Historical and Philosophical studies > History of Art]
I was commissioned by Betterton to contribute a chapter to a compilation of ten essays by artists and theoreticians, including writing by theorists engaged with the practice of painting as well as practitioners engaged in theory.
My chapter entitled 'Seeing and Feeling' examines notions of spectatorship in relation to painting and feminism. By positing the notion of the spectator as ‘the site where the work happens', I explore the ‘choreography’ of the viewer. My account of the viewer's engagement with the paintings of Jane Harris and video and photographic works of Sam Taylor-Wood explores ‘looking as a serial activity’ that unfolds over time and is materially situated. I also raised the question of the ethical and political relations between the artist, the work and her audience.
The essay was written in the context of the exhibition Unframed (funded by the Arts Council England), which was held in the Standpoint Gallery in Hoxton, London and exhibited work by the twelve UK based artists discussed in the book. The show included a range of practices that use paint and also those using other media, but which evolve from painting’s history and debates.
|Type of Research:||Book Section|
|Your affiliations with UAL:||Colleges > Camberwell College of Arts|
|Deposited By:||INVALID USER|
|Deposited On:||07 Dec 2009 12:47|
|Last Modified:||15 Sep 2010 16:27|