span style="font-family: "trebuchet ms" , sans-serif;">Yamaguchi was one of only three masters </span><span style="font-family: "trebuchet ms" , sans-serif;">left who could actually create a kimono from</span> <span style="font-family: "trebuchet ms" , sans-serif;">scratch. All were over 70 years old and none</span> <span style="font-family: "trebuchet ms" , sans-serif;">had apprentices. Yamaguchi stated: ‘It is a sign </span><span style="font-family: "trebuchet ms" , sans-serif;">of the times … I am not sure who will carry </span><span style="font-family: "trebuchet ms" , sans-serif;">on this tradition for future generations. </span><span style="font-family: "trebuchet ms" , sans-serif;">I no longer have the time or energy to teach</span> <span style="font-family: "trebuchet ms" , sans-serif;">someone now. Even if I did, where would they</span><span style="font-family: "trebuchet ms" , sans-serif;"> work?’</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">Faiola reports that sales of Nishijin</span> <span style="font-family: "trebuchet ms" , sans-serif;">kimonos and related products fell from</span> <span style="font-family: "trebuchet ms" , sans-serif;">US$2.7 billion in 1990 to a record low of </span><span style="font-family: "trebuchet ms" , sans-serif;">US$477 million in 2006; production of</span> <span style="font-family: "trebuchet ms" , sans-serif;">kimonos in this region (which is known for </span><span style="font-family: "trebuchet ms" , sans-serif;">its quality) dropped from 291,000 to just</span> <span style="font-family: "trebuchet ms" , sans-serif;">87,382 garments. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">I</span><span style="font-family: "trebuchet ms" , sans-serif;">n 2011, through an introduction from </span><span style="font-family: "trebuchet ms" , sans-serif;">Professor Yuzo Murayama, Director of</span> <span style="font-family: "trebuchet ms" , sans-serif;">Innovative Globalization of Kyoto’s Heritage </span><span style="font-family: "trebuchet ms" , sans-serif;">Industries at Doshisha Business School in</span> <span style="font-family: "trebuchet ms" , sans-serif;">Kyoto, I met three designers who are bravely</span> <span style="font-family: "trebuchet ms" , sans-serif;">negotiating the chasm between tradition and</span> <span style="font-family: "trebuchet ms" , sans-serif;">transition, utilising kimonos (and kimono </span><span style="font-family: "trebuchet ms" , sans-serif;">techniques) in different ways. For Murayama,</span> <span style="font-family: "trebuchet ms" , sans-serif;">these three designers exemplify new</span> <span style="font-family: "trebuchet ms" , sans-serif;">possibilities in Japan’s cultural business sector:</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">Although Japanese culture is enjoying a </span><span style="font-family: "trebuchet ms" , sans-serif;">worldwide boom, particularly in ‘anime’ </span><span style="font-family: "trebuchet ms" , sans-serif;">and ‘manga’, Kyoto’s heritage industries are </span><span style="font-family: "trebuchet ms" , sans-serif;">mired in a slump. Some are even in danger </span><span style="font-family: "trebuchet ms" , sans-serif;">of disappearing completely. One reason for</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">this lies in the fact that heritage industries</span> <span style="font-family: "trebuchet ms" , sans-serif;">have lost their horizons for lateral </span><span style="font-family: "trebuchet ms" , sans-serif;">development, particularly their motivation </span><span style="font-family: "trebuchet ms" , sans-serif;">for entering the global marketplace. The</span> <span style="font-family: "trebuchet ms" , sans-serif;">only means of overcoming these difficulties </span><span style="font-family: "trebuchet ms" , sans-serif;">are those of novel innovations and of going </span><span style="font-family: "trebuchet ms" , sans-serif;">global. The concept that holds they key to </span><span style="font-family: "trebuchet ms" , sans-serif;">its success is that of ‘cultural businesses’. </span><span style="font-family: "trebuchet ms" , sans-serif;">The Kakushin Juku [a class being offered</span> <span style="font-family: "trebuchet ms" , sans-serif;">by Doshisha Business School] is leading the </span><span style="font-family: "trebuchet ms" , sans-serif;">way along the path from heritage industries</span> <span style="font-family: "trebuchet ms" , sans-serif;">to cultural businesses.</span></blockquote>
</blockquote>
</blockquote>
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<b><i><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;">[End
of Extract] the chapter includes reviews of three Kyoto craftsmen: Yuonsuke Kawabe, Taro Matsumara and Makoto Mori ] </span></span></i></b><br />
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<div class="separator" style="clear: both; text-align: left;">
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<div class="MsoNormalCxSpMiddle" style="font-family: "Trebuchet MS",sans-serif;">
<span lang="EN-US" style="font-size: x-small;">More information about this book, and ordering information:</span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: "Trebuchet MS",sans-serif;">
<span style="font-family: "lucida sans unicode"; font-size: x-small;">Book details:<br />
</span><span style="font-family: "lucida sans unicode"; font-size: x-small;">Shibusa - Extracting Beauty</span><span style="font-family: "lucida sans unicode"; font-size: x-small;"><br />
Edited by <a href="http://montyadkins.com/" target="_blank">Monty Adkins</a> and <a href="http://www.pip-dickens.com/" target="_blank">Pip Dickens</a><br />
<i>ISBN-13: 978-1-86218-101-4</i><br />
</span><span style="font-family: "lucida sans unicode"; font-size: x-small;">Size: 280 x 210mm<br />
Pages: 144<br />
Number of images: 97<br />
Images in colour: 89</span><span style="font-family: "lucida sans unicode"; font-size: x-small;"><br />
published by University Huddersfield
Press<br />
Email enquiries to: university.press@hud.ac.uk</span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: "Trebuchet MS",sans-serif;">
<span style="font-family: "lucida sans unicode"; font-size: x-small;"><a href="http://www.store.hud.ac.uk/browse/extra_info.asp?compid=1&catid=26&modid=1&prodid=847&deptid=168&prodvarid=0" target="_blank">Online Shop</a> </span></div>
Pip Dickenshttp://www.blogger.com/profile/16540762896749775590noreply@blogger.com0tag:blogger.com,1999:blog-7561992095931964223.post-14648010806072960812012-07-03T06:33:00.001-07:002019-05-02T08:03:43.002-07:00BOOK: Shibusa - PART 3 - Chapter 6<b><span style="font-family: "trebuchet ms" , sans-serif;">SHIBUSA - Extracting Beauty</span></b><br />
<b><span style="font-family: "trebuchet ms" , sans-serif;">See <a href="http://pip-dickens.blogspot.co.uk/2012/07/shibusa-extracting-beauty-composition-7.html" target="_blank">Overview</a> if you are not sure what this page is about (it can be found on the header bar also)</span></b><br />
<br />
<b><span style="font-family: "trebuchet ms" , sans-serif;">PART THREE</span></b><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><b>Contextual Writings</b></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">Chapter 6: Sharing of Textures: crossovers in contemporary art</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">by <b>Roy Exley</b></span><br />
<br />
<br />
<span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;">Extract (with kind permission of University of Huddersfield Press)</span></span></span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4abArdFg6VhDnfRhLCysXZnh_0wsWnlTyYggigDn2R4o3gAobdzLC-7mMwefjZwl82HQSW55SlOrr6WlK17vHaNGob4qK9Pekj2zgk12oQx9VPEyIZbVvk9Ph8W-XzRHcfKpZzw3u5vA/s1600/stripe3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4abArdFg6VhDnfRhLCysXZnh_0wsWnlTyYggigDn2R4o3gAobdzLC-7mMwefjZwl82HQSW55SlOrr6WlK17vHaNGob4qK9Pekj2zgk12oQx9VPEyIZbVvk9Ph8W-XzRHcfKpZzw3u5vA/s320/stripe3.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">Figure 6.3<span style="font-size: xx-small;">: </span> <i>Stripe 3</i>, 2009, oil on paper, 32.5 x 22.5cm. </span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">© Pip Dickens</span></td></tr>
</tbody></table>
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<br />
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<span style="font-family: "trebuchet ms" , sans-serif;">They said, <i>‘You have a blue guitar / you do not play things as they are.</i>’<br />The man replied, <i>‘Things as they are / are changed upon the blue guitar.</i>’<br /><b>Wallace Stevens, The Man <br />with the Blue Guitar</b></span></blockquote>
</blockquote>
</blockquote>
