Footnotes 2017

 

Footnotes

Footnotes, a 3-part artwork, obliquely references unseen written work, co-opting viewers into consideration of what the writing might be through collaged assemblages. Appropriated bits of the world are re-formatted and become an incomplete montaged document.

Part I: Concrete (Iron Ore) Poem for Ground 4 Extra Exhibition, C-Arts, Florence Arts Centre, Egremont, Cumbria.
Part II: Ibidem and The Body of Work, University of Cumbria, Carlisle.
Part III: Ibid. and The Body of the Work for Rule 10 Exhibition, Scalesceugh Hall, Cumbria.

The works cross-reference each other and are a discrete response to a set of circumstances with interior concerns involving the unseen written content, worked through to their conclusion.

This project is part of an over-arching aim to study and reveal contemporary valence of artist Kurt Schwitters’ Merz art practice through my own art practice-based research. A commonality of materials connect to Merz in their interception on the way to becoming  landfill and/or residence in temporary places, such as in this case, the scrapyards of Florence Mine and Scalesceugh Hall.

 

Part I: Concrete (Iron Ore) Poem (2017) for Ground 4 Extra Residency Exhibition, C-Arts, Florence Mine and Arts Centre, Egremont .

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Part II: Ibidem and The Body of Work (2017) for PhD Transfer, University of Cumbria, Brampton Rd, Carlisle:

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Ibidem (2017)

The Body of Work is a document submitted for assessment. The numbered footnotes in the document relate to a text, are colour coded and correspond to the numbered items below.

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1. https://jackiehaynesartwork.wordpress.com/2017/09/03/footnotes/

 

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2. Barad, K. (2003). Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter. Signs: Journal of Women in Culture and Society. vol. 28, (3), 811.

3. Reeves, H. (2013). But The Real Work was To Place A Stone In My Mouth (Please Remember I Did That). In: Lopez, T The Text Festivals: Language Art and Material Poetry. Bury: University of Plymouth Press, UK. 123-133.

 

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4. Roberdeau, W. (2017). Kurt Schwitters and 27 Senses: Resonances in Norway, England, and Time.. Dada/Surrealism . 21 n. pag. Web.

5. Deepwell, K. (2014) ‘Other’ and ‘Not-All’, Rethinking the place of the Woman Artist in ‘Contemporary Art’. In: Revisita de Studios Globales y Arte Contemporáneo. vol. 2, (1), 191-212.

 

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6. Dietrich, D. (1998). Love as Commodity: Kurt Schwitters’s Collages of Women. In: Sawelson-Gorse, N Women in Dada: Essays on Sex, Gender, and Identity. Massachusetts: MIT Press. p206-293.

 

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7. Luke, M. (2014). The Wandering Merzbau. In: Kurt Schwitters Space, Image, Exile. Chicago: University of Chicago Press. 80-148.

 

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8. Roberdeau, W. (2017). Kurt Schwitters and 27 Senses: Resonances in Norway, England, and Time.. Dada/Surrealism . vol 21, 1.

9.  Deleuze, G & Guattari, F (2004). A thousand plateaus: capitalism and schizophrenia. London: Continuum. p280.

 

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10. Luke, M. (2014). The Wandering Merzbau. In: Kurt Schwitters Space, Image, Exile. Chicago: University of Chicago Press. 140.

NB. Ibidem was made before the completion of the Transfer document. Footnote 8 & 9 were switched around in the final draft. This means the footnote numbers read: 1 2 3 4 5 6 7 9 8 10. I could swap the order of the Ibidem objects and correct the transfer document, but decided to privilege the artwork over the written work. This corresponds with the intention to demonstrate that all aspects of my art practice-based PhD are foregrounded by and come into being through the artwork.

 

Part III: Ibid. and The Body of the Work (2017) for Rule 10, with MACFA (UoC), Scalesceugh Hall, Carleton, 25th – 29th September 2017.

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The Body of the Work, with 10 numbered hinges relating to 10 Footnotes outside.

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Footnotes*

1. https://jackiehaynesartwork.wordpress.com/2017/09/03/footnotes/

2. Barad, K. (2003). Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter. Signs: Journal of Women in Culture and Society. vol. 28, (3), 811.

3. Reeves, H. (2013). But The Real Work was To Place A Stone In My Mouth (Please Remember I Did That). In: Lopez, T The Text Festivals: Language Art and Material Poetry. Bury: University of Plymouth Press, UK. 123-133.

4. Roberdeau, W. (2017). Kurt Schwitters and 27 Senses: Resonances in Norway, England, and Time.. Dada/Surrealism . 21 n. pag. Web.

5. Deepwell, K. (2014) ‘Other’ and ‘Not-All’, Rethinking the place of the Woman Artist in ‘Contemporary Art’. In: Revisita de Studios Globales y Arte Contemporáneo. vol. 2, (1), 191-212.

6. Dietrich, D. (1998). Love as Commodity: Kurt Schwitters’s Collages of Women. In: Sawelson-Gorse, N Women in Dada: Essays on Sex, Gender, and Identity. Massachusetts: MIT Press. p206-293.

7. Luke, M. (2014). The Wandering Merzbau. In: Kurt Schwitters Space, Image, Exile. Chicago: University of Chicago Press. 80-148.

8. Roberdeau, W. (2017). Kurt Schwitters and 27 Senses: Resonances in Norway, England, and Time.. Dada/Surrealism . vol 21, 1.

9.  Deleuze, G & Guattari, F (2004). A thousand plateaus: capitalism and schizophrenia. London: Continuum. p280.

10. Luke, M. (2014). The Wandering Merzbau. In: Kurt Schwitters Space, Image, Exile. Chicago: University of Chicago Press. 140.

  • The Footnotes correspond to those in the essay submitted for PhD Transfer in October 2017.

 

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