Tate Modern:
Bruce Nauman
On 17th November 2017, I was, like a moth, instantly attracted to the bright lights of the Bruce Nauman exhibition (Tate Modern). His work demanded the viewer to (literally) take a step back and consider the purpose and context of his work. Nauman's extensive and imaginative use of media transmits a multitude of different ideas simultaneously. It is clear that his previous studies in Mathematics and Physics informed his practice and are a domineering influence on his work. One piece which caught my attention was 'Violins, Violence, Silence' (1981).
Violins, Violence, Silence
1981
Bruce Nauman
The artwork itself was made of coloured neon tubing with a clear glass suspension frame. As the letters overlap, it is hard to initially distinguish what the piece is actually conveying, proving rather disorientating. Additionally, the buzzing noise which accompanies the piece (originating from the neon tubing) is somewhat distracting. However, it is ironic that while reading 'violins' evokes a pure and unpolluted noise, in reality you are faced with a low, droning buzz. I enjoy the irony of Nauman's work and the complex ideas which lie behind the lights. There is much more to this piece than is initially apparent and I hope that other visitors to the gallery take the time to consider its complexity.
Another piece in the exhibition which caught my attention was 'Raw Material Washing Hands'(1996). The video, which documents one individual washing their hands constantly for 55 minutes is difficult viewing. It is reminiscent of a person suffering from obsessive–compulsive disorder (OCD) in which the individual is performing a routine repeatedly, as though it were a ritual. The video becomes painful to watch as we see the individuals skin being overworked by the soap and water and I must admit that although the video runs for just under an hour, I watched it for no longer than 10 minutes.
Raw Material Washing Hands,
Bruce Nauman
1996
After seeing Nauman's work, it is clear that he questions and stretches the boundaries of what it is to make art. He has purposefully left behind traditional notions of 'fine art' and has distanced himself from paint as a medium.
Some Medieval Finds from 2018 and Other Seasons that have Informed my Practice
I have found that in order to get to the essence of the medieval period, normal, day to day objects seem to carry the most power, especially those that leave marks made by humans. Below are a few such representative findings, with brief descriptions.
Fig. 12 Fig. 13 Fig. 14
Butchery marks on bone
Fig. 15
Micaceous sandstone hearth fragments
Fig. 16
Lava stone quern fragments from the Eifel Hills, Germany
Fig. 17 Fig. 18
Peg tile fragment (14th-15th C.) Floor tile fragment (14th-15th C.)
Fig. 19 Fig. 20
Grimston ware basal sherd showing kiln stack Grimston ware basal sherd showing potter’s finger
mark (14th-15th C.) indent in bottom right-hand corner (14th-15th C.)
Fig. 21
Grimston ware basal sherds showing potter’s finger marks (14th-15th C.). Such marks create bulges in the wet clay when the pot is supported at its base as it is lifted into the kiln. Sometimes it is possible to see actual fingerprints.
Fig. 22 Fig. 23
Figure 22: finger print showing nail line on the inside of the top of a Grimston ware jug handle where it meets the jug (14th-15th C.). Fig. 23: the jug handle from the other side, but not from the same angle.
Fig. 24 Fig. 25 Fig. 26 Fig. 27
A selection of Grimston ware jug handle fragments (15th C.). Note Fig. 24 has a two-finger decoration
Fig. 28
Unglazed Siegburgh stoneware, from the Rhineland, Germany (15th C.). Such pottery not only helps date the archaeological deposit, it also shows trading partners in the late medieval period.
Fig. 29
Raeren stoneware, from Belgium, with frilled base made by the potter’s fingers (late 15th-early 16th C.)
Fig. 30
Very early brick fragment showing the straw/grass imprints from the side of a kiln (c. 14th-15th C.)
Fig. 31
Grimston product, late medieval bowl rim with wide flange (late14th-early 15th C.)
Fig. 32
Medieval unglazed ware (12th-14th C.)
Fig. 33
Examples of iron hackle pins (11th-15th C.). These pins, used vertically in a row, were used to comb out flax or hemp.
Fig. 34 Fig. 35 Fig. 36
Fig. 37 Fig. 38 Fig. 39
Fig. 40 Fig. 41 Fig. 42
Figures 34-42: examples of medieval window class. Used in ecclesiastical buildings and important houses the extraordinary colours have been produced in a chemical reaction with the soil (13th-15th C).