<span style="font-family: "trebuchet ms" , sans-serif;"><br /><b>The crossover as a breaching of (arbitrary) boundaries</b> </span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;">Back in the eighteenth century, when Henry Fielding was inspired by the drawings of William Hogarth (such as the notorious image of Gin Lane) to embark upon his classic novel <i>Tom Jones</i>, the concept of ‘crossover’ did not even exist. Neither the hoi polloi nor the gentry could have possibly foreseen the unbridled hybridity that would permeate the arts two centuries later. Cross-fertilisations between the arts became commonplace, not only cross-genre, but also cross-cultural, and this sort of hybridisation took place in the work of such modernist artists as Pablo Picasso, Ernst Ludwig Kirchner, Henri Gaudier-Brzeska and Jacob Epstein, who all created work inspired by traditional African tribal masks. In the 1960s the American jazz saxophonist Joe Harriott and Indian violinist John Mayer collaborated to create a fusion of classical Indian music and modern jazz. This was all part of the ferment that included Ravi Shankar’s tutelage of George Harrison on the sitar and the traditional Indian raga, which led to a change of direction in the music of Harrison and The Beatles, and all that followed under their influence. </span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;">As a parting gesture to accompany the final curtain on the currency of modernism, in the late 1960s the partitions between artistic disciplines were decisively torn apart along the seams of their increasingly brittle, perforated and sutured integuments. The manifestos of individual disciplines were turned into a miasmic epilogue that succumbed to an unstoppable, burgeoning swell of hybridity – a hybridity that became the forerunner of the conceptual movement of the 1970s. The seeds of this disjunction had, of course, been sown long before, in the works of artists such as Marcel Broodthaers, Robert Rauschenberg, Andy Warhol, Daniel Buren, Bruce Nauman, et al., whose work and ethos anarchically, and fatally, punctured the already decaying modernist edifice and its shrine, the white cube. They were precursors, preparing the way for the advent of events, performances and mixed media installations – the age of pluralism had not just arrived to besiege the citadel of modernism but had stormed its gates and broken through. Could the provocative and often visceral performance work of such artists as the Americans Adrian Piper and Carolee Schneemann, or the Austrian Hermann Nitsch, have prospered without the pioneering work of these forerunners? </span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;">Between 1956 and 1958 the French-based Greek architect/composer Iannis Xenakis collaborated with the French architect Le Corbusier (Charles-Édouard Jeanneret-Gris) to create the Phillips Pavilion at the Brussels World Fair, the form of which was inspired by Xenakis’ composition Metastasis and in which his composition Concret PH was performed, where an empathy between architectural space and sound dynamics was needed to achieve a</span> <span style="font-family: "trebuchet ms" , sans-serif;">perfect realisation of the composition for an</span> <span style="font-family: "trebuchet ms" , sans-serif;">audience seated within its space. Le Corbusier</span> <span style="font-family: "trebuchet ms" , sans-serif;">had conceived the idea of an ‘electric poem’ to</span> <span style="font-family: "trebuchet ms" , sans-serif;">engage with that space and in turn be </span><span style="font-family: "trebuchet ms" , sans-serif;">enhanced by it, in which, in his words: ‘Light,</span> <span style="font-family: "trebuchet ms" , sans-serif;">colour, image, rhythm and sound join together </span><span style="font-family: "trebuchet ms" , sans-serif;">in an organic synthesis’. Xenakis’ Concret PH</span> <span style="font-family: "trebuchet ms" , sans-serif;">was performed at the Phillips Pavilion in 1958 </span><span style="font-family: "trebuchet ms" , sans-serif;">alongside Edgard Varèse’s groundbreaking</span> <span style="font-family: "trebuchet ms" , sans-serif;">electronic composition, La Poème </span><span style="font-family: "trebuchet ms" , sans-serif;">Électronique. The latter work was fed, with</span> <span style="font-family: "trebuchet ms" , sans-serif;">spectacular results, through 350 revolving </span><span style="font-family: "trebuchet ms" , sans-serif;">speakers, giving the impression of sound</span> <span style="font-family: "trebuchet ms" , sans-serif;">moving through space, and creating the</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">illusion of a tangible material entity. This </span><span style="font-family: "trebuchet ms" , sans-serif;">calculated synthesis between architecture,</span> <span style="font-family: "trebuchet ms" , sans-serif;">lighting and electronic sound created a novel </span><span style="font-family: "trebuchet ms" , sans-serif;">and spectacular holistic experience for the</span> <span style="font-family: "trebuchet ms" , sans-serif;">audience and was a prime example of </span><span style="font-family: "trebuchet ms" , sans-serif;">successful cross-fertilisation of previously</span> <span style="font-family: "trebuchet ms" , sans-serif;">separate artistic genres. </span><br />
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<b><i><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;">[End
of Extract] ] </span></span></i></b><br />
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<br />
<br />
<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMw5I8MmgHS7XTUr0Assu5Rqxj2U-uBtNGj2cfOlp-jgJrjoJ7slmly6gYu7RWH59NgQzw9cchosf1SOhP4htAYYyA1Hk9nDGE5r98NMG29NvpihOtG02nMcwJTMi7TLKG4BOQPqibt2U/s1600/shibusabookcover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMw5I8MmgHS7XTUr0Assu5Rqxj2U-uBtNGj2cfOlp-jgJrjoJ7slmly6gYu7RWH59NgQzw9cchosf1SOhP4htAYYyA1Hk9nDGE5r98NMG29NvpihOtG02nMcwJTMi7TLKG4BOQPqibt2U/s200/shibusabookcover.jpg" width="148" /></a></div>
<div class="MsoNormalCxSpMiddle" style="font-family: "Trebuchet MS",sans-serif;">
<span lang="EN-US" style="font-size: x-small;">More information about this book, and ordering information:</span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: "Trebuchet MS",sans-serif;">
<span style="font-family: "lucida sans unicode"; font-size: x-small;">Book details:<br />
</span><span style="font-family: "lucida sans unicode"; font-size: x-small;">Shibusa - Extracting Beauty</span><span style="font-family: "lucida sans unicode"; font-size: x-small;"><br />
Edited by <a href="http://montyadkins.com/" target="_blank">Monty Adkins</a> and <a href="http://www.pip-dickens.com/" target="_blank">Pip Dickens</a><br />
<i>ISBN-13: 978-1-86218-101-4</i><br />
</span><span style="font-family: "lucida sans unicode"; font-size: x-small;">Size: 280 x 210mm<br />
Pages: 144<br />
Number of images: 97<br />
Images in colour: 89</span><span style="font-family: "lucida sans unicode"; font-size: x-small;"><br />
published by University Huddersfield
Press<br />
Email enquiries to: university.press@hud.ac.uk</span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: "Trebuchet MS",sans-serif;">
<span style="font-family: "lucida sans unicode"; font-size: x-small;"><a href="http://www.store.hud.ac.uk/browse/extra_info.asp?compid=1&catid=26&modid=1&prodid=847&deptid=168&prodvarid=0" target="_blank">Online Shop</a> </span></div>
Pip Dickenshttp://www.blogger.com/profile/16540762896749775590noreply@blogger.com0tag:blogger.com,1999:blog-7561992095931964223.post-80914595384922385152012-07-03T06:10:00.006-07:002019-05-02T08:05:53.333-07:00BOOK: Shibusa - PART 2 - Chapter 5<b><span style="font-family: "trebuchet ms" , sans-serif;">SHIBUSA - Extracting Beauty</span></b><br />
<b><span style="font-family: "trebuchet ms" , sans-serif;">See <a href="http://pip-dickens.blogspot.co.uk/2012/07/shibusa-extracting-beauty-composition-7.html" target="_blank">Overview</a> if you are not sure what this page is about (it can be found on the header bar also)</span></b><br />
<br />
<b><span style="font-family: "trebuchet ms" , sans-serif;">PART TWO</span></b><br />
<b><span style="font-family: "trebuchet ms" , sans-serif;">Shibusa: An Artist's Perspective</span></b><br />
<span style="font-family: "trebuchet ms" , sans-serif;">Chapter 5: Smashed Pianos and Dysfunctional Brushes</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">by <b>Pip Dickens</b></span><br />
<br />
<br />
<span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;">Extract (with kind permission of University of Huddersfield Press)</span></span></span><br />
<br />
<br />
<br />
<span id="goog_1645375869"></span><span id="goog_1645375870"></span><span id="goog_1645375877"></span><span id="goog_1645375878"></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkdWHtNtfNVmwXPBOzXzLs7fo9MnQRWrxkKgVN4sFfjipA_39b6VQdfkMVyJRuZ-ccqEaVhzChLyYa_98MUtYF7SKyriXGLjfqh0Eg8lkbTdTlgUfoNaYmiwC6VQXwl7-TrruvB1PZ7TQ/s1600/composition7web.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkdWHtNtfNVmwXPBOzXzLs7fo9MnQRWrxkKgVN4sFfjipA_39b6VQdfkMVyJRuZ-ccqEaVhzChLyYa_98MUtYF7SKyriXGLjfqh0Eg8lkbTdTlgUfoNaYmiwC6VQXwl7-TrruvB1PZ7TQ/s320/composition7web.jpg" width="319" /></a></td></tr>
<tr style="font-family: "Trebuchet MS",sans-serif;"><td class="tr-caption" style="text-align: center;">Figure 5.5 Dickens, <i>Composition #7</i>, Shibusa<i> </i>series – , 2011, <br />
oil on canvas, © Pip Dickens</td></tr>
</tbody></table>
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<br />
