tag:blogger.com,1999:blog-82615049998917496372024-02-21T07:16:06.912-08:00The Ethic AestheticDes Kilfeatherhttp://www.blogger.com/profile/15064574827601749920noreply@blogger.comBlogger12125tag:blogger.com,1999:blog-8261504999891749637.post-58771772910045124172016-05-15T13:28:00.000-07:002016-05-15T13:28:08.101-07:00Jess Gillam, Rhapsode?<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Helvetica;">Jess Gillam, Rhapsode?<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: Helvetica;">Jess Gillam
and her performance tonight in the final of the BBC Young Musician 2016 has
inspired me to Blog again. She has introduced to me, a new dimension in my
thinking about art and the role of the Rhapsode. And just what is genius. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica;">Jess, kept
looking round and engaging personally with the people of the BBC Symphony
Orchestra as though she was bringing them and its Conductor and the Composer
along with her. Seventeen year old Jess.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica;">To me, a
musically uneducated being, Jess is contributing to destroying the barriers of
class in art, be it music, visual or otherwise. She is building bridges.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica;">All of the
young musicians in the final are superb and deserve to win. But Jess, I
suspect, will never succumb even if she does win. An artist.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica;">An image with
this blog? No, no image of mine could add to Jess’s art or reflect the tears of
hope she brought to my eyes this evening.<o:p></o:p></span></div>
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Des Kilfeatherhttp://www.blogger.com/profile/15064574827601749920noreply@blogger.com0tag:blogger.com,1999:blog-8261504999891749637.post-66822601928323709382015-09-01T12:19:00.001-07:002015-09-02T00:41:27.075-07:00Des Kilfeather -Introibo ad altare Dei; Rationale<div class="MsoNormal">
<span lang="EN-US">During August it was a privilege to exhibit
for ten days at the Victoria Institute as a guest of Littlehampton Organisation
of Contemporary Arts, (LOCA) and the Arundel Gallery Trail. Both organisations
exist to help make art more accessible to a wider public audience and provide
opportunities for artists, from beginner to established, to show their work and
potentially make sales. Large numbers of visitors with varying degrees of
artistic appreciation walk the trail viewing art and craft in galleries and people’s
homes. The Arundel Gallery Trail is one of the most important events of its
type in the UK.<o:p></o:p></span><br />
<span lang="EN-US"><br /></span>
<span lang="EN-US">Interestingly it was also my first opportunity to personally discuss the aesthetic behind my body of work <i style="mso-bidi-font-style: normal;">–Introibo ad altare Dei </i>with a wide range of people, young, old, never previously thought about art through to artists, art teachers, higher education art mentors and lecturers. For me a fascinating and revealing experience.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixkAb11ThhZMEBXBRrsMFrzhHjXwm0S2z4nd0MzmjRrG9mroWYRYddUNCUCrFN9LWrSjROd7atk1hBVC2OMBoPilt7JePBnX-DYYtvv289ipISHFJJe2mKsWtYtGwm8NonOepfsD6gKaQ/s1600/low+res+crop+1+introibo+DSC00198.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixkAb11ThhZMEBXBRrsMFrzhHjXwm0S2z4nd0MzmjRrG9mroWYRYddUNCUCrFN9LWrSjROd7atk1hBVC2OMBoPilt7JePBnX-DYYtvv289ipISHFJJe2mKsWtYtGwm8NonOepfsD6gKaQ/s320/low+res+crop+1+introibo+DSC00198.jpg" width="320" /></a></div>
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The most common question, occasionally
challenging being, what on earth is this body of work all about? And can you please
point to the metaphorical context so it can be understood? It was also strongly
apparent that the demands for explanation appeared directly relevant to the
artistic experience of the individual audience member with higher education
professionals in particular usually enquiring from a position of conceptual
empathy.<span style="mso-spacerun: yes;"> </span>But this experience did
encourage me to think hard, again, about whether or not the artist should
explain or document aesthetic motivation. Some of my most important mentors
have given totally opposing views, at one extreme it is wrong to explain and
the other no artist can be valid if their art is not fully documented.</div>
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<span lang="EN-US">So here is my proposed compromise solution.
The key to audience interpretation lies in my Amazon eBook paper (<i style="mso-bidi-font-style: normal;">–Introibo ad altare Dei; Is artist intention
over-ruled by the unconscious self?) </i>statement, “The concept remains in
place that audience members will draw different conclusions based on their
cultural perspective”. The main influencer for this is Umberto Eco , The
Poetics of the Open Work//1962 and his sentence, “Hence, every reception of a
work of art is both an <i style="mso-bidi-font-style: normal;">interpretation</i>
and a <i style="mso-bidi-font-style: normal;">performance</i> of it, because in
every reception the work takes on a fresh perspective for itself".
