Process Blog
Process Blog
  • corrected thesis 7/21/23
  • Final Paper 6/15/22
  • May notes ancedotals
  • Shift process painting 2-12/23
  • creative cluster intensive 5/29/23
  • project report due 4/15/23
  • Revised Project Proposal
  • December 15-Jan 15, break
  • Rock sketch archive
  • DEC. SYNTHESIS AND REFLECTION
  • Nov. post advisor meeting 11/25/22
  • November update 2022
  • October Updates
  • SEPTEMBER 2022 UPDATES
  • cRITIC JM Casabari 9/20/22
  • ELENA MARCHEVSKA & RACHEL EPP BULLER 9/20/22
  • Home
  • January 2023 intensive
  • revised proposal submitted 3/6/23graphy 3
  • April 2023
  • corrected thesis 7/21/23
  • Final Paper 6/15/22
  • May notes ancedotals
  • Shift process painting 2-12/23
  • creative cluster intensive 5/29/23
  • project report due 4/15/23
  • Revised Project Proposal
  • December 15-Jan 15, break
  • Rock sketch archive
  • DEC. SYNTHESIS AND REFLECTION
  • Nov. post advisor meeting 11/25/22
  • November update 2022
  • October Updates
  • SEPTEMBER 2022 UPDATES
  • cRITIC JM Casabari 9/20/22
  • ELENA MARCHEVSKA & RACHEL EPP BULLER 9/20/22
  • Home
  • January 2023 intensive
  • revised proposal submitted 3/6/23graphy 3
  • April 2023

2010 rock sketch dream

2012 sketches

2015 rock sketch

2016 rock sketches

2016-17rock sketch

2018 rock sketch

2019 Rock sketch

Rock Sketch Archive 2017-2018

April Intensive notes

Impossible embrace-Lynn Book

The intensive was enlightening, It was interesting to watch Jay Buchanan support all of Books efforts and future collaborations

Books online repertoire  allowed me to view her development over the years which was resourceful.

She explained atmosphere in the body and that the body is far beyond the human body. She sees wonder as a precurser to knowledge. I appreciate her extension into poetry.

 organization o in her various genres f archives was 

She seemed to be coming from various areas and documenting .

it was good to see how she combined her various mediums online in an archive

lynnbook.com
vimeo.com/lynnbook
lynnbook.archive.wfu.edu

WHAT WAS AN EXHIBITION? WHAT IS AN EXHIBITION?
WITH JAMES SCHOFIELD 4/29/23

J.P.Schofield@ljmu.acu.Uk

over xgallery- Liverpool England

 

excellent intensive with Schofield today

questions from J Schfield 

Do we need the white cube anymore?

I personally think so.

Do we need exhibitions anymore?

I thinks so , because it is way to educate and sensitize the public to the arts. If approached with that in mind

Can we not incorporate art into everyday life in western culture because the form of the exhibition is so rooted into key social moments. That will take some reworking in homes and communities

ARE WE MOVING TOWARD A POST EXHIBITION CONTEXT?

it appears we are.

 

REQUIRED READINGS

  • Dorothee Richter - '“A Brief Outline of the History of Exhibition Making”, in On Curating Issue 6: 1,2,3 - Thinking About Exhibitions: p.28-37. > link

    1.2.3. Thinking about exhibitions (2009)

    Seeing through the Lens of the inner workers and contributors of Exhibitions is certainly eye opening for me.

    To think  that this was written in 2009 causes me to pause, rethink how I might to present my practice for the future.

     I certainly must do some catching up in how to structure an exhibition for the future.

     

  • Adam Hencz - '“Chamber of Aesthetics: Revisiting the White Cube, its Rules of Display and Erosion of Influence”, Artland.' > link

I found this summation of the history of the white cube insightful 

From the intensive=It was explained that the white cube surfaced with an artist (belguim) impressionistbecause of a shift in attitude about crowded display.

 History of exhibitions was affected by class and power struggles thru greed. empire dominions imperialism, and exploitation in England, France modeled spread thru out Europe

(much was uncovered in this historical overview  of exhibitions)

I enjoyed the way Shoefield shared this dreadful history of exhibition

 

White Cube, contemporary times the exhibition as a methodology of both practice and display is the way cultural outputs across a number of disciplinary registers are communicated with wider publics.  According to O’Doherty the spatial arrangement also consumes the works – and the statements placed within them – to a degree that their context becomes content.  I personally look for the content of text before looking at the image.RB

 

As artists and the gallery space live in an ever changing symbiosis, both the legacy and critique of the white cube becomes ever more apparent. Whilst the white cube acted as a facilitator of new works and served as a point of departure for groundbreaking installations, it is also held responsible for supporting the long decried elitism propagated by the voracious commercial tendencies of the modern art world. (Henzc)

- experiences move away from the physical and into the digital or virtual, the role of the museum and art gallery and the creation of art history will increasingly part ways, especially with the exploration of different territories of display

.

  • Orit Gat - 'Any plans after the exhibition?' > link
    see above Questions by Shoefield

SUGGESTED READINGS

  • Karsten Schubert (2000) The curator’s egg: the evolution of the museum concept from the French Revolution to the present day, London, One-Off Press: Distributed by Christie’s Books, 1-40

  • Brian O’Doherty, Inside The White Cube: The Ideology of the Gallery Space (Los Angeles: University of California Press, 1999), 13-35.

 

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