<b><span style="font-family: "trebuchet ms" , sans-serif;">About grey</span></b><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;">In the <a href="http://www.pip-dickens.com/shibusa.html" target="_blank"><i>Shibusa</i></a> series of works, references of</span> <span style="font-family: "trebuchet ms" , sans-serif;">blurring and shadow evolve from darker</span> <span style="font-family: "trebuchet ms" , sans-serif;">realms contained within earlier series of works </span><span style="font-family: "trebuchet ms" , sans-serif;">into ‘lighter’ forms. Blending and gradation of </span><span style="font-family: "trebuchet ms" , sans-serif;">paint create quiet spatial transitions against</span> <span style="font-family: "trebuchet ms" , sans-serif;">which entities that traverse across it are thrown dramatically into sharp focus, like </span><span style="font-family: "trebuchet ms" , sans-serif;">particles of dust passing in front of the eye in a </span><span style="font-family: "trebuchet ms" , sans-serif;">half-lit room (see Figure 5.5). The aim is </span><span style="font-family: "trebuchet ms" , sans-serif;">towards the sensorial rather than the drama of</span> <span style="font-family: "trebuchet ms" , sans-serif;">my previous works, such as the Film Forensic </span><span style="font-family: "trebuchet ms" , sans-serif;">paintings (see Figure 5.6) and the dark</span> <span style="font-family: "trebuchet ms" , sans-serif;">charcoal drawings: <a href="https://www.pip-dickens.com/space-race-series" target="_blank"><i>Space Race</i></a>, <a href="https://www.pip-dickens.com/elephant-man-series" target="_blank"><i>Elephant Man</i></a> </span><span style="font-family: "trebuchet ms" , sans-serif;"> and the <a href="https://www.pip-dickens.com/femme-fatale-series" target="_blank"><i>Femme Fatale</i></a></span> <span style="font-family: "trebuchet ms" , sans-serif;">series. In these earlier works a sense of </span><span style="font-family: "trebuchet ms" , sans-serif;">disaster, danger or extinction pervaded, both</span> <span style="font-family: "trebuchet ms" , sans-serif;">through the subject matter and the use of </span><span style="font-family: "trebuchet ms" , sans-serif;">phenomenological entities such as fog, cloud,</span> <span style="font-family: "trebuchet ms" , sans-serif;">blurring and evaporation.</span> <span style="font-family: "trebuchet ms" , sans-serif;">The inclusion of greys in these new works –</span> <span style="font-family: "trebuchet ms" , sans-serif;">the colour of limbo, neither darkness nor light,</span> <span style="font-family: "trebuchet ms" , sans-serif;">and so a floating colour – also aligns with</span> <span style="font-family: "trebuchet ms" , sans-serif;">some aspects of shibui and, perhaps, ideas</span> <span style="font-family: "trebuchet ms" , sans-serif;">about restraint and also reflection. <a href="http://en.wikipedia.org/wiki/Jun%27ichir%C5%8D_Tanizaki" target="_blank">Tanizaki</a>’s</span> <span style="font-family: "trebuchet ms" , sans-serif;">memories of childhood are a paradox of light</span> <span style="font-family: "trebuchet ms" , sans-serif;">and shadow – a compelling dramatic greyness</span> <span style="font-family: "trebuchet ms" , sans-serif;">when reminiscing on how women dressed in</span> <span style="font-family: "trebuchet ms" , sans-serif;">those days (1890 Tokyo):</span><span style="font-family: "trebuchet ms" , sans-serif;"> </span><br />
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<blockquote class="tr_bq">
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<span style="font-family: "trebuchet ms" , sans-serif;">For a woman of the past did indeed exist</span> <span style="font-family: "trebuchet ms" , sans-serif;">only from the collar up and the sleeves out; </span><span style="font-family: "trebuchet ms" , sans-serif;">the rest of her remained hidden in darkness</span><span style="font-family: "trebuchet ms" , sans-serif;">… Most of her life was spent in the twilight</span> <span style="font-family: "trebuchet ms" , sans-serif;">of a single house, her body shrouded day</span> <span style="font-family: "trebuchet ms" , sans-serif;">and night in gloom, her face the only signof her existence. Though the men dressed</span> <span style="font-family: "trebuchet ms" , sans-serif;">more colourfully than they do today, the </span><span style="font-family: "trebuchet ms" , sans-serif;">women dressed more sombrely … their</span> <span style="font-family: "trebuchet ms" , sans-serif;">clothing was in effect no more than a part </span><span style="font-family: "trebuchet ms" , sans-serif;">of the darkness, the transition between</span> <span style="font-family: "trebuchet ms" , sans-serif;">darkness and face … the Tokyo </span><span style="font-family: "trebuchet ms" , sans-serif;">townswoman still lived in a dusky house …</span><span style="font-family: "trebuchet ms" , sans-serif;">when they went out it was often in a gray </span><span style="font-family: "trebuchet ms" , sans-serif;">kimono with a small, modest pattern.</span><span style="font-family: "trebuchet ms" , sans-serif;"></span><br />
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<span style="font-family: "trebuchet ms" , sans-serif;"></span></blockquote>
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</blockquote>
</blockquote>
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<span style="font-family: "trebuchet ms" , sans-serif;">Grey is often perceived as neutral, dead, old and unemotional, yet it is a colour mix that can produce endless tones and hues. It can be warm, cool, hard or soft. Grey acts like a ‘switch’, illuminating the quality of brighter colours placed in its vicinity. It is probably the most useful of all colours, because it is comprised of many. It is a colour of transition – a facilitator.</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br />Recent works by British painter <a href="http://www.estellethompson.com/" target="_blank">Estelle Thompson</a> utilise grey and its relationship with other colours to astonishing effect. The works Thompson exhibited at Purdy Hicks Gallery in October–November 2009 were substantial objects constructed from MDF and paint. The picture plane is divided horizontally and vertically to produce rectangular sections of independent colour fields. Such compositions are not new in abstract painting, but in Thompsons’ paintings the mind of an illusionist is at work. The grey sections have a bright burnished, metallic quality – their surface showing signs of abrasion-like brushed aluminium. The painting <i>Head in Hand</i> (see Figure 5.7) comprises a grey upper panel and a lower panel divided vertically, producing two coloured panels: to the left a magenta, the other a madder red/pink of soft gradation that is at its most intense at the top and bottom – the middle section ‘bleeds’ into the lightest pinks of a young rose. The overall impression is one of quiet activity – the secret life of colours – with each panel creating its own atmosphere through weight, brilliance and saturation. The panels are rigidly demarcated yet actively conversing with one other – quietly ‘on the move’ within their own boundaries. Though the sections of the painting are hard and exacting, their confluence creates exciting contrasts and lyrical exchanges. These qualities exist both when standing in close proximity to the surface of the works and at a distance, yet they are experienced in different ways. The blended ‘pink’ panel appears to articulate, as if it were made of card bending outwards at the centre to catch the light. The upper grey is more akin to architectural, polished aluminium sheets, blended by light and surface- scratched, yet it is curiously lightweight and exudes the shimmer of a summer’s day by the sea. The equatorial line in the centre of the painting, though precisely engineered and exacting, somehow emits a contradictory haziness. </span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;">The resultant series of works is a successful paradigm shift between the convention of hard edges in abstract painting and a softness that articulates – the antithesis. The panels appear contained in their own ‘atmospheres’ of colour, calling to mind a natural landscape and the joy of colour expressed – not a traditional solidity of even-handedness and sameness, but the endless tonal and chromatic capabilities of colour. The use of blurring here is less about concealing or restricting vision but rather revealing what colour is. </span><br />
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<b><i><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;">[End of Extract] This Chapter has in-depth review of Estelle Thompson's paintings, the works of Fuyuko Matsui, the concept of Shibusa/Shibui, Junichiro Tanizaki, the colour grey and shadow and how clock-time changed painters' colour palettes toward the end of the 19th century] </span></span></i></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMw5I8MmgHS7XTUr0Assu5Rqxj2U-uBtNGj2cfOlp-jgJrjoJ7slmly6gYu7RWH59NgQzw9cchosf1SOhP4htAYYyA1Hk9nDGE5r98NMG29NvpihOtG02nMcwJTMi7TLKG4BOQPqibt2U/s1600/shibusabookcover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMw5I8MmgHS7XTUr0Assu5Rqxj2U-uBtNGj2cfOlp-jgJrjoJ7slmly6gYu7RWH59NgQzw9cchosf1SOhP4htAYYyA1Hk9nDGE5r98NMG29NvpihOtG02nMcwJTMi7TLKG4BOQPqibt2U/s200/shibusabookcover.jpg" width="148" /></a></div>
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<span style="font-family: "lucida sans unicode"; font-size: x-small;">Book details:<br />
</span><span style="font-family: "lucida sans unicode"; font-size: x-small;">Shibusa - Extracting Beauty</span><span style="font-family: "lucida sans unicode"; font-size: x-small;"><br />
Edited by <a href="http://montyadkins.com/" target="_blank">Monty Adkins</a> and <a href="http://www.pip-dickens.com/" target="_blank">Pip Dickens</a><br />
<i>ISBN-13: 978-1-86218-101-4</i><br />
</span><span style="font-family: "lucida sans unicode"; font-size: x-small;">Size: 280 x 210mm<br />
Pages: 144<br />
Number of images: 97<br />
Images in colour: 89</span><span style="font-family: "lucida sans unicode"; font-size: x-small;"><br />
published by University Huddersfield
Press<br />
Email enquiries to: university.press@hud.ac.uk</span></div>
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<span style="font-family: "lucida sans unicode"; font-size: x-small;"><a href="http://www.store.hud.ac.uk/browse/extra_info.asp?compid=1&catid=26&modid=1&prodid=847&deptid=168&prodvarid=0" target="_blank">Online Shop</a> </span></div>
Pip Dickenshttp://www.blogger.com/profile/16540762896749775590noreply@blogger.com0tag:blogger.com,1999:blog-7561992095931964223.post-62524298620436795832012-07-03T05:34:00.001-07:002019-05-02T08:06:35.523-07:00BOOK: Shibusa - PART 2 - Chapter 4<b><span style="font-family: "trebuchet ms" , sans-serif;">SHIBUSA - Extracting Beauty</span></b><br />
<b><span style="font-family: "trebuchet ms" , sans-serif;">See <a href="http://pip-dickens.blogspot.co.uk/2012/07/shibusa-extracting-beauty-composition-7.html" target="_blank">Overview</a> if you are not sure what this page is about (it can be found on the header bar also)</span></b><br />
