Notes from Steve Mumford: Is the pop reference something I'm interested in? 2001 Space Odyssey is the big reference to this genre. Answer is "no". The pop comes with so much extra baggage. I like the visuals of the form.
The use of human on the edge of exploration is the point.
Made a painting of this, the end-point is the subjectivity of landscape. Wherever you are, you are there and have to reckon with your own perspective. But really I am interested because it makes earth look like an alien world.
I've always been interested in work that is intense, even if the subject is mundane. Van Gogh could paint a chair as if he was having a euphoric sensation of it.
Conversation with Tobi:
Q: What happens when you are out in nature? A: Exhaustion leads to quietude, peacefulness, understanding, meditation.
Q: What else? When I'm tired everything looks abstract.
Q: What landscape painters don't you like? A: Hudson River school, too preachy about meaning
Q: What do you do when you're out there? Turn over rocks, think about how every corner of the universe is developed fully.
Q: What else happens? A: I stop thinking so much, things just are, and I am part of it.
Landscape Artists: Rackstraw Downs, Lois Dodd, Richard Long, concerning super famous like Turner and Goldsworthy (find more obscure artists of the genre), Ansel Adams (being in nature as art). Neel weliver.
Materials Artists: Art Brute/ Art Povera. Fontana, Tapies, Burri.
Tobi's take: My interest is what it means to be in and of nature. The abstract qualities and the feel of it, not a representation. How feeling affects viewing nature. Process in the studio and pushing unconventional approaches to materials.
The trick will be to marry the love of experiencing nature with the process based work (burning, wet-on-wet etc.)
It's not interesting to just say, I like Doig and Turner, better to go deeper and more obscure. Anyone can be surface level clever just by googling, but deeper references will signal more thorough engagement.
Painting idea: paint a mountain with fingerpaint, scrambling up the mountain.
Installation idea: Pile of sand with a water drip on it for a week.
Painting idea: Plein air painting where I use the materials of the place to depict it. ( Burn wood to make charcoal, use dirt, glue grass, leaves, flowers, concrete/brick dust.)
The lush Central Park woodland, known as the Ramble, is composed of 38 acres of winding pathways between 73rd and 78th streets.
Described by Frederick Law Olmsted as a "wild garden", the Ramble's maze of trails amidst its abundant flora and fauna contrasts spectacularly with the formality of nearby attractions, such as the Bethesda Terrace. The Ramble is often noted for its bird watching opportunities, where birdwatchers can catch a glimpse of some of the approximately 230 species found in the woods. Visitors can stop to take a look at the Gill, the man-made stream that runs through the Ramble, where one might find a small animal such as a raccoon having ventured out from the underbrush.
While the Ramble's flora consists of many species of plants both native and exotic, several of these plants have taken up much of the woodland, such as the Black Cherry and Black Locust, due to lack of proper care. Other species found in the woods include American trees such as the American sycamore, several oaks, the Kentucky coffee tree, the Hackberry, the Yellowwood, and the Cucumber Magnolia, in addition to plants not indigenous to the country, such as the Sophora and the Phellodendron.
One notable fact about the Ramble is its status as a gay icon, which has developed since the early 1900's. A well-known site for private homosexual encounters throughout the 20th century, the woodland is now an important part of LGBT history.
The Ramble has been the subject of an ongoing restoration project by the Central Park Conservancy since 2006. The plan includes taking steps to give appropriate care to woodland vegetation and wildlife as well as controlling the amount of influence on the land by Park visitors.
Native cartography: a bold mapmaking project that challenges Western notions of place
‘More lands have been lost to Native peoples probably through mapping than through physical conflict.’
Maps have been used not only to encroach on Native Americans lands, but to diminish their cultures as well. With every Spanish, French or English placename that eclipses a Native one, a European narrative of place and space becomes further entrenched. In an effort to help reclaim his region for his people, Jim Enote, a Zuni farmer and the director of the A:shiwi A:wan Museum and Heritage Center in New Mexico, has organised a unique project intended to help bring indigenous narratives back to the land. Partnering with Zuni artists, Enote is working to create maps that evoke the Zuni’s sense of place, which prioritises storytelling and shared knowledge over plots and boundaries. Enote also hopes the project will spark conversations about Zuni culture and ancestry, creating a renewed sense of continuity of identity in his community. You can read more about the Zuni mapping project at Emergence Magazine.
Films on Perspective shifts
Shipwreck Discovered from Explorer Vasco da Gama's Fleet
HISTORY OF THE SUBLIME IN ART - Julian Bell