Manifesto 02.1

Creating my manifesto I have taken a lot of influences of manifestos I have looked at like the stuckist’s and the Style manifestos and I have taken a totally different view on how I first saw it. This was due to not really understanding the potential a manifesto has and how it can impact your practice which I find really interesting because I don’t like conforming and have very strong views on the world and how art is produced also my own views on how art and ideas should be made. So currently I am digging into my mind to find things that really bug me about art and things I want, and will probably use throughout my practice and i can develop on these to become a complete artist in my own mind.

I have named the manifesto “02.1” for no reason at all it has no meaning or anything to me but i think that’s a good thing because i didn’t wanna call it something that you can understand straight away, I want the viewers to be confused just like i was confused when i first started to think about making a manifesto.

I am currently in the making of the manifesto so my next post will probably be my first draft of it. I am doing a poster with words just scattered across it all, randomness is key to this and also reflects my strange artistic personality.

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Review of “Manifest I Of ,,THE STYLE” ,1918, De Stijl

Image

This manifesto took me a while to decipher and unpick at due to the confusing opening the manifesto, I wanted to do a random piece so I could really see what a manifesto is so I did this as it was one of the first I came across and knew nothing about. After reading the manifesto twice I started to get to terms with what it was trying to get across, it’s just stating the obvious what’s happening in the current world with the shift in the art world and also the shift in dominance and power.

 “There is an old and new consciousness of time

The old is connected with the individual

The new is connected with the universal

The struggle of the individual against the universal is reviling itself in the world-war as well as in the art of the present day.”

The quote that impacts me the most is “The struggle of the individual against the universal” This could be reflecting at itself and how it maybe is trying to accomplish dominance within itself against the rules and dominance of a higher authority. So in summary of this quotation I feel like a lot of self-reflection and thinking is needed to create a successful manifesto and the fact that it’s based around what you want and not what the world is giving to you on a plate.

 In summary of his whole manifesto I get the picture that it is trying to change the trends within art and how art was made. I get the feeling that its wants to be different from all the rest and change from the same painting of natural forms it mentions that and the despotism that it is so against. It may be a very short manifesto but I can really understand the views of what it’s trying to get across to the viewers it looks like it is presented in some kind of newspaper form of a magazine of some kind as it mentions “The monthly editions ,,The Style”, founded for that purpose”.

I find this manifesto very good from my point of view due to the short and understandable points it makes, at first it wasn’t so easy to understand but when you take a step back and look at it from a different point of view you can really capture what its intentions are, it doesn’t want to conform with despotism or the way art may have been when it was made and this is something that I really respect as an artist myself and will take both of the manifestos in my influences for when I create my own manifesto.

 

Manifesto image taken from

http://en.wikipedia.org/wiki/File:Manifest_I_of_De_Stijl.JPG

16:16

26/02/2013

Stuckism Manifesto + Review

THE STUCKISTS

(est. 1999)

 

“Your paintings are stuck,

you are stuck!

Stuck! Stuck! Stuck!”

Tracey Emin

 

Against conceptualism, hedonism and the cult of the ego–artist.

 

  1. Stuckism is the quest for authenticity.  By removing the mask of cleverness and admitting where we are, the Stuckist allows him/herself uncensored expression.

 

  1. Painting is the medium of self–discovery.  It engages the person fully with a process of action, emotion, thought and vision, revealing all of these with intimate and unforgiving breadth and detail.

 

  1. Stuckism proposes a model of art which is holistic.  It is a meeting of the conscious and unconscious, thought and emotion, spiritual and material, private and public.  Modernism is a school of fragmentation — one aspect of art is isolated and exaggerated to detriment of the whole.  This is a fundamental distortion of the human experience and perpetrates an egocentric lie.

 

  1. Artists who don’t paint aren’t artists.

 

  1. Art that has to be in a gallery to be art isn’t art.

 

  1. The Stuckist paints pictures because painting pictures is what matters.

 

  1. The Stuckist is not mesmerised by the glittering prizes, but is wholeheartedly engaged in the process of painting. Success to the Stuckist is to get out of bed in the morning and paint.

 

  1. It is the Stuckist’s duty to explore his/her neurosis and innocence through the making of paintings and displaying them in public, thereby enriching society by giving shared form to individual experience and an individual form to shared experience.

 

  1. The Stuckist is not a career artist but rather an amateur (amare, Latin, to love) who takes risks on the canvas rather than hiding behind ready–made objects (e.g. a dead sheep).  The amateur, far from being second to the professional, is at the forefront of experimentation, unencumbered by the need to be seen as infallible.  Leaps of human endeavour are made by the intrepid individual, because he/she does not have to protect their status.  Unlike the professional, the Stuckist is not afraid to fail.

