Too Much of a Good Thing

Taking advantage of my membership of the British Museum, I made a couple of visits to the Munch exhibition there and also attended two lectures that had been arranged to complement the exhibition. The first talk was by Andrew Graham Dixon, who spoke about The Scream while the second lecture was by Janina Ramirez who spoke about Emotion in Munch’s Art. I then made a second visit to the exhibition which helped to consolidate what I had heard in the talks.

Dixon gave some interesting background to Munch’s influences, how a lack of teaching in Scandinavia resulted in Munch being drawn into the German Circle and tradition.

He said that Munch’s described ambition was “to paint the soul” and he described how The Scream developed. Munch was walking with friends one evening when the sky turned blood red. Munch stopped, feeling exhausted, while his friends walked on. In 1892 Munch wrote “I stood there trembling with anxiety – and I sensed an infinite scream passing through nature”. Dixon described this as “suddenly the hostility of the universe is engulfing him”. He stated that “The Scream doesn’t seem to grow old”. This he attributed to what the image was portraying

  • Alienation
  • Life in the city where you hardly know anyone

And that as that describes how many people live today can be quite shocking and that may be why The Scream still resonates.

Janina Ramirez spoke about emotion in Munch’s work, and how this tended to get deeper and more despairing as time went on. She spoke particularly about the death of Munch’s sister and how deeply this affected him and his work.

One point she made gave cause for thought, she said that the “need for art to be hyper-realistic ended with the advent of photography. Art moved on to picture the imagined, what is in our dreams, something that photography cannot do”.  I think the important phrase here is that art does not need to be hyper-realistic any more, photorealism as an art form has not disappeared, Richard Estes is a good example of a practitioner in this field. So maybe photography stimulated artists away from realism to a more emotional response.

Munch was clearly a troubled individual, and the intensity of his emotions clearly emerged from the images that he produced. None more so than his portrayal of a dying child. He was, apparently, greatly affected by the death, as a child, of his sister from tuberculosis. The images on display show raw emotion in how they convey the scene.

The exhibition is of Munch’s prints, although some paintings have been borrowed for the duration to complement the display. Prints can sometimes be considered inferior to original paintings. I’m not sure why, perhaps it is something to do with the uniqueness of the painting compared to the fact that a number of copies of the print can be produced. This is certainly the case when considering the value of an image from a monetary rather than an aesthetic point of view. The exhibition, however, t showed to me how prints, in the hands of someone hugely skilled, can still have the same emotional effect as paintings. There was an oil painting of The Sick Child alongside prints he produced of the same subject. To me all three had the same intensity and raw emotional power.

It would be impossible to write about the exhibition without mentioning The Scream. I have mentioned above how the image developed. In fact Munch produced several versions, in paint and pastels , as well as a lithograph stone.

Most people are familiar with the paint or pastel version of the image, but I think that the lithograph displayed in the exhibition has more intensity. The monochrome nature of the print and the way the sky and background has been reproduced with clear, distinct lines, focuses the viewers attention on the face of the subject and what he is experiencing. The paint and pastel versions perhaps leave a different impression, one of the emotional impact of the overall scene rather than the individual experiencing it.

Edvard Munch [Public domain] via Wikimedia Commons

One aspect that was not so enjoyable was exiting the exhibition via the museum shop. The number of objects displayed for sale that featured an image of The Scream was bewildering. There were so many that I started to list down what you could buy that featured the image:

  • Nail files
  • Tee shirts
  • Tea towels
  • Tote bags
  • Sticky note pads
  • Finger puppets
  • Magnets
  • Travelcard holders
  • Key rings
  • Pencil cases
  • Kaleidoscope
  • Mugs
  • Plates
  • Vases
  • Spatula
  • Notebook
  • Erasers

There were so many I may have missed a few. I know that museums/galleries have these shops after an exhibition to maximise sales and produce income for the institution, but I did find that it detracted somewhat. But then I needn’t have stayed and counted, I could have just walked straight out – but I do think that you can have too much of a good thing!

Reviewing Creative Work

1 How do Research and Body of Work streams interact?

In the Research element I will be looking at images of flowers produced over a century in Japan and the West. In my Body of Work I will be producing my own images of flowers that will be influenced by what I learn from the Research. The following mind map shows the linkages

 

The period 1830-1940 seems appropriate as it encompasses Orientalism, Japonisme and the invention and development of photography. The Research work will drive my Body of Work and the experience of producing my own images will also inform my Research. My Body of Work will also be influenced by the range of current threats that may affect the flora of the world.

 

2. Resources

I have identified a number of resources that will help with both the Research and Body of Work courses.

  • Sainsbury Institute for the Study of Japanese Arts and Cultures – it has a school of study at the University of East Anglia and presents a monthly series of talks in Norwich.
  • The Lisa Sainsbury Library in Norwich is part of the Sainsbury Institute and holds books, journals, exhibition catalogues, slides, prints, maps and other materials relating to all aspects of Japanese arts and cultures. I have already visited the library.
  • Norwich University of the Arts has an extensive photography collection in its library and I have taken out external membership of the library.
  • The National Art Library at the Victoria and Albert Museum has a huge collection of art books. I have taken out membership of the library and have already visited.
  • The British Museum and the V&A both have print collections of Japanese Art and, at the V&A, photographs which are available to study. I am currently researching what is available.

 

3. What I would like to achieve

I want to develop skills in – creating ways of using different photographic techniques and media to produce compelling, thought provoking final work

I want to consolidate skills in – composing and lighting photographic images of flowers

I want to produce – work that is more than just an attractive image, that conveys a message

I want to promote my work to – myself, I want to be satisfied with the way that I have integrated the Research and Body of Work components.

I want to refine – my own personal voice in the work and images that I produce

I want to explore – work from different art forms and different parts of the world that can influence how I produce my own work

I want to prove that – study of different art forms from around the world can be of considerable benefit to how I approach my own work and that different aspects can be combined to produce a contemporary image

I want to involve – just myself – I want to challenge myself to think differently and produce a set of final images that are unique

I want to integrate – different techniques and media from my research into my everyday work

 

 

Part 1; Tutor Response to Exercises 1-3

I had an excellent discussion with my tutor about my research topic. She raised a number of issues with what I had originally proposed :

  • the need for evidence of what is being considered, particularly if I am stating that certain artists were influenced by other art forms (it needs much more than ‘it looks like it is influenced by’) . What does it actually mean to import something from another culture?
  • the need to narrow down the research topic (e.g. Japanese influence) and refine what is being looked at (e.g. perspective, space, colour, etc)
  • could consider a more cultural comparison rather than influences e.g. representation of flowers across cultures and could look at parallels and different times and contexts.

I found the discussion to be of enormous benefit – highlighting the pitfalls of the approach I was considering and pointing the way forward to a good research proposal.

 

Part 1; Exercises 1-3

This part of the course was unusual in that you undertake the first three exercises of the module and send them off to your tutor before getting too far into the topic chosen for research.

I thought that I was pretty clear on what I wanted to do for my research project and body of work – looking at ancient Chinese paintings and influence on the West, then producing a series of photos in response to what I had learned.

However, going through the different exercises left me a bit less clear. Was the subject too broad? Should I narrow it down to individual photographers?

I found that creating the mind maps helped a lot, trying to work out how the two themes of Art History and Photography would interact and how to keep the whole thing manageable.

A copy of my response to the exercises can be found here. I will have a video tutorial on my submission so I look  forward to getting feedback.