Controversially some view this as meaning the work of art actually changes as
each audience member engages with it.<o:p></o:p></span><br />
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However, responding to audience enquiries, it seems appropriate to provide some rationale to my thinking and a selection of clues to the multiple metaphors which have a role to play in the work and its interpretation. The figures are two dimensional drawings therefore they do not and can never exist in reality, referring to René Magritte. They are drawn from the visit of Pope Benedict XVI to the UK and Queen Elizabeth II. Considerations are my own Belfast Catholic cultural indoctrination, Hanoverian historical context, Church of England, London, Rome, Florence, sexual identity, marriage, Personal Ordinariates, male domination of religion, religious domination and abuse of our world, Carl Jung, the collective unconscious, quantum physics, time, dimensions and art. All underpinned with Aristotle’s Nicomachean Ethics and the title of the work appropriated from the first page of James Joyce’s <i>Ulysses</i>.</div>
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<a href="http://www.amazon.co.uk/D.-P.-Kilfeather/e/B0034Q3QJY" target="_blank">Link to Des Kilfeather eBooks</a></div>
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Des Kilfeatherhttp://www.blogger.com/profile/15064574827601749920noreply@blogger.com0tag:blogger.com,1999:blog-8261504999891749637.post-29980140061557358382014-06-28T12:32:00.001-07:002014-06-28T12:32:52.911-07:00World Cup: Brazil, Chile, Italy and Philosophy
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<span lang="EN-US">What a disaster! Brazil and Chile head to
head on penalties. I have “never” followed soccer, but Dr. <a href="http://edwinters.webplus.net/">Ed Winters</a> convinced me there is a
philosophy of football and it is of major importance in our world. When Ireland
and Britain were finally out I got behind Brazil and Chile, (both lovely deserving
cultures), and Italy, the remote heritage of my lovely late Mother Pauline
Gotto. Brazil and Chile should have fought it out <u>in the final</u>; the commitment
of both of them tonight captivated even me, a sceptic who usually avoids football
at any cost. Brazil as world cup host deserves a break and it would be great to
see them take the cup, in my humble uneducated opinion.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
Des Kilfeatherhttp://www.blogger.com/profile/15064574827601749920noreply@blogger.com0tag:blogger.com,1999:blog-8261504999891749637.post-46710059397486378152013-11-22T01:21:00.000-08:002014-05-27T04:18:04.080-07:00Artist Intention: Plato's Ion and the Unconscious Self?<div style="text-align: center;">
<b><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">-Introibo ad altare Dei.</span></b></div>
<div style="text-align: center;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">An extract from my Artist's eBook The Ethic Aesthetic perhaps illustrates where my thinking is coming from?</span></div>
<div style="text-align: center;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">If you can decipher my handwriting that is?</span></div>
<div style="text-align: center;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-EVVxH6UFCwWJIPvJqc5NTo-qHIwhFC0-sG3olMFArN8ZYYGLh3qI-S-5si5LOgkXghhW5RewKSf0WvvpUNcVuRXnzyrz-r_dSxgKdmZnjXSz7P5RfBb1DP6g65a8HRtF-_BMbDSbbPk/s1600/rhapsode+ion+blog+version+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-EVVxH6UFCwWJIPvJqc5NTo-qHIwhFC0-sG3olMFArN8ZYYGLh3qI-S-5si5LOgkXghhW5RewKSf0WvvpUNcVuRXnzyrz-r_dSxgKdmZnjXSz7P5RfBb1DP6g65a8HRtF-_BMbDSbbPk/s1600/rhapsode+ion+blog+version+1.jpg" /></a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
The eBook is available from Amazon.</div>
<div style="text-align: center;">
Reviews on Amazon are most helpful and appreciated, positive or negative!</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="color: red;"><a href="http://www.amazon.co.uk/D.-P.-Kilfeather/e/B0034Q3QJY" target="_blank">Link to Des Kilfeather eBooks</a></span></div>
<div style="text-align: center;">
<br />
<a href="https://www.facebook.com/pages/The-Ethic-Aesthetic/451037364910100" target="_blank">Link to Des Kilfeather Facebook The Ethic Aesthetic</a></div>
Des Kilfeatherhttp://www.blogger.com/profile/15064574827601749920noreply@blogger.com0tag:blogger.com,1999:blog-8261504999891749637.post-32883778508211330452012-03-10T04:56:00.002-08:002012-03-17T12:26:48.387-07:00James Joyce's Dubliners, a Visual Response & Contemporary Contextualisation. The Artist's Intention.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPnA7hNjV6C5B2E51AOL-zLqyOYXb2sAnf68QT2t0bnxfSY4Rllv3MpuKFYNky3po1BHpE9uIuonmt7UCkYNXjuRcMcCqgJYzA05hcrBB8ojtQJDiB9pEHUYI3zTHw3TMLGfiebKWY33w/s1600/lowres+dubliners+writers+museum.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPnA7hNjV6C5B2E51AOL-zLqyOYXb2sAnf68QT2t0bnxfSY4Rllv3MpuKFYNky3po1BHpE9uIuonmt7UCkYNXjuRcMcCqgJYzA05hcrBB8ojtQJDiB9pEHUYI3zTHw3TMLGfiebKWY33w/s320/lowres+dubliners+writers+museum.jpg" width="226" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: Helvetica;"><b>James Joyce's Dubliners<o:p></o:p></b></span></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: Helvetica;"><b>A Visual Response<o:p></o:p></b></span></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: Helvetica;"><b>&<o:p></o:p></b></span></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: Helvetica;"><b>Contemporary Contextualisation<o:p></o:p></b></span></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
</div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: Helvetica;"><b>The Artist’s Intention<o:p></o:p></b></span></div><div align="center" class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="font-family: Helvetica; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><b><br />
