Book List and Useful Websites

Book List and Useful Websites

Books

• JonOne (Jononerock by JonOne)

• Bridget Riley (The Eye's Mind, Riley, Bridget)

• Rudolf Stingel (Rudolf Stingel by Stingel, Rudolf; Bonami, Francesco; Zettl, Reiner)

• Albert Oehlen (Albert Oehlen by Oehlen, Albert; Riemschneider, Burkhard; Ohrt, Roberto; Hergott, Fabrice

• Jonathan Meese (Jonathan Meese: Fraulein Atlantis by Meese, Jonathan)

• Anselm Kiefer (Anselm Kiefer by Rosenthal, Mark)

• Charline Von Heyl (Now Or Else by Heyl, Charline von

• Despina Stokou (Ghosting by Stokou, Despina; Pfenning, Leonie)

Websites/Links

• Despina Stokou interview (http://www.berlinartlink.com/2010/11/26/despina-stokou-interview/)

• Despina Stokou comments (https://artviewer.org/despina-stokou-at-derek-eller-2/)

• Bridget Riley Interview (https://www.ft.com/content/aac6af02-deb4-11e8-b173-ebef6ab1374a)

• Bridget Riley Film (Bridget Riley, David Thompson, Balfour Films, 1979 [29 mins long]

• Jonathan Meese Website (http://jonathanmeese.com)

• Johnathan Meese brief analysis article (https://frieze.com/article/jonathan-meese)

• Anselm Kiefer documentary into creative process (Over Your Cities Grass Will Grow, Sophie Fiennes, Amoeba Film, Kasander Film Company, Sciapode, 2010)

• Anselm Kiefer Short Essay (https://www.metmuseum.org/toah/hd/kief/hd_kief.htm)

• JoneOne interview (https://www.dragopublisher.com/interview-with-jonone/)

• JonOne TEDx Talk (https://www.youtube.com/watch?v=nyAPV9DPHYc)

• Charline von Heyl in depth interview (https://bordercrossingsmag.com/article/too-little-and-too-much-all-the-time)

• Analysis of selected Charline Von Heyl artworks (https://www.wmagazine.com/story/charline-von-heyl-abstract-artist)

• Detailed Albert Oehlen interview on Vimeo (https://vimeo.com/258357553)

• Article on Albert Oehlen's works and analysis of work (https://www.ideelart.com/magazine/albert-oehlen)

• Information on Rudolf Stingel and his practices (at the bottom of the page) (http://www.sothebys.com/en/auctions/ecatalogue/2019/contemporary-art-evening-auction-l19020/lot.48.html)

• Interview with art producer Jan Eugster, who has been working closely with Rudolf Stingel, assisting with metal casting (https://www.youtube.com/watch?v=IclUX0HqZuQ)

Artist 8: Bridget Riley

Artist 8: Bridget Riley

Bridget Riley paints hypnotic ‘optical illusion’ art that appears to directly interact with the viewer, as if it is physically moving. This is due to the effect created from Riley’s monochromatic colour usage and the dimensions of the squares, which was a result of her unconscious painting. This instinctual approach without direct consideration of form just adds to the intoxicating aura of the piece.

I really enjoy the concept of an ‘unconscious’ approach to creating and would like to explore this in my own work. Her almost architectural approach to her later works is also influencing me to consider my placement of key elements of artwork. This will allow my work to become more considerate, yet combined with a semi-conscious approach, I feel as if this would greatly benefit the tone I want to convey in my final piece.

Movement In Squares, 1961

Arrest 2, 1965

Orient 4 1970

Artist 7: Anselm Kiefer

Artist 7: Anselm Kiefer

Experienced in sculpture and installation work, Anselm Kiefer also has produced multiple series of mixed-media paintings. Recently, his paintings have dealt with the concept of string theory, indicated by his use of straw that guides the viewers eyes around the canvas. ’String Action’ from 2018 uses this approach, forming grids which direct your attention towards a spire formed out of the straw.

This approach in guiding the viewers is really enjoyable, as it allows you to fully appreciate the work past the initially clustered appearance. I also really like the colour palette present, as it comes across as inherently organic, especially from the use of straw. I would like to incorporate a similar method of guiding the viewer in my own work, as well as using more organic tones to feel more grounded. However, Kiefer’s combination of colour and form comes across as more conceptual, relating to his message.

String Action, 2018

Margarethe, 1981

Untitled, 2017-18

Artist 6: Jonathan Meese

Artist 6: Jonathan Meese

Conceptual artist Jonathan Meese approaches his work with intentions to provoke and directly interrogate common notions of art. His mixed media paintings in particular encapsulate an almost uncategorisable yet vibrant chaos. Adopting aesthetics seemingly derived from mythological renaissance paintings, they become tapestries that resemble figures and scenes, with Meese often inserting his own image into his work.

