NAME OF TUTOR: donal maloney
DATE: 23.6.11
STUDENT TO FILL IN:
1. What points were discussed during the tutorial?
It was refreshing, to talk to someone, that did not see the diversity of painting-style as an error, but as a chance. At first we talked about the big -the fight- painting. Donal mentioned, it looks almost artificially constructed. The smaller painting was quickly decoded from him as the tomato fight painting that it actually is, but he said he could not see that as easily in the big one – which shows me, that it´s more successful in terms of being hardly de-codeable. (which I want it to be).
Donal mentioned some neo-expressive painters, like Julian Schnabel. He recommended to insert all painting styles into one painting, however I did not want it to be a painted-collage. (maybe just because I never saw my work in this direction). When I showed him the self-portrait-with-a-toilet-roll painting I made, he noted, that he already sees this direction in my work.
2. What issues will be thinking further on as a result of this conversation?
I will think about ways to insert diverse painting styles in one painting. I´m thinking of quite photorealistic, but out of focus backgrounds, with expressive marks on it. Maybe it would make sense to start by overprinting photos? Ridiculous “proofs“ of e.g. U.F.O.s would maybe be an option. For example a photorealistic landscape as a background with a childish-doodled ufo in a corner....just thinking.
3. Any other comments
It was nice to meet you at white cube. A damn strong exhibition.
STAFF COMMENTS:
We discussed differences between the two ‘Spanish festival’ paintings and how the scale of the larger painting made reading the interaction between the figures more ambiguous (could have been a battle rather than a celebration). Throughout other paintings such as the ‘bucket hat’ paintings and ‘toilet roll’ painting Max continues this interest in how the translation from photograph to painting shifts the narrative. We talked about ways to further develop this. One way we discussed was to introduce crossovers between the more expressionist works and the more detailed U.F.O./paranormal phenomena paintings. Whilst there were four/five different approaches to painting being explored we talked about particular combinations that could cover many of his separate investigations. The main concern would be how to produce results that reflect his interests and generate others, whilst not weakening each separate inquiry through their combination. We discussed different ways of doing this like drawing into the wet paint with subtle drawings that come from images in other paintings. Rather than on overt and brash clash of styles Max discussed his interest in the centralized image. Further analysis of the role of photography in his work will help to identify and clarify his interest in the translation and manipulation of images.
See D.A. Robbins interview with Allan Mc Collum for a discussion on painting as non-transcendental and the gesture used as an ironic sign of modernist reproduction-http://homepage.mac.com/allanmcnyc/amcpdfs/McCollum-Robbins.pdf
See Andrew Otwells article on Richter’s paintings as simulacra- http://www.heyotwell.com/work/arthistory/Richter.html and Daniel Yacavone’s paper on reflexivity- http://www.forumjournal.org/site/issue/01/daniel-yacavone and Mark Finch’s paper ‘Gerhard Richter: The Polemics of Paint’ -http://www.mickfinch.com/texts/gerhard.html.
Following on from our discussion on humour and irony/wit in painting see the work of Albert Oehen, Peter Davies show in the Approach gallery (online) and Andrew Stahl’s paintings in the 1980/90s.
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