</b></span></span></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>Introduction<o:p></o:p></b></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">These are abstracts from my research notes in support of the Dubliners traveling exhibition and are intended to provide an insight into my thinking. It is anticipated that there will be strong disagreement with many of my conclusions.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">This body of work comprises hung prints from scanned watercolour paintings, montage, collage, a video sequence and the artist’s book James Joyce Dubliners – A Visual Response, in an Edition of 15. The body of work continues to be Work in Progress.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">An overview of the work can be found via this link:<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><a href="http://www.saatchionline.com/dessat">http://www.saatchionline.com/dessat</a> under the Events area on that page.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">It is not my intention to go into detail on the “aboutness” of each of these works. My intention as an artist is to provide some information, a series of clues perhaps, that will assist the audience to address the work and use the clues to refer to their own individual reality.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">For information on my most recent Portrait of the Artists as a Young Man work, please refer to my website.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>Story 1 - THE SISTERS</b></span><span style="font-family: Helvetica;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Father Flynn died July 1<sup>st</sup> 1895. The day of the 1690 Battle of the Boyne and William Prince of Orange’s victory over Catholicism. This fact indicates the complexity of Dubliners, sometimes referred to as Joyce’s Ulysses apprentice piece. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Paralysis and epiphany are probably the most important features of Dubliners. The word paralysis was actually used only once in the book in the first story The Sisters, but Joyce himself stated that Dublin “the city seemed to me the centre of paralysis”. <i>The Gnomonic Clue to James Joyce’s Dubliners. </i></span><span style="font-family: Helvetica;">Gerhard Friedrich. The John Hopkins University Press. (http://www.jstor.org/pss/3043368)<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">But Joyce is about complexity and metaphor, the word paralysis would also almost certainly be used as a metaphor, perhaps this can also be illustrated by Father Flynn’s symptoms of mental illness, most recently attributed by some to be symptomatic of syphilis and that “paralysis was often used synonymously, at that time, with paresis (general paralysis of the insane)”. <i>Paresis and the Priest. James Joyce's Symbolic Use of Syphilis in "The Sisters"</i></span><span style="font-family: Helvetica;"> </span><span style="font-family: ArialMT;"><a href="http://www.annals.org/search?author1=BURTON+A.+WAISBREN&sortspec=date&submit=Submit"><span style="color: windowtext; font-family: Helvetica; text-decoration: none;">BURTON A. WAISBREN</span></a></span><span style="font-family: Helvetica;">, M.D., F.A.C.P.; and <a href="http://www.annals.org/search?author1=FLORENCE+L.+WALZL&sortspec=date&submit=Submit"><span style="color: windowtext; text-decoration: none;">FLORENCE L. WALZL</span></a>, Ph.D. (http://www.annals.org/content/80/6/758.abstract)<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>Story 2 - AN ENCOUNTER</b></span><span style="font-family: Helvetica;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Another introduction to the darkness of Joyce’s thinking and the use of Gnomon. The boy (narrator) and friend Mahony encounter a “queer old tosser” on the banks of the river Liffey. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Of course in my opinion the word “queer” is unlikely to have been a reference to homosexuality from these boys, even in my childhood in Ireland we had no perception of the existence of homosexuals. However the same could not be a said for Joyce himself and he was fully aware of all human traits, far beyond his age.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">This story has gnomic references to child abuse and masturbation, never stated but clearly implied, as well as references to Catholicism and the religious undercurrents that contributed, and still contribute to the paralysis of Ireland.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Throughout my paintings in the Dubliners body of work, the use of red pigment indicates some darkness or sinful thought or action.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>Story 3 – ARABY<o:p></o:p></b></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">The boy (narrator) and his coming to terms with the mysteries of Mangan’s sister, the object of his fantasy and sexual awakening. As so often with Joyce and in life the fantasy proves to be just a fantasy and life grinds back to reality and normality.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Disillusionment, religion and political idealisation. Araby is the name of the market, suggesting Middle Eastern glamour and wonder, but which in “reality” turns out to be seedy and not so attractive.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>Story 4 – EVELINE<o:p></o:p></b></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">The young woman trapped in a life of drudgery and possible abuse is seduced (not physically sexual) by Frank the sailor to run away with him to Buenos Aires.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Similar to Araby, this is about fantasy, breaking away from a life that is unbearably dull, but concluding that it is only a fantasy with the young woman deciding not to board the ship at the last moment as Frank sails away from her. Leaving her condemned by Joyce to possibly lead the life of a virgin Nun.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>Story 5 - AFTER THE RACE</b></span><span style="font-family: Helvetica;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Jimmy Doyle gets out of his depth with the Englishman Routh and European friends. He fails to hold his own during a heavy drinking session and looses all his money playing cards.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Allusions to the futility of the cause of Irish Nationalism and the general paralysis of the Irish and the backward state of their country.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>Story 6 - TWO GALLANTS</b></span><span style="font-family: Helvetica;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Corley shows Lenehan the gold coin that he has probably encouraged the maid to steal from her employers.