Estelle's Blog

Rosalind Krauss – key texts Terminal Iron Works: The Sculpture of David Smith. Cambridge, Massachusetts: MIT Press, 1971. The Sculpture of David Smith: A Catalogue Raisonné. Garland Reference Library of the Humanities, 73. New York: Garland, 1977. Passages in Modern Sculpture. Cambridge Mass: The MIT Press, 1977. “Studies major works by important sculptors since Rodin in the light of different approaches to general sculptural issues to reveal the logical progressions from nineteenth-century figurative works to the conceptual work of the present.” https://mitpress.mit.edu/books/passages-modern-sculpture The Originality of the Avant-Garde and Other Modernist Myths. Cambridge, Massachusetts: MIT Press, 1985. L'Amour fou: Photography & Surrealism. London: Arts Council, 1986. Exhibition at the Hayward Gallery, London, July to September 1986. Le Photographique : Pour une théorie des écarts. Translated by Marc Bloch and Jean Kempf. Paris: Macula, 1990. The Optical Unco...

https://www.sciencedirect.com/science/article/pii/S019745561730076X Abstract The aim of this study was to explore what art therapists consider to be patients’ inner change and how it may appear during art therapy. Thirty-eight trained art therapists with experience of using art therapy as a treatment were included in the study. They were asked to describe how they perceived their patients’ inner change and a situation during art therapy when they observed such a change. An inductive thematic analysis resulted in five themes;  Therapeutic alliance , describing trust of the therapist and belief in the method,  Creating , which concerns the work in the therapeutic process, while  Affect consciousness, Self-awareness , and  Ego-strength  are part of the therapy outcome.

Anne Truitt http://www.annetruitt.org/bio In 1949 Truitt studied sculpture for one academic year at the Institute of Contemporary Art in Washington, D.C., followed by three months at the Dallas Museum of Fine Art. Following this formal training, she experimented with various media and techniques, including clay, cast cement and plaster, and steel welding. In 1961 Truitt began to work in the style for which she later became known: painting multiple delicate layers of color characterized by subtle variations onto wooden constructions fabricated in accordance with scale drawings; the structural elements of these sculptures constitute armatures supporting color. Writing in April 1965, Truitt stated: "What is important to me is not geometrical shape per se, or color per se, but to make a relationship between shape and color which feels to me like my experience. To make what feels to me like reality."  Research this artist in the collections of these galleries and museums: ...

The Importance of Art Criticism to Practice-Based Research and Questioning “…there is a level at which art speaks directly to all of us and piques our intuitive critical sensibilities. We’re entitled to hold both informed and uninformed opinions, since once the art is out in the world, it belongs equally to everyone. Sometimes we have to risk being wrong, but must at least make a valiant argument. ” https://brooklynrail.org/2012/12/artseen/whats-so-important-about-criticism-macadam art criticism and the art critic: • Art criticism, the analysis and evaluation of works of art. More subtly, art criticism is often tied to theory; it is interpretive, involving the effort to understand a particular work of art from a theoretical perspective and to establish its significance in the history of art. • The critic is “minimally required to be a connoisseur,” which means he must have a “sound knowledge” of the history of art, as Philip Weissman wrote...

https://www.tate.org.uk/research/publications/tate-papers/17/to-the-ends-of-the-earth-art-and-environment This website is an introduction essay to the group of articles written about art and the environment in Tate Papers 17. The group of articles devoted to the theme of art and environment in  Tate Papers  no.17 aims to explore new research frontiers between visual art and the material environment. The papers arise from a conference held at Tate Britain in June 2010 at which a range of practitioners and scholars – artists, writers, curators, theorists, historians and geographers – presented case studies of artworks addressing specific sites, spaces, places and landscapes in a variety of media, including film, photography, painting, sculpture and installation. The conference considered relations between artistic approaches to the environment and other forms of knowledge and practice, including scientific knowledge and social activism. The papers addressed cultural que...