 

  1. Painting is mysterious.  It creates worlds within worlds, giving access to the unseen psychological realities that we inhabit.  The results are radically different from the materials employed.  An existing object (e.g. a dead sheep) blocks access to the inner world and can only remain part of the physical world it inhabits, be it moorland or gallery.  Ready–made art is a polemic of materialism.

 

  1. Post Modernism, in its adolescent attempt to ape the clever and witty in modern art, has shown itself to be lost in a cul–de–sac of idiocy.  What was once a searching and provocative process (as Dadaism) has given way to trite cleverness for commercial exploitation.  The Stuckist calls for an art that is alive with all aspects of human experience; dares to communicate its ideas in primeval pigment; and possibly experiences itself as not at all clever!

 

  1. Against the jingoism of Brit Art and the ego–artist.  Stuckism is an international non–movement.

 

  1. Stuckism is anti ‘ism’.  Stuckism doesn’t become an ‘ism’ because Stuckism is not Stuckism, it is stuck!

 

  1. 14.  Brit Art, in being sponsored by Saachis, main stream conservatism and the Labour government, makes a mockery of its claim to be subversive or avant–garde.

 

  1. The ego–artist’s constant striving for public recognition results in a constant fear of failure.  The Stuckist risks failure wilfully and mindfully by daring to transmute his/her ideas through the realms of painting.  Whereas the ego–artist’s fear of failure inevitably brings about an underlying self–loathing, the failures that the Stuckist encounters engage him/her in a deepening process which leads to the understanding of the futility of all striving.  The Stuckist doesn’t strive — which is to avoid who and where you are — the Stuckist engages with the moment.

 

  1. The Stuckist gives up the laborious task of playing games of novelty, shock and gimmick.  The Stuckist neither looks backwards nor forwards but is engaged with the study of the human condition.  The Stuckists champion process over cleverness, realism over abstraction, content over void, humour over wittiness and painting over smugness.

 

  1. 17.  If it is the conceptualist’s wish to always be clever, then it is the Stuckist’s duty to always be wrong.

 

  1. The Stuckist is opposed to the sterility of the white wall gallery system and calls for exhibitions to be held in homes and musty museums, with access to sofas, tables, chairs and cups of tea.  The surroundings in which art is experienced (rather than viewed) should not be artificial and vacuous.

 

  1. Crimes of education: instead of promoting the advancement of personal expression through appropriate art processes and thereby enriching society, the art school system has become a slick bureaucracy, whose primary motivation is financial.  The Stuckists call for an open policy of admission to all art schools based on the individual’s work regardless of his/her academic record, or so–called lack of it.

 

We further call for the policy of entrapping rich and untalented students from at home and abroad to be halted forthwith.

 

We also demand that all college buildings be available for adult education and recreational use of the indigenous population of the respective catchment area.  If a school or college is unable to offer benefits to the community it is guesting in, then it has no right to be tolerated.

 

  1. Stuckism embraces all that it denounces.  We only denounce that which stops at the starting point — Stuckism starts at the stopping point!

 

 Billy Childish

Charles Thomson

4.8.99

 

The following have been proposed to the Bureau of Inquiry for possible inclusion as Honorary Stuckists:

 

Katsushika Hokusai

Utagawa Hiroshige

Vincent van Gogh

Edvard Munch

Karl Schmidt–Rotluff

Max Beckman

Kurt Schwitters

 

 

Email:

 

stuckism@yahoo.co.uk

 This manifesto was taken off the website http://www.stuckism.com/manifest.html#start on the 18/02/2013

Review:

Review of the stuckism manifesto.

I have had a thorough look at the stuckist’s manifesto and noticed they have very strong and strict views about how art is used and is portrayed to the viewers and also the artists in the movement. The stuckists are basically in a lump sum painters anything that isn’t a painting is classed as not being art in there manifesto. They have very strong dislikes to artists such as Tracey Emmings and Damien Hirst they feel this way obviously because they are not painters and have become rich and exploited the art world and changed it to something the stuckists do not want art to be. The stuckists manifesto is a twenty point list which states rules for the people who follow stuckism the two that comes out of me the most is:

“4.          Artists who don’t paint aren’t artists.