<br />
<b><span style="font-family: "trebuchet ms" , sans-serif;">PART TWO</span></b><br />
<b><span style="font-family: "trebuchet ms" , sans-serif;">Shibusa: An Artist's Perspective</span></b><br />
<span style="font-family: "trebuchet ms" , sans-serif;">Chapter 4: Low tech and high tech: the tail should not wag the dog</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">by <b>Pip Dickens</b></span><br />
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<br />
<span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;">Extract (with kind permission of University of Huddersfield Press)</span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgv4bs1cCR3jDOTHVxNb8UuUDcWfbEgIxOETFNwzxzy-ffWzpVLM9TCuoWr0Mh1S2IcuWGfB7CE70yR7gWjN9JKfSMF229CdoLGRK0gxNmIDfpzdzyFtZF-kqUgYrZ7iTbtpyUxUeYtxg/s1600/CherryTree2012.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgv4bs1cCR3jDOTHVxNb8UuUDcWfbEgIxOETFNwzxzy-ffWzpVLM9TCuoWr0Mh1S2IcuWGfB7CE70yR7gWjN9JKfSMF229CdoLGRK0gxNmIDfpzdzyFtZF-kqUgYrZ7iTbtpyUxUeYtxg/s320/CherryTree2012.jpg" width="318" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: "verdana" , sans-serif;">The Cherry Tree (In Memoriam 2011)</span></i><span style="font-family: "verdana" , sans-serif;">, 152.5 x 152.5 cm, oil on canvas, Pip Dickens</span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">. </span></td></tr>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Copyright Pip Dickens </span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">The issue of exploiting</span> <span style="font-family: "trebuchet ms" , sans-serif;">computer technology is really a question of</span> <span style="font-family: "trebuchet ms" , sans-serif;">how it is exploited and to what ends, for there</span> <span style="font-family: "trebuchet ms" , sans-serif;">are skills in using technology (as indeed with</span> <span style="font-family: "trebuchet ms" , sans-serif;">gaining expertise in anything). <a href="http://www.richardsennett.com/site/SENN/Templates/Home.aspx?pageid=1" target="_blank">Richard Sennett</a></span> <span style="font-family: "trebuchet ms" , sans-serif;">states in a discussion with <a href="http://en.wikipedia.org/wiki/Grayson_Perry" target="_blank">Grayson Perr</a>y and</span> <span style="font-family: "trebuchet ms" , sans-serif;">Laurie Taylor (<i>Thinking Allowe</i>d, BBC Radio</span> <span style="font-family: "trebuchet ms" , sans-serif;">4) that we need to be careful about assessing</span> <span style="font-family: "trebuchet ms" , sans-serif;">what skills stand for:</span><br />
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<span style="font-family: "trebuchet ms" , sans-serif;">What tends to happened in Britain is that</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">the word ‘skills’ stands for procedure –</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">how to do ‘X’. It doesn’t stand for ongoing</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">experience of doing ‘X’ better, so when we</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">test young kids we test whether they can do</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">a procedure or whether they are capable of</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">learning from whatever baseline they start</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">from them. It is tick-box learning.</span></blockquote>
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</blockquote>
<span style="font-family: "trebuchet ms" , sans-serif;"></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">Sennett also defines the relationship </span><span style="font-family: "trebuchet ms" , sans-serif;">between the artisan and technology: </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">The greatest dilemma faced by the modern</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">artisan-craftsman is the machine. Is it a</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">friendly tool or an enemy replacing work </span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">of the human hand? In the economic</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">history of skilled manual labour, machinery</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">that began as a friend has often ended up as</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">an enemy.</span></blockquote>
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</blockquote>
<span style="font-family: "trebuchet ms" , sans-serif;"></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">One of the most significant elements of </span><span style="font-family: "trebuchet ms" , sans-serif;">our collaboration [<a href="http://montyadkins.com/" target="_blank">Monty Adkins</a> and <a href="https://www.pip-dickens.com/" target="_blank">Pip Dickens</a>] was having to exchange</span> <span style="font-family: "trebuchet ms" , sans-serif;">concepts and developments with another </span><span style="font-family: "trebuchet ms" , sans-serif;">person – things that are normally very private</span> <span style="font-family: "trebuchet ms" , sans-serif;">and difficult to articulate. The received image </span><span style="font-family: "trebuchet ms" , sans-serif;">of a sketch does not always convey, wholly,</span><span style="font-family: "trebuchet ms" , sans-serif;">what the artist is aiming to accomplish. </span><span style="font-family: "trebuchet ms" , sans-serif;">Sketches are visual/audible notations for </span><span style="font-family: "trebuchet ms" , sans-serif;">self-reference – shorthand solutions, or</span> <span style="font-family: "trebuchet ms" , sans-serif;">approaches, indicating processes that might </span><span style="font-family: "trebuchet ms" , sans-serif;">be called into play in a painting or sound </span><span style="font-family: "trebuchet ms" , sans-serif;">work. The sketch, be it hand-wrought, </span><span style="font-family: "trebuchet ms" , sans-serif;">or digitally created, can be misleading, </span><span style="font-family: "trebuchet ms" , sans-serif;">or mysterious, to anyone other than the </span><span style="font-family: "trebuchet ms" , sans-serif;">artist, without some form of supplementary</span> <span style="font-family: "trebuchet ms" , sans-serif;">explanation – appraised only on its</span> <span style="font-family: "trebuchet ms" , sans-serif;">visual/audible merits, not for its hidden</span><span style="font-family: "trebuchet ms" , sans-serif;"> meaning or intent. Over a period of some </span><span style="font-family: "trebuchet ms" , sans-serif;">months we exchanged numerous sketches </span><span style="font-family: "trebuchet ms" , sans-serif;">(see Figures 4.1, 4.2, 4.3, 4.4 and 4.5), </span><span style="font-family: "trebuchet ms" , sans-serif;">before developing preliminary paintings and</span> <span style="font-family: "trebuchet ms" , sans-serif;">sound works. This process prompted valuable</span> <span style="font-family: "trebuchet ms" , sans-serif;">discussions of the sketches where both our </span><span style="font-family: "trebuchet ms" , sans-serif;">interpretations and ideas could be shared. </span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;">The sketches, then, are thoughts in their</span> <span style="font-family: "trebuchet ms" , sans-serif;">nascency – sometimes fixing only on a single </span><span style="font-family: "trebuchet ms" , sans-serif;">aspect of a concept. </span><span style="font-family: "trebuchet ms" , sans-serif;">As a process, or ‘tool’, the sketch has four</span> <span style="font-family: "trebuchet ms" , sans-serif;">purposes: exploration, germination, filtration</span> <span style="font-family: "trebuchet ms" , sans-serif;">and design. Different artists’ ‘sketches’ filter</span> <span style="font-family: "trebuchet ms" , sans-serif;">and evolve concepts in different ways – that is</span> <span style="font-family: "trebuchet ms" , sans-serif;">the freedom artists have in developing skills</span> <span style="font-family: "trebuchet ms" , sans-serif;">independently of an external agency. It is</span> <span style="font-family: "trebuchet ms" , sans-serif;">research, and research is part and parcel of</span> <span style="font-family: "trebuchet ms" , sans-serif;">many artists’ practice. But the how, why and </span><span style="font-family: "trebuchet ms" , sans-serif;">what of this research is individually</span> <span style="font-family: "trebuchet ms" , sans-serif;">determined. </span><br />
<br />