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Implies the poor state of Ireland and the Irish people. The two gallants are obviously educated middle class men, but they are weak and caddish. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>Story 7 - THE BOARDING HOUSE</b></span><span style="font-family: Helvetica;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Polly the boarding house daughter’s candle has blown out and she seeks out Mr Doran to see if she can light her candle from his.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Dublin society and Ireland trapped by it’s own duplicitous standards of morality. As Mrs Mooney seeks to entrap Mr Doran into marrying Polly.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>Story 8 - A LITTLE CLOUD</b></span><span style="font-family: Helvetica;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Little Chandler, following a drinking session with London based friend Ignatius Gallagher has an epiphany, the realisation that his life is worthless. Consumed with frustration, anger and jealously Chandler broods on his failure to capitalise on his superior intellect and rage is triggered by the bawling baby son in his arms. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>Story 9 - COUNTERPARTS</b></span><span style="font-family: Helvetica;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Farrington, the man, with an “Ulster” accent once again experiences an epiphany about his inadequacy. A heavy drinking session leads to him viciously beat his son despite his son pleading with promises to say a Hail Mary for him.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>Story 10 – CLAY<o:p></o:p></b></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Maria, spinster and catholic laundress in a charitable protestant laundry business is everybody’s perfect woman. She used to nurse Joe when he was a child and visits his family regularly. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">The Dublin by Lamplight laundry is thought to have been a home for reforming prostitutes but there appears to be no suggestion that Maria was anything other than a deserving good catholic girl in need of a position and somewhere to live.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Maria reflects on the marriage and men that never were, apparently in the most innocent way.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>Story 11 - A PAINFUL CASE<o:p></o:p></b></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">James Duffy conducts an lengthy affair of the heart with Mrs Sinico, a married woman, but breaks it off after Mrs Sinico attempts to move towards a more physical relationship. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Some years later James reads that Mrs Sinico has turned to drink and died, killed by a train. He is disgusted that she committed suicide and questioned why he had ever had a relationship with a person of such weak character. Soon after however, the epiphany was his realisation that he was the reason for Mrs Sinico’s death. He is haunted by her image.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>Story 12 - IVY DAY IN THE COMMITTEE ROOM</b></span><span style="font-family: Helvetica;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Betrayal, and Charles Stewart Parnell. Pok, is considered to be Joyce reflecting on the sound of gunshots saluting Parnell during his burial.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>Story 13 - A MOTHER</b></span><span style="font-family: Helvetica;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Mrs Kearney, (nee Miss Devlin), is portrayed as an interfering obstructive mother that is over ambitious for her musician daughter Kathleen. She makes enemies at every turn and is seen to be doing more damage than good in defence of her daughters pecuniary rights. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">But many have failed to note that Miss Devlin possibly refers to to Anne Devlin “the hero of Robert Emmet’s failed 1803 Dublin uprising”. “In Ulysses, Joyce mentions Emmet’s uprising, subsequent trial, and execution”. <i>Robert Emmet’s 1803 Rising and Bold Mrs Kearney: James Jouce’s “A mother” as Historical Analogue”. </i></span><span style="font-family: Helvetica;">MARTIN F. KEARNEY. <a href="http://jsse.revues.org/index585.html">http://jsse.revues.org/index585.html</a><o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">This would put Mrs Keaney in the position of hero, fighting for what is right against all adversity.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>Story 14 - GRACE</b></span><span style="font-family: Helvetica;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Tom Kernan, a catholic converted protestant through marriage, is epitomised as a hopeless case. This possibly reflects the hopeless paralysis of Dublin society and Ireland particularly under the leadership of the Vatican and it’s infallible Pope.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Coerced into a retreat. the confession box and mass, Kernan goes half heartedly through the motions of mending his ways.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>Story 15 - THE DEAD<o:p></o:p></b></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">The final and perhaps most complex story.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Contrary perhaps to most views, yes I see Gabriel’s epiphanic revelation, but not of his lack of understanding of Gretta or the shallowness of his love, but the realisation of his own “self pitying egocentric self”. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Gabriel was attempting to understand Gretta’s rejection of him, wondering what he had done wrong, whereas her distress was nothing to do with him whatsoever. The tears are, yes, tears for Gretta but perhaps more; tears of regret at his own selfish egocentric persona.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">My painting showing Gabriel with moonlight streaming across his tears cannot even begin to convey the depths of despair of this story. This the final story presents the greatest epiphany in Dubliners, Gabriel’s spiritual awakening and Joyce’s expression that there was snow falling all over Ireland and the Universe.