Meese’s tone and message are an aspect I really enjoy about his work, as well as his pairings of colours and the chaotic form usually included. His approach is one that I would like to explore in my work, experimenting with an unconventional form and a blatant, loud tone. This would work particularly well for the messages I would like to convey.  

Diese Miss Ist Nicht Von Dieser Welt, 2018

Django's Blitzpimme Heisst Nill, 2011

Achtung: Killernill-Rum Und Rum-Neddy-Cashy Pimmeln RUM, 2011

Artist 5: Despina Stokou

Artist 5: Despina Stokou

Despina Stokou enjoys exploring the idea of communication and monologues in her work, by presenting collected data in the form of expressive, vivid paintings. The way in which this text is displayed implies confusion and anger through the intensely frantic layering of words and phrases, representing constant a constant string of absurdities such as her work ‘The Martin Creeds 6’. This uses a deep red background combined with a photo and sporadic, obsessive text.

I love the way in which Stokou presents the text, and I would like to employ a similar method of layering it in my work, overwhelming the viewer. In addition to this, I would also like to convey a similar atmosphere of panic and exasperation in my own work, as I feel as if this would really highlight the intent of my work in particular.

The Martin Creeds 6, 2013

New Year Pie (Louisa), 2014

White Lies, 2018

Artist 4: Charline von Heyl

Artist 4: Charline von Heyl

Bold and dynamic, Charline von Heyl’s work appears to be in motion, with her compositions appearing to slither and rotate around the canvas. Her later works connected the form together through active and spiked brush strokes. ‘Dialogue Solitaire’ from 2008 for example contains a series of dark intertwining lines that appear jagged, yet rigid in their specific location on the painting. Suggesting an intensity, yet conveying a stability.

I think that her combination of motion and structure is one that I would like to explore in my creative process. In Heyl’s work, this combination comes across as extremely effective in keeping the viewer interested, and guiding them around the canvas. Heyl also experiments with different thicknesses of line, which I feel would be really effective in presenting a sense of contrast to the viewer.

Dialogue Solitaire, 2008

Untitled, 2007

Language Of The Underworld, 2017

Artist 3: Albert Oehlen

Artist 3: Albert Oehlen

Often self imposing restrictions in his painting process, Albert Ohlen’s artwork becomes ‘post-figurative’, exploring the process of the paint medium rather than the subject matter itself. His earlier work is described as using a Junge Wilde painting style; a blend of broad and expressive brushstrokes with intense, bright colours. Oehlen’s work such as ‘Music Always’ is slightly different however as he painted directly onto pre-printed fabric intended for use on a billboard.

I like the idea that Oehlen has somewhat defaced what previously was on the fabric with a combination of an earthy ‘smear’ and more expressionist painting techniques. I also enjoy the fact that he builds upon the artwork with three different types of paint, adding texture which paired with the painting style makes it appear more organic. This is a concept I would really like to convey in my own artwork.

Music Always, 1954

First Take, 1994

Ziggy Stargast, 2001

Artist 2: Rudolf Stingel

Artist 2: Rudolf Stingel

Rudolf Stingel’s works are innately interactive, dating back to ‘Instructions’ published in 1989 that informed readers on how to replicate his artworks and mono-chromatic painting style. This attitude evolved in 2003 when he presented those at the Venice Biennale with ‘Untitled’, a room lined with foil coated insulation that encouraged passerby to decorate and mark it in any way they wanted. This resulted in a highly decorated wall that was covered in carvings, photos, and even tags. His retrospectives in 2007 presented the piece in Chicago and New York also, which in turn allowed a new wave of passerby to alter the artwork.

These randoms acts of participation were faceless, yet deeply personal. I find it fascinating how this artwork in particular Is completely down to audience response, documenting contemporary life. Stingel steps away from the notion of boundaries between audience and artist, providing a voice for the viewers.

Untitled, 2002

Untitled, 2002

Section of Stingel's 'Untitled', 2003

(https://www.artspace.com/magazine/art_101/book_report/rudolf-stingel-dca-53436)

 

Artist 1: JonOne

Artist 1: JonOne (John Andrew Perello)

JoneOne uses his experiences of growing up in Harlem and his involvement with graffiti groups in his oil painted canvasses, depicting tags and words in a chaotic yet calculated form. His 2007 ink on canvas piece ‘Letters From A Soldier Of Art’ has text being repeated in rows that seem illegible, especially towards the bottom of the artwork. This combination of black text with colour highlights the gestural nature of the font, making it appear moving. The dripping present throughout the entirety of the piece reinforces this notion, implying as if it was done in haste. 

I really enjoy JonOne’s use of font as defining the form of an artwork, as my artwork incorporates text elements also which I would like to highlight. The intensity and pace of JonOne’s writing is also very effective in conveying chaos.

 

Letters From A Soldier Of Art, 2007 

Earned The Hard Way, 2017

Trees of Codes, 2019