<b><span style="font-family: "trebuchet ms" , sans-serif;">From Gillies to Gaga: </span><span style="font-family: "trebuchet ms" , sans-serif;">the sculptures of Paddy Hartley</span></b><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://www.paddyhartley.com/project-facade/" target="_blank">Paddy Hartley’s Project Façade</a> exemplifies </span><span style="font-family: "trebuchet ms" , sans-serif;">how a dedicated and passionate interest in a subject matter can result in a body of artworks </span><span style="font-family: "trebuchet ms" , sans-serif;">that develop a momentum of their own. Hartley believes in the skill of making – hands-on – but has also been shrewd in exploiting </span><span style="font-family: "trebuchet ms" , sans-serif;">high technology in order to share the histories </span><span style="font-family: "trebuchet ms" , sans-serif;">and research behind the work and so place his </span><span style="font-family: "trebuchet ms" , sans-serif;">artworks in specific context.</span> <span style="font-family: "trebuchet ms" , sans-serif;">Project Façade is a series of 16 sculpturally</span> <span style="font-family: "trebuchet ms" , sans-serif;">embroidered garments that interpret and</span> <span style="font-family: "trebuchet ms" , sans-serif;">symbolise personal histories of servicemen</span> <span style="font-family: "trebuchet ms" , sans-serif;">who suffered severe facial injuries during the</span> <span style="font-family: "trebuchet ms" , sans-serif;">First World War. Hartley’s focus is on the New</span> <span style="font-family: "trebuchet ms" , sans-serif;">Zealand surgeon Sir Harold Delf Gillies, who </span><span style="font-family: "trebuchet ms" , sans-serif;">developed crucial facial surgery techniques.</span> <span style="font-family: "trebuchet ms" , sans-serif;">Gillies worked with pioneering surgeon</span> <span style="font-family: "trebuchet ms" , sans-serif;">Hippolyte Morestin (dubbed the ‘Father of the</span> <span style="font-family: "trebuchet ms" , sans-serif;">Mouths’ for his innovative surgery in skin </span><span style="font-family: "trebuchet ms" , sans-serif;">grafting), which Gillies observed in during the</span> <span style="font-family: "trebuchet ms" , sans-serif;">First World War at the British General </span><span style="font-family: "trebuchet ms" , sans-serif;">Hospital in Rouen. Gillies returned to England</span> <span style="font-family: "trebuchet ms" , sans-serif;">and began his own groundbreaking work in</span><span style="font-family: "trebuchet ms" , sans-serif;"> the field of maxillofacial surgery. His work</span> <span style="font-family: "trebuchet ms" , sans-serif;">predates that of his cousin Archibald</span> <span style="font-family: "trebuchet ms" , sans-serif;">McIndoe, and his equally extraordinary work</span> <span style="font-family: "trebuchet ms" , sans-serif;">(with Rainsford Mowlem and Tommy Kilner) </span><span style="font-family: "trebuchet ms" , sans-serif;">with facially disfigured Second World War</span> <span style="font-family: "trebuchet ms" , sans-serif;">servicemen, which became known as the</span> <span style="font-family: "trebuchet ms" , sans-serif;">‘Guinea Pig Club’:</span> <span style="font-family: "trebuchet ms" , sans-serif;">Archibald McIndoe went to the Queen</span> <span style="font-family: "trebuchet ms" , sans-serif;">Victoria Hospital, East Grinstead. </span><span style="font-family: "trebuchet ms" , sans-serif;">Mowlem worked at St. Albans and Kilner</span> <span style="font-family: "trebuchet ms" , sans-serif;">at Roehampton, while Gillies established</span> <span style="font-family: "trebuchet ms" , sans-serif;">the army service at Rooksdown Hospital,</span> <span style="font-family: "trebuchet ms" , sans-serif;">near Basingstoke. All were involved in the </span><span style="font-family: "trebuchet ms" , sans-serif;">treatment of facial casualties in the Second</span> <span style="font-family: "trebuchet ms" , sans-serif;">World War and McIndoe in particular was </span><span style="font-family: "trebuchet ms" , sans-serif;">instrumental in the rehabilitation of his</span> <span style="font-family: "trebuchet ms" , sans-serif;">patients, the majority of whom were badly</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">burned bomber crews and fighter pilots.</span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;">The large proportion of serious injuries </span><span style="font-family: "trebuchet ms" , sans-serif;">and disfigurement in the First World War was </span><span style="font-family: "trebuchet ms" , sans-serif;">unprecedented, due to mass production and </span><span style="font-family: "trebuchet ms" , sans-serif;">development of artillery. Guns, rifles, tanks, machine guns, gas and grenades bombarded </span><span style="font-family: "trebuchet ms" , sans-serif;">and killed, injured and traumatised surviving servicemen. The first self-powered machine </span><span style="font-family: "trebuchet ms" , sans-serif;">gun, the Maxim, was nicknamed the ‘devil’s paintbrush’ because of the physical damage it</span> <span style="font-family: "trebuchet ms" , sans-serif;">wrought in the First World War. Such damage</span> <span style="font-family: "trebuchet ms" , sans-serif;">was graphically illustrated in François</span> <span style="font-family: "trebuchet ms" , sans-serif;">Dupeyron’s 2001 film <a href="http://www.blogger.com/goog_778469166"><i>La Chambre des </i></a></span><span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://www.imdb.com/title/tt0273148/" target="_blank"><i>officiers</i></a>, based on the book of the same name </span><span style="font-family: "trebuchet ms" , sans-serif;">by Marc Dugain, which charts the experiences</span> <span style="font-family: "trebuchet ms" , sans-serif;">of Adrien Fournier, a lieutenant in the</span> <span style="font-family: "trebuchet ms" , sans-serif;">Engineers during the First World War. Fournier was struck down in the field </span><span style="font-family: "trebuchet ms" , sans-serif;">and was removed to a maxillofacial unit</span> <span style="font-family: "trebuchet ms" , sans-serif;">shared by similar victims, and spent the </span><span style="font-family: "trebuchet ms" , sans-serif;">rest of the war undergoing experimental</span> <span style="font-family: "trebuchet ms" , sans-serif;">reconstructive surgery.</span><br />
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<b><i><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;">[End of Extract] This Chapter then goes on to review the works of Paddy Hartley in depth.</span></span></i></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMw5I8MmgHS7XTUr0Assu5Rqxj2U-uBtNGj2cfOlp-jgJrjoJ7slmly6gYu7RWH59NgQzw9cchosf1SOhP4htAYYyA1Hk9nDGE5r98NMG29NvpihOtG02nMcwJTMi7TLKG4BOQPqibt2U/s1600/shibusabookcover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMw5I8MmgHS7XTUr0Assu5Rqxj2U-uBtNGj2cfOlp-jgJrjoJ7slmly6gYu7RWH59NgQzw9cchosf1SOhP4htAYYyA1Hk9nDGE5r98NMG29NvpihOtG02nMcwJTMi7TLKG4BOQPqibt2U/s200/shibusabookcover.jpg" width="148" /></a></div>
<div class="MsoNormalCxSpMiddle" style="font-family: "Trebuchet MS",sans-serif;">
<span lang="EN-US" style="font-size: x-small;">More information about this book, and ordering information:</span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: "Trebuchet MS",sans-serif;">
<span style="font-family: "lucida sans unicode"; font-size: x-small;">Book details:<br />
</span><span style="font-family: "lucida sans unicode"; font-size: x-small;">Shibusa - Extracting Beauty</span><span style="font-family: "lucida sans unicode"; font-size: x-small;"><br />
Edited by <a href="http://montyadkins.com/" target="_blank">Monty Adkins</a> and <a href="http://www.pip-dickens.com/" target="_blank">Pip Dickens</a><br />
<i>ISBN-13: 978-1-86218-101-4</i><br />
</span><span style="font-family: "lucida sans unicode"; font-size: x-small;">Size: 280 x 210mm<br />
Pages: 144<br />
Number of images: 97<br />
Images in colour: 89</span><span style="font-family: "lucida sans unicode"; font-size: x-small;"><br />
published by University Huddersfield
Press<br />
Email enquiries to: university.press@hud.ac.uk</span></div>
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<span style="font-family: "lucida sans unicode"; font-size: x-small;"><a href="http://www.store.hud.ac.uk/browse/extra_info.asp?compid=1&catid=26&modid=1&prodid=847&deptid=168&prodvarid=0" target="_blank">Online Shop</a> </span></div>
Pip Dickenshttp://www.blogger.com/profile/16540762896749775590noreply@blogger.com0tag:blogger.com,1999:blog-7561992095931964223.post-30662883354714107462012-07-03T04:42:00.002-07:002019-05-02T08:07:05.299-07:00BOOK: Shibusa - PART 2 - Chapter 3<b><span style="font-family: "trebuchet ms" , sans-serif;">SHIBUSA - Extracting Beauty</span></b><br />
<b><span style="font-family: "trebuchet ms" , sans-serif;">See <a href="http://pip-dickens.blogspot.co.uk/2012/07/shibusa-extracting-beauty-composition-7.html" target="_blank">Overview</a> if you are not sure what this page is about (it can be found on the header bar also)</span></b><br />
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<b><span style="font-family: "trebuchet ms" , sans-serif;">PART TWO</span></b><br />
<b><span style="font-family: "trebuchet ms" , sans-serif;">Shibusa: An Artist's Perspective</span></b><br />
<span style="font-family: "trebuchet ms" , sans-serif;">Chapter 3: Pattern rhythm, vibration and colour</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">by <b>Pip Dickens</b></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"></span><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;"></span><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;">Extract (with kind permission of University of Huddersfield Press)</span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1e5qTyLOJ-AzB0iOXcDy_vKhC0dVjlFB3XJA18FM8q1hHP0RmXRegah-9I2qYmwXP6GzPRTpi8-p69brXqpacBezhbyRq86CdimcLRNX5kW_I0qrMWXGIsmHTNlOqy64XLECKkXEEs1U/s1600/bluecaribbeanvibration.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1e5qTyLOJ-AzB0iOXcDy_vKhC0dVjlFB3XJA18FM8q1hHP0RmXRegah-9I2qYmwXP6GzPRTpi8-p69brXqpacBezhbyRq86CdimcLRNX5kW_I0qrMWXGIsmHTNlOqy64XLECKkXEEs1U/s400/bluecaribbeanvibration.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">Figure 3.2 Dickens, </span><span style="font-family: "trebuchet ms" , sans-serif;"><i>Blue Caribbean Vibration</i></span><span style="font-family: "trebuchet ms" , sans-serif;">, Moiré series<i></i>, 2003, oil on canvas, 152 × 152 cm. </span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">Collection of artist, © Pip Dickens</span></td></tr>