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>PARALYSIS and SISTERS TWO</b></span><span style="font-family: Helvetica;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Paralysis is made over a recent photograph of the Apprentice Boys headquarters in Derry. Splattered with paint the façade is cold and uninviting, however the door is open. On the day I shot the photograph Sinn Fein representatives had reportedly been visiting the hall for the first time ever. Paralysis is a core theme throughout Dubliners, paralysis of Dublin and Irish society. My painting is intended to bring this paralysis into sharp contemporary relief.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">It is tempting for the reader to take the broken chalice in Sisters at face value in that this could be considered a great sacrilege. However, I feel that the alter boy referred to, along with the chalice could be a metaphor for child abuse. This would be more in keeping with Joyce’s great intellect. But of course this interpretation has no foundation on my part and would probably be vehemently resisted. Even if it were the case, this would have been too sensitive a topic to be aired by literary critics at least right up to the recent past; as evidenced by Vatican cover ups of that nature.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Refer to Paralysis, paresis and syphilis in the notes on Story 1, The Sisters.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>IVY DAYS<o:p></o:p></b></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">New media and technology processes here provide a metaphor or an intellectual connection between early twentieth century and modern twenty first century philosophies our current reality.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">The scanned painting Ivy Days with intaglio overprint refers to Charles Stewart Parnell. Whilst the news cuttings refer to Mrs Robinson and her sexual affair that almost derailed the current Northern Irish peace process. The common denominators being sex, politics and paralysis inflicted by morality. </span><span class="Apple-style-span" style="font-family: Helvetica;">This montage/collage includes a photograph of an important Street Art painting by The Bogside Artists: http://www.bogsideartists.com/</span><br />
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</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>GRACE, THE TRINITY<o:p></o:p></b></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Refer to YouTube via this link for notes on Grace, The Trinity and Stanislaus Joyce.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><a href="http://www.youtube.com/watch?v=MkBIWpnw45s">http://www.youtube.com/watch?v=MkBIWpnw45s</a><o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;"><b>In Conclusion</b></span><span style="font-family: Helvetica;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">As in any work of art, particularly where metaphor provides the basic construct, there is a risk that more can be read into the work than actually exists. The “artists intention” can become irrelevant. Why for example should we allow the truth to get in the way of a good fantasy.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">Richard Wolheim’s “Seeing In” provides in my mind a perfect analogy between literary art and fine art. Wollheim in his, <i>Art and Its Objects (1968), </i></span><span style="font-family: Helvetica;">proposes that “we see an object in the paint with which a surface is marked rather than simply seeing the marks. This he regarded as a primitive human ability; it is exercised when we see faces in clouds for example, or as Leonardo noticed, landscapes in the stains on a wall”. <i>Obituary Richard Wollheim, Brilliant philosopher engaged with the interaction of art and psychoanalysis. </i></span><span style="font-family: Helvetica;">ARTHUR DANTO, THE GUARDIAN 5/11/2003.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span style="font-family: Helvetica;">With Joyce there has been and will continue to be endless “Seeing In”, the invention of new, previously undiscovered metaphorical references. No doubt this includes me.<o:p></o:p></span></div><br />
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</div>Des Kilfeatherhttp://www.blogger.com/profile/15064574827601749920noreply@blogger.com1tag:blogger.com,1999:blog-8261504999891749637.post-28964409414773349112012-01-22T05:49:00.000-08:002012-01-22T05:49:24.312-08:00Art Internship or Slave Labour?<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsLLUEx347lXmyXAA4Ih3GzPPPZvt3LMJsQ31tNQRuRzNrsaW6E2KoEmZjGuV829Al-dk6mzvm_q_d7F4RV0BaUH8nHzZyMWPwClVlq5un08ZDvJu7UFDbU74sUzeAlhUIOvJq2-41VhI/s1600/500px_Y2T7427.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsLLUEx347lXmyXAA4Ih3GzPPPZvt3LMJsQ31tNQRuRzNrsaW6E2KoEmZjGuV829Al-dk6mzvm_q_d7F4RV0BaUH8nHzZyMWPwClVlq5un08ZDvJu7UFDbU74sUzeAlhUIOvJq2-41VhI/s320/500px_Y2T7427.jpg" width="320" /></a></div><!--StartFragment--> <br />
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</div><div class="MsoNormal">As an artist whose aesthetic is driven by ethics, politics and social comment what really maddens me is the number of art Institutions that have money but nevertheless depend on slave labour from Interns. It is important to differentiate between volunteers and Interns even though there can be fogginess in this.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Recently a key Southern art Institution ran a competition for artists to work for a period of several months producing a response to an important artist’s Retrospective. The (Intern) work was to form a new exhibition. It is not appropriate to point fingers as this one Institution does not carry the guilt alone but is symptomatic of systematic abuse in art. Anyway, being the rebel that I am and at the risk of alienating my work and myself I challenged said Institution as respectfully as possible as follows. “What payments will the artists receive and how will expenses be reimbursed particularly as the Institution will be benefiting from the work”. As anticipated the answer came back “no payment, no expenses”. My objections were just ignored and subsequent requests for answers also were just sucked into a black hole.