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The Old Methods Room: 24 Objects, Slade School of Fine Art, UCL, London


when > 15 June - 20 June 2011
where > Schlade School of Fine Art, UCL, London
what > degree show, in collaboration with Sarah Knill-Jones (SKJ) and Eunkyoung Lee (EL)

www.sarahknill-jones.co.uk , http://eunkyung-lee.com

 

 

 

 

 

> 24 Objects:

 

1 (A - B)
a. Procris and Cephalus Project, Work VIII’(fragment 38/56 and 48/56)
b. oil on primed paper
c. 10 x 15 cm
d. SKJ
e. Old Methods Room, over sink (A) and north wall (B)
f. Autoitalia, March 2010. Bought by NR in June 2010.
g. Copy of Procris and Cephalus Project, Work VII – cut into 56 postcard sized-fragments. This work represents step 7 of 14 iterations/copies, starting from no.7.
h. original/copy (value of), reproduction, process, detachment, progression/sequence, documentation, individuality, fragmentation, memory

 

2
a. The matter with painting
b. x-ray viewing boxes, acrylic on acetate
c. 2 x (146 x 108 x 14.5 cm)
d. NR
e. Old Methods Room, east wall
f. Slade Studio 2; ‘Surplus to Requirements’ (Woburn Square Research Centre)
g. No.1 copied/enlarged onto acetate. Process reversed: top layer applied first. Layers revealed with lights.
h. dissection/fragmentation, delimitation, forensics, value systems, authorship, emotional distance/ objectivity

 

3
a. Stuffed
b. acrylic, glass
c. 23 x 34 x 50cm
d. NR
e. Old Methods Room, west wall
f.
g. Left-over paint from no. 11 applied to inside of an antique display vitrine typically used to display taxidermied animals.
h. neutral/transparent support/display, expressionism/detachment, intentional/accidental, forensics, sampling, delimitation

 

4
a.
b. mdf, pigments, oil, acrylics, water, LEDs
c. 77 x 44 x 25cm
d. NR
e. Old Methods Room, sink
f.
g. Brushes dipped in paints used in works no. 2, 3, 8, 11,15 and 16 and washed in sink. Pigment paper bags used in no. 14 opened and closed over sink. Remnants from palettes collected while working on above works added. Sink framed with a white worktop, lit with LEDs.
h. intentional/accidental, authorship, expressionism/detachment

 

5
a. Off-cut        
b. acrylic on acetate
 c. 10 x 80 cm
d. NR
e. Old Methods Room, rolled up in jar on shelf over sink
f. ‘Surplus to Requirements’ (Woburn Square Research Centre)
g. Left-over from no.2 when acetate was cut to size of X-ray boxes.
h. dissection, delimitation, framing, intentional/accidental, value systems

 

6
a.
b. acrylic on acetate
c. 10 x 15 cm
d. NR
e. Old Methods Room, on worktop to the right of sink
f.
g. Left-over from no.2 when acetate was cut to size of X-ray boxes.
h

 

7
a. Procris and Cephalus
b. postcard
c. 10.5 x 29 cm
d. Piero di Cosimo
e. Od Methods Room, on worktop to right of sink
f. National Gallery
g. Purchased at National Gallery.
h. copy/original, selection/framing, authorship, mistaken identity, desire, female irrationality, masculine impulsiveness

 

8 (A-F)
a. Control Condition
b. acrylic on canvases, mp4 files
c. 2 x (100 x 150 cm); 2 x (6min 800x480 pixels)
d. NR, SKJ
e. Old Methods Room, north wall (A and B); basement corridor (C and D); shelf over sink (E and F)
f. Slade Studio 2
g. Experiment 1: NR copies no. 1A, 10 times larger. SKJ copies NR in real time, using the same brushes and paints. Experiment 2: SKJ copies no. 1B, 10 times larger. NR copies SKJ in real time, using the same brushes and paints.1s of every 30s of both experiments are recorded.
h. intentional/accidental, control, original/reproduction, mimesis, authorship, expressionism/ detachment, historicity, free will/control, the hand of the artist, unemotional painting (the possibility of)

 

9
a.
b. acrylic on wall and floor
c.
d. NR, SKJ
e. destroyed
f. Studio 2, Slade
g. Residual product from no.8.
h. forensics, sampling, intentional/accidental, authorship

 

10
a. Déjà vu
b. book with gicle prints, acetate and paper inserts
c. 21x30x5cm
d. NR et al.
e. Old Methods Room, east window sill
f. Slade Interim Show
g. A collection of macro-photographs of intentional as well as accidental marks collected across the University of the Arts London’s 7 colleges. Marks from finished works labelled with the artist’s name, found marks with their location. Presented as microscope slides. Categorized 250 of the 2500 photos collected.
h. taxonomy/lexicon, intentional/accidental/incidental, originality/individuality, ownership


 

11
a.
b. gesso and acrylic on plywood
c. 11 x (24 x 30 cm)                 
d. NR
e. Old Methods Room, east wall.
f.
g. 10 identical paintings in 10 layers (including gesso). Before applying each layer increasing proportions of each painting were masked off with latex (following mathematical progressions). Latex was removed to reveal different fractions of the layers that make up the final painting(s).
h. process, originality, control, forensics, archaeology, memory, expressionism/detachment, formalism, pictorial depth, layers

