Andrew Rankin @arankin - Tumblr Blog

Heading to the Jamie Hawkesworth show in Huxley Parlour today and just came across this Gould Collection publication.

There's a video of it here - https://vimeo.com/369835885

The Didion essay can be viewed over here too - http://pdf-objects.com/files/00-On-Keeping-a-Notebook.pdf

#photography #jamie hawkesworth #joan didion

"Cinema shatters. But this is not – or not necessarily – violent. It is a shattering without breaking, a breaking up that is generative. It fragments our world. A fragment has power, so much potential: it has the ability to go in many directions – is not fixed but fluid. A fragment as fragment retains this ability, its potentiality" - Madison Brookshire, 'Concrete Music: On The Films of Alexandra Cuesta'

#madison brookshire #essay #film #alexandra cuesta #fragments #narrative #structure

schizografia

Sol LeWitt

Buried Cube Containing an Object of Importance But Little Value, 1968.

The burial of the cube reportedly took place in a local garden, but these photographs, referring again to the notion of the series or process, are the only proof that LeWitt’s actions actually took place. Without seeing the event taking place, or knowing what is held within the cube, Buried Cube relies on the idea, as opposed to a finished object. A conceptual piece, this work was produced shortly following the publication of LeWitt’s 1968 manifesto describing the new Conceptual art movement. In the manifesto, he declares, “The execution is a perfunctory affair. The idea becomes a machine that makes the art.” Likewise, by emptying this “burial”-like an actual interment, an extremely important, emotional, and personal affair-of content, value, gesture and expression, LeWitt disengages himself from the work and takes a strong “death of the author” stance. In his own words: “Once it is out of his hand the artist has no control over the way a viewer will perceive the work. Different people will understand the same thing in a different way.”

#sol lewitt #conceptual photography