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I am sure plenty of artists on this group will know “who” I am talking about and the Institution itself will know. That organisation has tons of money, their problem is working out how not to waste it, understandably. Getting slave labour from artists is not valid and is abusive. It also reinforces the position of art as a middle class activity of the privileged few who can afford it; another despicable aspect of art in this world.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">This blog first published by Des Kilfeather on linkedin.com UK Fine Art Network Group</div><!--EndFragment-->Des Kilfeatherhttp://www.blogger.com/profile/15064574827601749920noreply@blogger.com0tag:blogger.com,1999:blog-8261504999891749637.post-51894640265386051752011-03-27T13:02:00.000-07:002011-03-27T22:45:28.384-07:00Should the UK's rich foreigners give more to arts?<div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, 'Nimbus Sans L', sans-serif; font-size: 13px; line-height: 15px;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhnmWS7RsNiqqvnv5eVjrED2Ofgpa1I3hnpL0atVxbGyi1sstXI4LDWC4TPRHvROYrk5LJPeFIvIIWrXCgpLoMfq5QiA3iVudPQbDwEHCRxFZdT1dn9MSr0lKCx5nMC3rTcZty5TC0y4Q/s1600/lowres_Y2T7981.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhnmWS7RsNiqqvnv5eVjrED2Ofgpa1I3hnpL0atVxbGyi1sstXI4LDWC4TPRHvROYrk5LJPeFIvIIWrXCgpLoMfq5QiA3iVudPQbDwEHCRxFZdT1dn9MSr0lKCx5nMC3rTcZty5TC0y4Q/s320/lowres_Y2T7981.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Philanthropic Atheist Part iii</div><div class="separator" style="clear: both; text-align: center;">Oil, water colour, indian ink on gesso prepared board</div><div class="separator" style="clear: both; text-align: center;">DP Kilfeather 2010</div><span class="Apple-style-span" style="font-family: Arial, Helvetica, 'Nimbus Sans L', sans-serif; font-size: 13px; line-height: 15px;"><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, 'Nimbus Sans L', sans-serif; font-size: 13px; line-height: 15px;">Dame Vivien makes a particularly pertinent point at this time of vicious government cuts. There are rumours circulating about smaller UK public art galleries that are seriously concerned they may not have the financial resources to continue operating into 2012 and may have to close down. Traditional sources of funding are drying up and a vacuum is being created. Dame Vivien is drawing attention to seriously wealthy foreign residents and the UK Nouveau Riche who have disposable assets but perhaps culturally are not well disposed to philanthropy for whatever reason. The reasons may include an unwillingness to take time out from making money to spend money, or cultural barrenness almost certainly through no fault of their own. I believe the reasons apply equally to UK nouveau riche citizens as well as wealthy foreign residents in the UK. </span><br />
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Part of the solution are the existing and new tax break initiatives, but these have to be marketed to and managed for the prospective donor. But generous tax breaks should not be the main reason for philanthropy in the arts. Call me a Red if you like, but philanthropy should be motivated by a need to put something back into society in return for the wealth provided by that society. My work in progress art project "The Philanthropic Atheist" refers to this and the personal psychological conflicts that the powerful and wealthy may experience.</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, 'Nimbus Sans L', sans-serif; font-size: 13px; line-height: 15px;">The government cuts in process are proving to be more divisive than I originally anticipated. This government's policy is going to put access to art even more out of reach to the majority of people in the UK. It is with some trepidation therefore that I am commenting on the need for greater philanthropic contribution; this is, "definitely not me supporting David Cameron's so called big society", but nevertheless adding my voice to the call for those that have taken most from our society to put something back.</span>Des Kilfeatherhttp://www.blogger.com/profile/15064574827601749920noreply@blogger.com0tag:blogger.com,1999:blog-8261504999891749637.post-27596125974666563082011-01-28T02:50:00.000-08:002011-02-06T05:42:05.109-08:00But is it Art?This week, my photo book Trafalgar 200 Through the Lens, was made available as an ebook by Amazon. In this format it can be very cheaply read in colour on PC, MAC, ipod, ipad and Kindle in black and white. Quite a significant step for the book, but perhaps not such a significant step for me, "an artist".<br />
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Tall Ship Grand Turk re-enacting the role of HMS Victory</div><br />
Having prematurely retired from a health destroying career as a capitalist puppet, I decided to attempt to discover my philosophy, redefine my life and do something "useful". Photography seemed to be a suitable and readily available medium for me to enter the art world; particularly as I had been attending a fine art photography programme at Brighton University.<br />
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Having equipped myself with some pretty impressive pro photographers kit, I managed to nag my way onto a formal Royal Navy press accreditation list, competing with the likes of Reuters, The Press Association and Rupert Murdoch's Titles and amazingly got myself formalised as an independent Trafalgar 200 photojournalist. The Royal Navy gave me the red carpet treatment, affording me access to helicopters and just about everyone I requested, from the most junior naval rating right up to the First Sea Lord and from a distance, Queen Elizabeth. Trafalgar 200 Through the Lens was the result, a book of 400 photographs.<br />
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Since then five years of intensive fast track art education and experience have led me to question this book. Can I declare it art? Does it work as art? Is it valid for such a book to have duality of purpose, as an editorial journal and art?<br />
