User:Annalystad/reclaimnotes

Talk with Ine 20 March 2017

Border between intimacy and personal (Naked body, no head)

Look into Blurred/ not blurred

Artist to look at Claude Cahun Claude Cahun was a French artist, photographer and writer. Her work was both political and personal, and often undermined traditional concepts of gender roles

Chantal Akerman Chantal Anne Akerman was a Belgian film director, artist and professor of film at the City College of New York. Her best-known film is Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles.

Gillian Wearing Gillian Wearing OBE RA is an English conceptual artist, one of the Young British Artists, and winner of the annual British fine arts award, the Turner Prize, in 1997.

Try different directions, BW can mean something different than colour. Colour makes it look amature and cheap. BW more beautiful, why? Is it necessary to be pretty? BW is another layer of protection. No blur is more real body, blur can make it seem more abstract, layer of protection. Anonymity in photos, dont want to show face because i lost so much face when it happened. I want to take back my body, have power over it, accept it without losing face. Why is it very intimate but not personal? What is intimacy without being personal.

Look into objectivity and subjectivity, what am i treating my subject as. Look at painters, paint the skin, photograph it. Look in paintings how the painter deals with the edges of the skin, cloth of skin

(Lucy Meckenzie) Hito Steyer Film

Female artist - reclaiming my image, what does it mean to be objectified, photographed and spread online, how can i reclaim that? look at Cindy Sherman

Surgeon working with skin as bandages.

Make a map on the wall of

go back to the school and photograph my self nude there

Showing this image of me is highly radical and possibly wrong in a way, but even still - i am in charge of it, i decided to do it, i have ownership of it, underage nude.

work with my own contemplation, communication, reflection

Kristeva Refframed - Estelle Barrett

“In a world immersed in readymade images, consumer advertising and the bureaucratised language of institutions, Kristeva’s work explains how art or aesthetic experience is one of the few means by which we can generate and access images that are linked to our vital and lived experiences and that have the capacity to engender personal, political and social renewal. For Kristeva art or aesthetic experience is a practice that constitutes both a subject ( A sense of self), as well as an object that has the power to transform meaning and consciousness. She views the production of a work of art as continuous with the production of the life of the individual, as a dynamic and performative process that moves between and across embodied experience, biological processes and social and institutional discourses. ” (Barrett, Introduction)

“Florma’s engagement with Rubins and Steinbergs account of picasso's painting is illumination as much for its thesis, which suggests that demoiselles is a study in both detachment and immediacy that emerges through self-discovery predicated on experiencing the work (the work that the painting does), but also for its relevance to the issue of the objective and subjective positioning of the artist. It is experiencing that allows us  to think with the other’ (Florman 2003: 77). Experiencing the painting becomes an activity in which we may be overcome by the extreme otherness of the semiotic disposition of the work, or instead return to a more symbolic modality of engagement that finds adequate expression on interpretive discourse. Florman suggest that it is the instantiation of these two positions though the alternating style ( one more poetic and one more prosaic) of Steinberg's account that allows us to experience the painting more fully. Her commentary is in accord with Kristeva's view of interpretation as practice, and it is this aspect of Kristeva's thinking that will be the central concern of the following chapter.” (Barrett, Page 31)