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<span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">The katagami stencil, while evidently a practical tool for the purpose of colouring and<br />patterning a variety of substrates, including kimono fabric, has recently found itself an object of desire in the West. Collectors,including myself, are attracted by its many startling qualities: intricate, delicate and complex designs, many of which convey optically vibrant arrangements. Given the use of the stencils in busy textile workshops, where dyes and resist materials are pressed through them again and again, it is not surprising that few of them survive in good condition today. However, whatever the aesthetic or design quality of the stencil, its most valuable asset is the evidence it provides of the virtuosity of the craftsperson – the hand skills of the artisan. The Leverhulme Trust Award collaboration with Monty Adkins has used the katagami stencil as a symbol of how we can best investigate the synergy between music and painting. By drawing on the stencil’s qualities (and that of the stencil’s maker), themes emerged that directed us towards specific approaches in developing new works and the elements contained in those works.<br /> </span></span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">It is important to emphasise how the stencil has developed a symbolic role (and why I have linked it directly to Richard Sennett’s writing on craftsmanship) because elements of the stencil’s aesthetic properties have also been absorbed and explored within preliminary works. The stencil, therefore, has played two distinct roles in this project: an important visual reference, and a symbol of good making skills. </span></span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br />It is also useful to reiterate the ‘imperative to protect performance’ mentioned in the<br />previous chapter, because continuity – skill of control – of the handmade mark is an important component within painting: be it through rehearsal (repeated many times),<br />through experimentation (trial and error) or through the action of painting where a skill of rhythmic control may be called into play. The same is true of musical performance and composition. </span></span></span></span><br />
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<span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">In this chapter I introduce three series of visual artworks: my own <i>Moiré</i> series, paintings by <a href="http://en.wikipedia.org/wiki/Bridget_Riley" target="_blank">Bridget Riley</a> and photo-booth collages by <a href="http://www.lizrideal.com/" target="_blank">Liz Rideal</a>. All these works evidence these skills consciously, without relegating repetition to the banality of design or ‘wallpaper’. Rather, these are highly original approaches due to the physical engagement of the artist through innovation; the skill of repetition and rehearsal; and the ‘X’ factor which, ultimately, is the role that an artwork plays while in production: the work creates a ‘dialogue’, or response to, actions imposed upon it during its development. Each of these artists demonstrates a very distinct and individual approach to pattern, rhythm, vibration and colour. Moreover, each evidences different levels of use of technology and hand skills. <br /> </span></span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">In <a href="http://pip-dickens.blogspot.co.uk/2012/07/book-shibusa-contents-overview-part-2.html" target="_blank">Chapter 2</a>, I introduced Sennett’s comments about skills and the corollary between those of the Japanese katagami cutter, revealing the importance of time, physical coordination and ritual in order to hone skills. In the nineteenth century the publisher Andrew White Tuer also signified the importance of practice and repetition in Japanese skills in order to become expert: </span></span></span></span><br />
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<span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">The Japanese, who has naturally a fine</span></span></span></span> <span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">sense of colour and form, is taught</span></span></span></span><span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"> draftsmanship in the same manner as he is </span></span></span></span><span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">taught writing – that is, copies are ‘set’</span></span></span></span> <span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">which are laboriously transcribed over and </span></span></span></span><span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">over again until the pupil can draw, say, a </span></span></span></span><span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">chrysanthemum of conventional shape, </span></span></span></span><span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">almost as easily as you and I … can </span></span></span></span><br />
<span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">scribble a b c.</span></span></span></span></blockquote>
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<b><i><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;">[End of Extract] This Chapter then goes on to review the works of Pip Dickens, Bridget Riley and Liz Rideal in depth.</span></span></i></b><br />
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<span lang="EN-US" style="font-size: x-small;">More information about this book, and ordering information:</span></div>
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<span style="font-family: "lucida sans unicode"; font-size: x-small;">Book details:<br />
</span><span style="font-family: "lucida sans unicode"; font-size: x-small;">Shibusa - Extracting Beauty</span><span style="font-family: "lucida sans unicode"; font-size: x-small;"><br />
Edited by <a href="http://montyadkins.com/" target="_blank">Monty Adkins</a> and <a href="http://www.pip-dickens.com/" target="_blank">Pip Dickens</a><br />
<i>ISBN-13: 978-1-86218-101-4</i><br />
</span><span style="font-family: "lucida sans unicode"; font-size: x-small;">Size: 280 x 210mm<br />
Pages: 144<br />
Number of images: 97<br />
Images in colour: 89</span><span style="font-family: "lucida sans unicode"; font-size: x-small;"><br />
published by University Huddersfield
Press<br />
Email enquiries to: university.press@hud.ac.uk</span></div>
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<span style="font-family: "lucida sans unicode"; font-size: x-small;"><a href="http://www.store.hud.ac.uk/browse/extra_info.asp?compid=1&catid=26&modid=1&prodid=847&deptid=168&prodvarid=0" target="_blank">Online Shop</a> </span></div>
Pip Dickenshttp://www.blogger.com/profile/16540762896749775590noreply@blogger.com0tag:blogger.com,1999:blog-7561992095931964223.post-20708710115028689902012-07-03T03:28:00.000-07:002019-05-02T08:07:33.967-07:00BOOK: Shibusa - PART 2 - Chapter 2<br />
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<b><span style="font-family: "trebuchet ms" , sans-serif;">SHIBUSA - Extracting Beauty</span></b><br />
<b><span style="font-family: "trebuchet ms" , sans-serif;">See <a href="http://pip-dickens.blogspot.co.uk/2012/07/shibusa-extracting-beauty-composition-7.html" target="_blank">Overview</a> if you are not sure what this page is about (it can be found on the header bar also)</span></b><br />
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<b><span style="font-family: "trebuchet ms" , sans-serif;">PART TWO</span></b><br />
<b><span style="font-family: "trebuchet ms" , sans-serif;">Shibusa: An Artists Perspective</span></b><br />
<span style="font-family: "trebuchet ms" , sans-serif;">Chapter 2: The katagami stencil: handmade machine</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">by <a href="https://www.pip-dickens.com/" target="_blank"><b>Pip Dickens</b></a></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"></span><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"></span><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;">Extract (with kind permission of University of Huddersfield Press)</span></span></span><br />
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<tr><td class="tr-caption" style="font-family: "Trebuchet MS",sans-serif; text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">Figure 2.1 A katagami stencil: Japanese hand-cut stencil for printing on to kimono fabric. Collection of Pip Dickens, © <a href="http://www.pip-dickens.com/" target="_blank">Pip Dickens</a></span></td><td class="tr-caption" style="font-family: "Trebuchet MS",sans-serif; text-align: center;"><br /></td><td class="tr-caption" style="font-family: "Trebuchet MS",sans-serif; text-align: center;"><br /></td><td class="tr-caption" style="font-family: "Trebuchet MS",sans-serif; text-align: center;"><br /></td><td class="tr-caption" style="font-family: "Trebuchet MS",sans-serif; text-align: center;"><br /></td><td class="tr-caption" style="font-family: "Trebuchet MS",sans-serif; text-align: center;"><br /></td><td class="tr-caption" style="font-family: "Trebuchet MS",sans-serif; text-align: center;"><br /></td><td class="tr-caption" style="font-family: "Trebuchet MS",sans-serif; text-align: center;"><br /></td><td class="tr-caption" style="font-family: "Trebuchet MS",sans-serif; text-align: center;"><span style="font-size: x-small;"><br /></span></td><td class="tr-caption" style="font-family: "Trebuchet MS",sans-serif; text-align: center;"><span style="font-size: x-small;"><br /></span></td><td class="tr-caption" style="font-family: "Trebuchet MS",sans-serif; text-align: center;"><span style="font-size: x-small;"><br /></span></td><td class="tr-caption" style="font-family: "Trebuchet MS",sans-serif; text-align: center;"><span style="font-size: x-small;"><br /></span></td></tr>