5.            Art that has to be in a gallery to be art isn’t art.”

Taken from the original stuckists manifesto, these points are what separate this manifesto from all the others in their views they are not artists if they do anything other than paint they really hate on modern contemporary art which in some points is not the best Idea because contemporary art is the leading art in the world right now. I defiantly agree with the point they make in the manifesto saying that it is anti “ism” this is because they don’t want to follow the norm of the world is all the cubism realism etc… I defiantly agree with not follow the norm people set out for us which also links in with one of our previous lectures. My thoughts of this manifesto are very ifs and buts, I do agree with some of the points of this and I also agree with how they have set out there manifesto the 20 point list is a very simple and easy way to get their point across I would defiantly consider using this style for my own manifesto list of rules and reasons how I work and how I feel art should be.

In conclusion I think this manifesto is very straight to the point easy to understand and the use of an online 20 point manifesto keeps it very simple I will consider using this layout also with my work and the development of my manifesto.

Blue group production

Our seminar group were given the task of using 4 film genres and coming up with a story based on these we did a powerpoint and also did the scenes for our story followed by photos of the toys which we was going to make into a comic strip.
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stuff for lectures blue group

more photos

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Scene 1.
Back Drop: Inside of Strip Club
Characters: Lola- The main stripper
Strippers
Opening scene shows a strip club in Vegas, beautiful dancers spinning around poles with lights flashing.

Scene 2.
Back Drop: Desert
Characters: Marcus- Handsome/ dumb one
Harold- Geeky/ clever one
Two brothers, one handsome however dumb as a rattle and the other geeky but also very clever. They race through the desert on super rockets strapped to their boots, heading towards the glow of a city.

Scene 3.
Characters: (The Mob) Evil Minion 1
(The Mob) Evil Minion 2
(The Mob) Evil Minion 3
Back Drop: Outside of Strip Club
Once the guys arrive at the strip club, they decide to run away with one of the strippers. Only being held by the hand the brothers and the stripper Lola race away.

Scene 4.
Back Drop: Inside of Strip Club
Characters: Lola the stripper
Marcus
Harold
However inside a group of dangerous looking creatures start to notice that their star attraction Lola is missing, suspecting the brothers they start searching for her.

Scene 5.
Back Drop: Outside of a cheap hotel
Characters: Lola the stripper
Marcus
Harold
In the safety of the hotel, Harold plans there next move to try avoid the mob after them. Starring out the window keeping watch for the gang who are hot on their tails.

Scene 6.
Back Drop: Wanted poster
A wanted poster of Lola the stripper, Marcus and Harold

Scene 7.
Back Drop: Outside the Hotel
Characters: (The Mob) Evil Minion 1
(The Mob) Evil Minion 2
(The Mob) Evil Minion 3
(The Mob) Boss riding his evil unicorn
Lola the stripper
Marcus
Harold
As the evil minions try and pin up the wanted posters, they notice the boys and Lola escaping in the distance. And so the chase takes part.

Scene 8. (two small boxes)
Back Drop: Desert
Characters: (The Mob) Evil Minion 1
(The Mob) Evil Minion 2
(The Mob) Evil Minion 3
(The Mob) Boss riding his evil unicorn
Lola the stripper
Marcus
Harold
Small Box 1.
Marcus is telling Lola and his brother to run and leave him. (Lola kisses Marcus).
Small Box 2.
Marcus is being run through by the horn on the evil unicorn as Harold and Lola look in horror.

Scene 9.
Back Drop: Desert
Characters: (The Mob) Evil Minion 1
(The Mob) Evil Minion 2
(The Mob) Evil Minion 3
(The Mob) Boss riding his evil unicorn
Lola the stripper
Harold
After witnessing Marcus’s gruesome death, the mob turn on Harold and Lola and start the chase.

Scene 10.
Back Drop: Desert with what appears to be a portal in the back ground
Characters: (The Mob) Evil Minion 1
(The Mob) Evil Minion 2
(The Mob) Evil Minion 3
(The Mob) Boss riding his evil unicorn
Lola the stripper
Harold
Harold and Lola are running for their lives towards something shiny and almost illusion like in the distance.

Scene 11.
Back Drop: Swirling Portal
Characters: (The Mob) Evil Minion 1
(The Mob) Evil Minion 2
(The Mob) Evil Minion 3
(The Mob) Boss riding his evil unicorn
Lola the stripper
Harold
As a last bid Harold and Lola face the mob surrounded, they jump into the portal.

Scene 12.
Back Drop: Meadow
Characters: Lola the stripper
Harold
In amazement the couple appear in a clear meadow surrounded by flowers, in excitement Lola flings herself at Harold and they share a kiss.

The End
A Blue Group Production.