Exercise 1.4 Contextual Focus

Research point: Read the text by Lee Ufan, ‘Robots and Painters’ from ed. Myers, Terry (2011) Painting: Documents Of Contemporary Art, London: Whitechapel Gallery and The MIT Press, p. 63-65.

Reflect on the text in relation to your own experience and understanding of the following:

Reading Lee Ufan’s ‘Robots and Painters’, (1987) reminded me of the reaction artist had to the invention of photography in the nineteenth century; which was then seen as extraordinary importance both to art and to science, and promised to transform perceptions of the universe itself. Artists now had direct competition in the production of life-like pictures.

Ufan objectively presents two opposing points of view. On one hand he suggests that robots can produce art that is as good, or even better, than a human.  On the other hand he notes the unique involvement of human interaction; the inner self, creation and a philosophical viewpoint that machinery does not have – yet!

The development of Artificial Intelligence and rise of the thinking machine has gathered significant momentum over the past twenty-years. But I am not convinced that this constitutes a threat to artist’s or art forms, in which I include all forms and genres of art. The human mind is fascinating, and artists have continued to reinvent themselves throughout history. Whilst the development of technology is a matter of when, and not how, I strongly believe that artists and art will continue to play a significant role in the creativity of art.

What you feel painting is and what you feel it isn’t.

My understanding of what I want to feel from a painting has changed significantly over the past four to five years. It’s no longer about just looking at a picture or art form, but instead requires an ability to communicate, invoke emotion or expresses feelings. I am not suggesting that every painting must possess every quality, but I feel that this helps develop and create my own work.  

Of late I have also come to understand that painting is about experimenting with ideas, concepts, supports, materials, mediums and methods of application. If asked 5 years ago what painting wasn’t, I would most likely have cited artists such as Janine Antoni Loving Care (1993), Jarrett Key’s Hair Performance, or Untitled No. 5, (2013-2014) by Shen Wei. This is no longer the case, and having spent some time pondering over this question, I struggled to find an answer.

The purpose of painting: what is painting for?

Painting is a means of expression of ideas and emotions in a two-dimensional visual language of shapes, lines, colours, tones, and texture to produce volume, space, movement, and light on a flat surface. It has the ability to inspire or challenge social, political or economic change. It can be a means to provoke, shock or question. It has the ability to communicate without words or challenge our own subconscious thinking or beliefs. It presents an artist with endless opportunities to be imaginative, explore and communicate through their own creativity.

Starting and finishing a work: where does an artwork begin and end?

Creating an artwork is a personal experience and is therefore likely to start with a personal idea, intention or concept.  The very nature of it being personal can make it hard to know when to stop so there may be some value reflecting on why a piece was started. Does it match your intention, idea or concept, and what feeling do you get from it? I also believe its worth trusting your own instincts, particularly when feeling ready to separate from it, or to avoid overworking. Ultimately the work is done when you say so, but you may also have to accept that it may never be finished.

Knowing what you are doing: is it unhelpful to know what you’re doing and is it possible to know what you’ve done?

In the context of the course students are presented with a framework, but that’s not to suggest these are prescriptive in providing formed ideas and pre-conceptions on the process or outcome.  Having a pre-conception of outcome or rigid approach is likely to be counter-productive, stifling imagination and creativity. 

I do believe that it is possible to understand what has been done by reflecting on outcomes and the process of producing the work.  I also believe that by examining what has been done, it may provide, or expand, on ideas, concepts or context in moving forward. 

Biography

Bell, E. (2018). Don’t believe the hype: painting isn’t dead. [online] Itsnicethat.com. Available at: https://www.itsnicethat.com/news/painting-not-dead-opinion-art-081018 [Accessed 3 Feb. 2020].

Clare A.P. Willsdon, ‘Painting and Photography’, in Christiana Payne (ed.), In Focus: Pegwell Bay, Kent – a Recollection of October 5th 1858 ?1858–60 by William Dyce, Tate Research Publication, 2016, https://www.tate.org.uk/research/publications/in-focus/pegwell-bay-kent-william-dyce/painting-and-photography, accessed 3 February 2020.

Encyclopedia Britannica. (n.d.). painting | History, Elements, Techniques, Types, & Facts. [online] Available at: https://www.britannica.com/art/painting [Accessed 2 Feb. 2020].

Jirousek, C. (1995). The Nature of Changes In the Fine Arts. [online] Char.txa.cornell.edu. Available at: http://char.txa.cornell.edu/ART/FINEART/CHANGE/change.htm [Accessed 3 Feb. 2020].

Lee Ufan, ‘Robots and Painters’ from ed. Myers, Terry (2011) Painting: Documents Of Contemporary Art, London: Whitechapel Gallery and The MIT Press, p. 63-65.

Stewart, H. (2015). Robot revolution: rise of ‘thinking’ machines could exacerbate inequality. [online] the Guardian. Available at: https://www.theguardian.com/technology/2015/nov/05/robot-revolution-rise-machines-could-displace-third-of-uk-jobs [Accessed 4 Feb. 2020].