 

12
a. Inventory V (Everything I know about painting)
b. various paints, printed media, graphite, cotton.
c. 1682 x (3 x 4 cm)
d. NR et al.
e. Old Methods Room, worktop to the left of sink and 2nd drawer down on left
f. Shown as Inventory I, II, III and IV in Camberwell Painting Studios; Camberwell Degree Show; UAL reception space, Davies street; ‘Colour’, Beldam Gallery, Brunel University
g. Colour is sampled from paintbrush onto a paper label while painting other work, dated in graphite. Other marks added at random; laser cut samples of marks by other people from reproductions in show invites, postcards, magazines added.
h. taxonomy, originality, individuality, diary

 

13
a. 25 samples of 25 consecutive paintings on the same canvas
b. acrylic on canvas, Petri dish
c. 9.5 x 9.5 x 2 cm
d. NR (EL)
e. Old Methods Room, worktop to right of sink
f.
g. 25 consecutive paintings of arbitrary subject matter (including abstract, representational and figurative). One painting was executed by EL. Each time a painting was completed, a representative circular sample was removed from the canvas (8 cm diameter to fit a Petri dish).
h. sampling, authorship, delimitation, forensics, archaeology, representation,     layers


 

14
a. collected samples
b. egg tempera on linen on casters
c. 60 x 60 x 5cm
d. EL
e. Old Methods Room, floor
f.
g. 6 layers of egg tempera applied to round canvas (including some with pigments matched exactly to those used in no. 3, 8 and 11). Top layer is a reproduction of an image from a chocolate wrapper. Nibbled by Slade mice and then partially sanded off (see no. 23).
h. materiality, repetition, presence/absence, preciousness/value systems, pictorial space, fragility of representation, layers

 

15
a. culture
b. acrylic, Petri dish
c. 9.5 x 9.5 x 2 cm
d. NR
e. Old Methods Room, west window sill
f.
g. Residual product of no. 11. Left-overs of acrylics diluted with water poured into a Petri dish and left to settle and dry for one week.
h. framing, intentional/accidental, control, detachment, desire

 

16
a. Desire
b. acrylic, tempera and oil on canvas, neon light, chipboard
c. dimensions variable
d. NR
e. Old Methods Room, east wall
f.
g. A painting hidden behind a fake wall with circular opening and illuminated by a neon light. This could be any painting. In this case, the painting is by NR and the only one in the room, which is not a reproduction or a copy of another.

h. sampling, microcosm/macrocosm, delimitation, distanciation

 

17
a.
b. foamboard, pins, graphite, digital prints
c. 22 x 43.5 x 38 cm
d. NR
e. Old Methods Room, on top of organisers in the middle of the room.
f.
g. 1:20 scale maquette of Old Methods Room with miniature reproductions of work.

h. theatricality, control, originality, reproduction

 

18
a. Essai/attempt #3 (Detached)
b. acrylic and paper
c. 16.5x23cm
d. NR
e. Old Methods Room, wall above sink
f. ‘The Essay revisited’, Woburn Research Centre
g. Two super-imposed brushstrokes of grey and black acrylic painted onto glass. Lifted off glass when dry and repositioned on graph paper.
h. detachment (possibility of)

 

19
a. Emptying Illusion
b. video loop
c. 23 s
d. EL
e. New Sculpture Studio (basement)
f. http://eunkyoung-lee.com
g. 12 layers of tempera of different colours applied to round canvas and sanded back down to gesso. 110 stills taken at regular intervals and turned into an animation.
h. value systems, materiality, repetition, presence/absence

 

20 (A-F)
a. Interference
b. mixed media on gicle prints on Somerset museum board, display cabinet
c. 6 x (40 x 60 cm)
d. NR et al.
e. Slade Entrance Hall; Strang Print Room, UCL Art Collections
f. ‘Moreover’, UCL Art Collections
g. Artists/members of the public are asked to choose 1 of 360 samples of marks digitally reproduced from the UCL Art Collections and to respond by adding any mark(s) in any colour/medium of their choice. Presented in the order in which they are returned to mimic archives at UCL Art Collections. Design/font based on old Windsor and Newton colour sample cards from the Windsor and Newton archive. On-going.
h. archive, museum (value systems of), originality, authorship/copyright, layers, digital reproduction, individuality, the collectable

 

21
a.
b. acrylic on canvas
c. 50 x 50 cm
d. NR
e. Old Methods Room, leaning against sink unit
f.
g. Residual product of no.13.
h.

 

22
a.
b. egg tempera and gesso on linen
c. 30 x 30 cm
d. EL
e. Old Methods Room, leaning against sink unit
f.
g. Residual product from test piece for no. 20.
h.

 

23
a.
b. egg tempera powder
c.
d. EL
e.
f.
g. Residual product from no. 14. Possibility of interference from Slade mice and other visitors has been noted.
h. forensics, sampling, incidental/accidental, value systems, materiality, fragility

 

24
a.
b. acrylics, nail
c. 17 x 17 x 3 cm
d. NR
e.
f.
g. Acrylic remnants scraped off palette and nailed to wall. On-going.

h.