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<b><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;">We have trained our hands in repetition;</span><span style="font-family: "trebuchet ms" , sans-serif;"> we are alert rather than bored because we </span><span style="font-family: "trebuchet ms" , sans-serif;">have developed the skill of anticipation. </span><span style="font-family: "trebuchet ms" , sans-serif;">But equally, the person able to perform </span><span style="font-family: "trebuchet ms" , sans-serif;">a duty again and again has acquired a </span><span style="font-family: "trebuchet ms" , sans-serif;">technical skill, the rhythmic skill of a </span><span style="font-family: "trebuchet ms" , sans-serif;">craftsman, whatever the god or gods </span><span style="font-family: "trebuchet ms" , sans-serif;">to which he or she subscribes. </span></span><br /><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;">(Richard Sennett, The Craftsman)</span></span></b></blockquote>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i><br /></i></span><span style="font-family: "trebuchet ms" , sans-serif;"><i><a href="http://www.amazon.co.uk/Craftsman-Richard-Sennett/dp/0141022094" target="_blank">'The Craftsman'</a></i> is the first of Richard Sennett's three volumes on material culture, with particular srcutiny of the 'skill of making things well'.<i> </i>He refers to many areas of craftsmanship, including that of arts and crafts, as well as music, architecture, social use of buildings, psychology and interaction within the workplace. Frequent reference is made in his thorough and enlightening investigations of oriental methods of working:in the industrial context of companies such as Nokia, or in his discussion of ‘the lesson of minimum force’ – understanding and controlling muscles in order to master the skill of using knives well. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><br />Rhythm, ritual and respect for the sharp knife are key to becoming expert at controlling the tool. Most important of all is time. In what Sennett calls the ‘rhythm of concentration’, the commitment of practice to become expert at anything (to gain tacitknowledge) requires the investment of 10,000 hours. Sennett converts these hours into practising 3 hours a day for 10 years. This is a rule of thumb, but he points out that compressed apprenticeships – for example that of a goldsmith, or the intensive training undergone in a doctor’s internship –while taking fewer years, equates to roughly the same amount of time. His reference is to psychologist Daniel Levitin’s <a href="http://www.amazon.co.uk/dp/1843547163/ref=asc_df_18435471638593602?smid=A3P5ROKL5A1OLE&tag=hydra0b-21&linkCode=asn&creative=22206&creativeASIN=1843547163&hvpos=1o1&hvexid=&hvnetw=g&hvrand=13763964301393192753&hvpone=&hvptwo=&hvqmt=" target="_blank"><i>This is Your Brain on Music</i></a>, where this magic number keeps cropping up in the context of how long it takes composers, athletes and authors to become expert.<br /><br />It comes as no surprise to have found this same period of time – 10 years – quoted in research into how long it takes a cutter of katagamistencils to become expert. Moreover, the Japanese fully understand, and celebrate, the ‘rhythm of concentration’ their artists and artisans have dedicated their lives to it in order to become expert – many being honoured as Living National Treasures. The way in which these individuals are of significant cultural importance reveals just how significant physical skills are to the Japanese in general. Japan has an international reputation for its technological sophistication, for embracing machine production and for pioneering innovation. But there is something else, too – a qualitative approach that harks back to the fundamental elements of craft: of making things well and investing time in learning (research). Research results in innovation and this, in turn, also throws up failed attempts along the way. Failures, therefore, are as useful as the successes if they are appreciated within the context of learning. Some failures result in new innovations and inventions. Failures offer three choices: exploit them in the current work, acknowledge them and use them as a positive approach in future works, or acknowledge they are redundant – aesthetically and practicably never going to work. Thus a ‘no go’ area is as useful as a ‘green light’ when investing time and materials into an artist’s practice. <br /><br />Ise katagami is a Japanese method of making stencils with fine and elaborate patterns, which can be used to print on to a variety of substrates (this is called katazome). The katagami stencil is a sophisticated paper stencil created with a variety of sharp knives or specially shaped punches (see images). The history of the katagami stencil can be traced back to stencilling patterns on samurai warriors’ armour (leather helmets and stirrups, for example) in the Nara period (710–794). Some sources state that katagami already existed by the late Muromachi period (around 570).<br /><br /><i>The Book of Delightful and Strange Designs, Being One Hundred Facsimile Illustrations of the Art of the Japanese Stencil-Cutter</i>, published in 1893 by <a href="http://en.wikipedia.org/wiki/Andrew_White_Tuer" target="_blank">Andrew White Tuer</a>, suggests that the use of the katagami stencil flourished in the seventeenth century (Edo period 1603–1868). Miyazaki Yuzen (referred to as Someya Yuzen by Tuer) is identified as an artist of great significance in popularising the development of yuzen-zome– hand-painted designs on silk using resist-paste techniques and, most importantly, dye-fast techniques. Miyazaki Yuzen was originally a painter of Japanese fans. His artworks were very popular and he was persuaded to produce works on kimono fabric, which, in turn, resulted in a unique style of hand-painting becoming highly popular in the Meiji period (from 1868). His new innovations proliferated across the textiles industry during this time, and so began a boom in designing, printing and painting on fabric – examples being the kimono and polychromatic suspended pictures called kakemonos. It is interesting to note how an artist working in a specialised area can bring new innovations to another quite distinct practice. Subsequently, Kyoto-born artisan Jisuke Hirose further developed techniques in yuzen-zome(or katazome): printing pattern using paper stencils and chemical dye, which further popularised these associated techniques on a range of textile substrates. Yuzen technique employs two methods of approach: tegaki (hand- dyeing/painting) using brushes (painting); and kata(stencil-dyeing), a technique to dye silk using a cut-out paper template (printing). </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">Figure 2.2 Detail of a katagami stencil showing itoire work (silk meshing) for<br />structural support and resilience. This image represents about 2.5 × 2.5 cm<br />of the cut stencil. Collection of Pip Dickens, © <a href="http://www.pip-dickens.com/" target="_blank">Pip Dickens</a></span></td></tr>
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<span style="font-family: "lucida sans unicode"; font-size: x-small;">Book details:<br />
</span><span style="font-family: "lucida sans unicode"; font-size: x-small;">Shibusa - Extracting Beauty</span><span style="font-family: "lucida sans unicode"; font-size: x-small;"><br />
Edited by <a href="http://montyadkins.com/" target="_blank">Monty Adkins</a> and <a href="http://www.pip-dickens.com/" target="_blank">Pip Dickens</a><br />
<i>ISBN-13: 978-1-86218-101-4</i><br />
</span><span style="font-family: "lucida sans unicode"; font-size: x-small;">Size: 280 x 210mm<br />
Pages: 144<br />
Number of images: 97<br />
Images in colour: 89</span><span style="font-family: "lucida sans unicode"; font-size: x-small;"><br />
published by University Huddersfield
Press<br />
Email enquiries to: university.press@hud.ac.uk</span></div>
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<span style="font-family: "lucida sans unicode"; font-size: x-small;"><a href="http://www.store.hud.ac.uk/browse/extra_info.asp?compid=1&catid=26&modid=1&prodid=847&deptid=168&prodvarid=0" target="_blank">Online Shop</a> </span></div>
Pip Dickenshttp://www.blogger.com/profile/16540762896749775590noreply@blogger.com0tag:blogger.com,1999:blog-7561992095931964223.post-58314807405121125752012-07-02T06:41:00.001-07:002012-10-29T04:57:10.144-07:00BOOK: Shibusa - PART 1 - Chapter 1<b><span style="font-family: "Trebuchet MS",sans-serif;">SHIBUSA - Extracting Beauty</span></b><br />
<b><span style="font-family: "Trebuchet MS",sans-serif;">See <a href="http://pip-dickens.blogspot.co.uk/2012/07/shibusa-extracting-beauty-composition-7.html" target="_blank">Overview</a> if you are not sure what this page is about (it can be found on the header bar also)</span></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjywfo1n_UZGg-_8YT-jYRnm4w-0jtFxBieGVV0Nu8iS0HnDHWoqvDPIBomCPaT1-XSj3nU7CKlWJRqy7_A8QyT-9dnYQhu4H9kiF9s970Raetv-vpZhTgkXVxDmq5S1Z9NIUwh2JmwwpA/s1600/brown-dickens-detail21.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjywfo1n_UZGg-_8YT-jYRnm4w-0jtFxBieGVV0Nu8iS0HnDHWoqvDPIBomCPaT1-XSj3nU7CKlWJRqy7_A8QyT-9dnYQhu4H9kiF9s970Raetv-vpZhTgkXVxDmq5S1Z9NIUwh2JmwwpA/s400/brown-dickens-detail21.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-family: Arial; font-size: xx-small;">Detail from <i>Composition #2<span style="font-size: xx-small;">,<a href="http://www.pip-dickens.com/katagami.html" target="_blank"> </a></span></i><span style="font-size: xx-small;"><a href="http://www.pip-dickens.com/katagami.html" target="_blank">Katagami series</a> of paintings</span>, <br />
</span><span style="color: #666666; font-family: Arial; font-size: xx-small;">oil, on hand-dyed and washed canvas</span><span style="color: #666666; font-family: Arial; font-size: xx-small;"> </span><br />
<span style="color: #666666; font-family: Arial; font-size: xx-small;">copyright <a href="http://www.pip-dickens.com/" target="_blank">Pip Dickens</a></span></td><td class="tr-caption" style="text-align: center;"></td></tr>