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For me, to qualify as art, my own work must be intentional and have a clear reason for being. Both achieved through a mix of research, intensive consideration, action as a consequence and self criticism. Much, if not all of my work aims to subvert conventional or establishment thinking. To present an alternative view for audience consideration. Many of the pictures in Trafalgar 200 Through the Lens are in line with this philosophy but my own text and captions subvert me and irritate me greatly. The texts and captions were written soon after my retirement from business and and reflect my establishment conditioning. My textual subversiveness meekly shows through in statements such as "Photographs will always be read in different ways depending on contextual, social, political and personal factors". This attempt to have my audience read between the written and visual lines was feeble and ineffective. Today it would be different.<br />
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There has been an overwhelming temptation to withdraw the book and reissue it with new hard hitting social comments. But, that would be disloyal to the book, a denial of its status as an artefact, of myself and where I come from; my uneducated, rebellious Belfast roots through middle class indoctrination through to artist.<br />
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The book has had first class editorial reviews. The only art world comment invited so far was from a Cork Street Gallery owner who generously suggested, "it is an excellent editorial journal with some very good fine art content".<br />
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<a href="http://www.amazon.co.uk/dp/B004I6E47C">Amazon UK</a><br />
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<a href="http://www.amazon.com/D.P.-Kilfeather/e/B0034Q3QJY/ref=ntt_athr_dp_pel_pop_1">Amazon USA</a><br />
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Addendum: For readers new to the never ending, "but is it art?", debate by the artworld, this link might perhaps be a useful starting point: <a href="http://www.youtube.com/watch?v=-hiVrQB-ESs">Marcel Duchamp, a short video on art on YouTube.</a>Des Kilfeatherhttp://www.blogger.com/profile/15064574827601749920noreply@blogger.com0tag:blogger.com,1999:blog-8261504999891749637.post-9759910127002691782011-01-16T12:23:00.000-08:002011-01-16T12:23:19.616-08:00I'll sing thee songs of Araby. James Joyce's Dubliners No. 5.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFfmT6Yz84fLKeLCyFYpxNqPTHx5Kx-ljpb2_mLEB53zNd9wKAH97VS5tkmXXFZ76xJ7AB32XAxyfuTG5mAK2fUtssPU2JSmKXJO274HhJUOYJqxhvfd5dXSJpqVHulNbTMSsP2F0_WCA/s1600/lowres+draft+1+Y2T8066.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFfmT6Yz84fLKeLCyFYpxNqPTHx5Kx-ljpb2_mLEB53zNd9wKAH97VS5tkmXXFZ76xJ7AB32XAxyfuTG5mAK2fUtssPU2JSmKXJO274HhJUOYJqxhvfd5dXSJpqVHulNbTMSsP2F0_WCA/s320/lowres+draft+1+Y2T8066.jpg" width="237" /></a></div><div class="separator" style="clear: both; text-align: center;">I'll sing thee songs of Araby.</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"></div><div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">I'll sing thee songs of Araby. Draft source drawing for the 5th Dubliners Contemporary Contexutalisation. Responding to the ordination as Catholic priests of Anglican Bishops, John Broadhurst, Keith Newton and Andrew Burnham; 15th January 2011.</div>Des Kilfeatherhttp://www.blogger.com/profile/15064574827601749920noreply@blogger.com0tag:blogger.com,1999:blog-8261504999891749637.post-79025859630442032152011-01-08T01:14:00.000-08:002011-01-08T01:14:52.173-08:00The Ethic Aesthetic: Fine Art and Social Exclusion<a href="http://deskilfeather.blogspot.com/2011/01/fine-art-and-social-exclusion.html?spref=bl">The Ethic Aesthetic: Fine Art and Social Exclusion</a>: "Art accessible to everybody? Eudaemonism Part I. Oil on gesso board. 30 x 30 inches. Part 1 of 3 boards by Des Kilfeather 2010. Over the h..."Des Kilfeatherhttp://www.blogger.com/profile/15064574827601749920noreply@blogger.com0tag:blogger.com,1999:blog-8261504999891749637.post-22184686361312743182011-01-07T10:06:00.000-08:002013-09-24T23:37:04.810-07:00Fine Art and Social Exclusion<div style="text-align: left;">
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Over the holiday I was particularly taken by The Guardian Obituary of Brian Stewart by Dea Birkett, (The Guardian 24 December 2010).</div>
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Brian, (whom I had never met), died aged just 57, appallingly falling victim to icy roads on his bicycle. As director of the <a href="http://www.falmouthartgallery.com/">Falmouth Art Gallery</a> he had established a reputation as a "pioneer in making art accessible to all". This included "baby painting" where baby painting sessions were held in the same gallery space where "high art" was showing. This was through a firm belief that one can never be too young to be exposed to high art.</div>
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This type of pioneering work is essential if fine art is to become truly accessible; and to ensure we avoid the temptation to "dumb down" fine art to make it more intellectually attractive and accessible to the masses. The challenge is to raise the knowledge and interest of people, to help them engage, eye to eye, with art in all of its forms.</div>
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But, the real risk to accessibility remains the global unfair distribution of wealth. As typified here in the UK by the class system that appears to be getting even more firmly established through for example the recent education cuts and higher education fees structures. Recent higher education fees restructuring in particular is socially divisive and reinforces social exclusion from the arts. Ensuring that art remains available mostly to an upper middle class privileged minority.</div>
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Plenty of work is happening in the artworld to counter this tendency. For example I have been on the periphery of initiatives by <a href="http://www.pallant.org.uk/community/art-refuge">Portsmouth City Council</a> and <a href="http://www.pallant.org.uk/community">The Pallant House Gallery</a> in Chichester to fight social exclusion. These include art access programmes for people normally considered to be at the bottom of the social ladder, ethnic minorities, immigrants caught in the middle, those on benefits and the incapacitated. However these programmes should not be solely dependent on volunteers and charity (even though volunteers and philanthropists will always have a key role). It is the job of central government to ensure the well being and education of all people no matter where they fit into society and this must be achieved through properly funded education. </div>
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Improper or divisive funding of education causes social exclusion of possibly the majority of the talented, intellectually capable people that we have in this world.</div>
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Des Kilfeatherhttp://www.blogger.com/profile/15064574827601749920noreply@blogger.com0tag:blogger.com,1999:blog-8261504999891749637.post-73558885970736102702010-12-21T09:51:00.000-08:002010-12-23T05:08:30.414-08:00The Internet as an Alternative Gallery Space?<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Well, I ask myself; can I think of anything intelligent to say on this my first and perhaps last blog?</span><br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">David Hockney inspired me to consider the internet as a potential gallery space; as opposed to a straight forward sales opportunity for my photography. Stumbling across Hockney's ipod touch drawings, <a href="http://iphonepaintings.com/?p=23">http://iphonepaintings.com/?p=23</a> motivated me to procure an ipod and start experimenting with the layers drawing package and the web. (This is not a critique of Hockney's art, purely an observation of a new material and process).</span><br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">One thing led to another and I decided to undertake some serious, (for me), exploration into the relevance of the internet to fine art audiences.</span><br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">For some time now I have, as a visual artist, been researching Aristotle's nicomachean ethics and it's relevance to contemporary society. This research has taken multiple directions and has multiple layers but more on this another day, if there is any interest. Another area of my research has been into Relational Art, with influences from the essays of Umberto Eco, Felix Guattari, Nicolas Bourriaud et. al. Hopefully my audience member will have worked out by now that my art is driven by its meaning. It is not my intention to be vain by assuming that there will be any audience for this blog, but of course "at least you must have read this otherwise it could not exist".</span><br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Anyway, (one of my catchphrases), my decision was to work with "akrasia" and relational art by placing what is, possibly, the first participative fine art project on flickr.com. Akrasia is about people that cannot stop themselves from doing absolutely the wrong thing, in the full knowledge that what they are doing is fundamentally wrong. I had already made paintings about akrasia, referring to British Airways and its war with the Trade Union movement in the UK.</span><br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The cyber-relational art project, Death of the Union, was intended to be controversial and current. It can be viewed at: <a href="http://www.flickr.com/photos/28880384@N06/5105591932/">http://www.flickr.com/photos/28880384@N06/5105591932/</a> </span><br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">My objectives were and remain as:</span><br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">1. Get this piece of art viewed and properly addressed by the widest possible audience.</span><br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">2. Encourage participation by a wide audience, e.g. practicing artists and general public.</span><br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">3. Have measurable results of the number of visitors and participants.</span><br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The project is intended to work as parallel art sub-projects driven both by subject and a cyber-audience experiment.</span><br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">There are many issues that have come to light such as copyright, abdication of ownership and technical ability of a cyber-audience to participate, etc. These could be covered in future blogs if there is interest. But, interestingly the first most obvious factor to me was the audience did not seem motivated to participate through "action". I decided therefore to make my own interventions to make the controversy less narrow through the addition of more popular adaptations to the piece, e.g. Death of Education Equality as opposed to Death of the Union. But this did not improve matters and there remains very few interventions by the audience.</span><br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">However the project is considered to have been a great success by its viewing statistics, as of today, 435+155+33 Total 623 viewings.</span><br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">In discussing these results with mentors and peers it is a pity that we cannot gauge the types of audience. But physical galleries do not have much better information. Visitor books are rarely signed in even the most popular galleries.</span><br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">This is a new project and things could change over time, for better or worse. However I personally am very pleased with the result. Over 600 people have, in theory, addressed my work and that objective has been clearly met. I could never hope to have that many people stop in a physical gallery and take the time to consider my work in isolation from others.</span><br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Does the internet work as a sales channel for Fine Art? Well, that is another question that we might also get to consider another day.</span><br />
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</span>Des Kilfeatherhttp://www.blogger.com/profile/15064574827601749920noreply@blogger.com2