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<b><span style="font-family: "Trebuchet MS",sans-serif;"> </span></b><br />
<br />
<b><span style="font-family: "Trebuchet MS",sans-serif;">PART ONE</span></b><br />
<b><span style="font-family: "Trebuchet MS",sans-serif;">Shibusa: A Musician's Perspective</span></b><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Chapter 1: <i>Exploding Stillness</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><b><span style="font-size: x-small;"><span style="font-size: small;">by </span><a href="http://montyadkins.com/" target="_blank"><span style="font-size: small;">Monty Adkins (Professor)</span></a></span></b></span><br />
<div style="font-family: "Trebuchet MS",sans-serif;">
website: <a href="http://montyadkins.com/">http://montyadkins.com/</a></div>
<br />
<br />
<span style="font-family: "Trebuchet MS",sans-serif;"><b><span style="font-size: x-small;"> Extract (with kind permission of University of Huddersfield Press)</span></b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><b><span style="font-size: x-small;"><br /></span></b></span>
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<span lang="EN-US">The association of sound and image
has been a subject that has fascinated composers and artists for centuries, and
can be traced back as far as the investigations of Artistotle and Pythagoras
into the correlation between the light spectrum and musical tones. Although the
main theoretical texts that discuss the relation between music and painting
emerged in the early decades of the twentieth century, most notably centred
around those artists associated with the Bauhaus and
the famous meeting in 1911 of Arnold Schoenberg and Wassily Kandinsky,
practical investigation and experimentation between colour and sound has its
origins further back in instruments often termed ‘colour organs’, such as the clavecin
oculaire constructed by Louis Bertrand Castel in 1734. In 1720, some 14 years
prior to the construction of the clavecin oculaire, Castel wrote, ‘Can anyone
imagine anything in the arts that would
surpass the visible rendering of sound, which would enable the eyes to partake
of all the pleasures which music gives to the ears?’ The clavecin oculaire was
a device that used 500 candles, 240 levers and pulleys, and 60 reflecting mirrors
to illuminate a 2-metre-square frame with 60 coloured windows (5 octaves of 12 tones,
each with a specific hue), each with a curtain that was automatically raised
when the corresponding key on the harpsichord was struck. Many such instruments
were developed throughout the eighteenth and nineteenth centuries – Kaster’s
pyrophone, Vietinghoff-Scheel’s chromatophon and Thomas Wilfred’s clavilux are
but a few examples of instruments that all worked on a similar premise. All
these instruments were based around the keyboard as a means of triggering
colour–pitch combinations. In the twentieth century this tradition of using a
physical mechanism to produce an association of sound and colour continued with
experiments using film to combine sound and image, particularly in the work of
Norman McClaren, Oskar Fischinger (who created his own colour organ – the
lumigraph – in the late 1940s) and
Walter Ruttman. </span></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle" style="font-family: "Trebuchet MS",sans-serif;">
<span lang="EN-US">Aside from these mechanical
devices aimed at multisensory stimulation, conceptually the most coherent
approach is found in Richard Wagner’s notion of the Gesamtkunstwerk, expounded
in his essay ‘The artwork of the future’ of 1849, and which he defined as a unification
of music, song, dance, poetry, visual arts and stagecraft.</span></div>
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<br /></div>
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<span lang="EN-US">Although Wagner’s influence on
future generations of composers is often discussed in terms of his dvancements in harmonic thinking and the
emancipation of the dissonance, the idea of the Gesamtkunstwerkcan be traced through
Schoenberg’s opera Die Glückliche Hand (1910–13) and Scriabin’s Prometheus
(1911) – both of which were accompanied by carefully choreographed coloured
lights – and Ives’ unfinished Universe Symphony 1911–28), as well as countless
contemporary multimedia spectacles. At the same time as Wagner’s development of the Gesamtkunstwek, a shared
vocabulary emerged between painting and music that extended beyond mere
metaphor – works in both creative disciplines were discussed as compositions,
panels or improvisations that have a form. James Whistler went further and titled
his paintings with musical terms such as ‘nocturne’, ‘harmony’ or ‘study’, and most famously the Symphony in White series
(1862–7). The purpose of such titles was to emphasise the tonal qualities of
the composition and to reduce the emphasis on narrative content. In Karl
Gerstner’s book <i>The Forms of Color</i>, he observes that: Each musical tone can be
defined by three parameters:</span></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle" style="font-family: "Trebuchet MS",sans-serif;">
<span lang="EN-US">1) frequency (pitch), </span></div>
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<span lang="EN-US">2) amplitude (volume), and</span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: "Trebuchet MS",sans-serif;">
<span lang="EN-US">3) overtones (tone color). </span></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle" style="font-family: "Trebuchet MS",sans-serif;">
<span lang="EN-US">Each color can likewise be
defined by three parameters: </span></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle" style="font-family: "Trebuchet MS",sans-serif;">
<span lang="EN-US">1) color tone (or hue, according
to Munsell), </span></div>
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<span lang="EN-US">2) lightness (or value), and</span></div>
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<span lang="EN-US">3) purity (or chroma).</span></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle" style="font-family: "Trebuchet MS",sans-serif;">
<span lang="EN-US">In the early part of the
twentieth century the mapping of colour to musical pitches was the principal reoccupation
of Roy de Maistre, a contemporary of Klee and Kandinsky. De Maistre’s 1935
painting <i>Colour Composition Derived from Three Bars of Music in the Key of
Green</i> (Colour Scale on a Musical Theme from Beethoven) is typical of his work
and is based on a system the painter developed from Sir Isaac Newton’s theories
of colour, expounded in the latter’s treatise Opticks of 1704. De Maistre
believed that ‘a mathematical relationship of frequencies …united the physical
phenomenon of light and sound’.</span></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle" style="font-family: "Trebuchet MS",sans-serif;">
<span lang="EN-US">During the first part of the
twentieth century a number of composers were also active as painters.
Schoenberg painted a number of expressionist works and maintained close contact
with Wassily Kandinsky and Der Blaue Reiter group. Schoenberg’s pupil, John Cage,
created drawings and paintings that often used similar chance techniques to those employed in his
compositions; indeed Sharon Kennedy maintains that ‘Cage’s awareness of silence in music can be seen
through its abundance of white space in his piece called Stones 2(1989)’. While only Kandinsky purported to
experience an intense synesthesic bond between sound and image, it is clear
that the visual work of both Schoenberg and Cage were informed by their musical
aesthetic. </span></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle" style="font-family: "Trebuchet MS",sans-serif;">
<span lang="EN-US">As digital technologies
proliferated during the second part of the twentieth century, it might be
assumed that the connection between music and painting would become lessened in
favour of music in conjunction with the moving image. Yet despite the
propensity of visual music in our contemporary culture, painting is still a significant
source of inspiration for contemporary sound artists and composers. The
influence of painting on music comes in many forms: the initial structural model
of Kaija Saariaho’s Verblendungen (1982) was a brushstroke from which the composer
abstracts simple geometric shapes that control parameters such as tessitura, harmonicity
and polyphony, and the relationship between the orchestra and the electronics. </span><br />
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<span style="font-family: Lucida Sans Unicode; font-size: x-small;">Book details:<br />
</span><span style="font-family: Lucida Sans Unicode; font-size: x-small;">Shibusa - Extracting Beauty</span><span style="font-family: Lucida Sans Unicode; font-size: x-small;"><br />
Edited by <a href="http://montyadkins.com/" target="_blank">Monty Adkins</a> and <a href="http://www.pip-dickens.com/" target="_blank">Pip Dickens</a><br />
<i>ISBN-13: 978-1-86218-101-4</i><br />
</span><span style="font-family: Lucida Sans Unicode; font-size: x-small;">Size: 280 x 210mm<br />
Pages: 144<br />
Number of images: 97<br />
Images in colour: 89</span><span style="font-family: Lucida Sans Unicode; font-size: x-small;"><br />
published by University Huddersfield
Press<br />
Email enquiries to: university.press@hud.ac.uk</span></div>
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<span style="font-family: Lucida Sans Unicode; font-size: x-small;"><a href="http://www.store.hud.ac.uk/browse/extra_info.asp?compid=1&catid=26&modid=1&prodid=847&deptid=168&prodvarid=0" target="_blank">Online Shop</a> </span></div>
Pip Dickenshttp://www.blogger.com/profile/16540762896749775590noreply@blogger.com0