City without clothes

Jana Morgan
Describes her work as exploring memory and other mental and linguistic constructs as they mediate the body's interaction with place.

Los Angeles Aerial # 3
Psychogeography of the crazy quilt (in the fashion of Jackson Pollock) 3' x 4' piece is a collage of vintage fabrics, men's neckties and painted / dyed fabrics, machine and hand stitching.

City Without Clothes (potentials of paradise)

work in progress-velvet, velour and fleece.

Morgan describes this piece as, "a work-in-progress, a sort of map to nowhere (as in utopia)," one from a series of aerial-psychogeography studies. She describes it as personal, in that it's potentially everywhere she ever imagined living, but has never visited. It articulates possibilities and parallel lives that may yet be lived.

Note the link in title to, Guy Debord's 1957 map, 'The Naked City'.
I love this work.
posted by-Mary Allardyce

Richard Wentworth

Hi all...again!



I have found an artist who I thought creates the sort of photographs that I'm wanting to base my Outside the White Cube on; objects that belong to someone or belong inside that have been placed outside in an "un-natural" environment...basically objects that you wouldn't really see in this type of scenario; giving these objects a different meaning.

This artist is Richard Wentworth, and he describes his work better than I can, so here is a quote of his which I think best explains his photographs:

'I have always been very puzzled about the raw and the cooked. Am I sitting on a tree or is this assemblage of wood a chair? What draws me in is how things are convertible and how humans give meaning. There is something about mutability that I have always been attracted to. I mean, what is a television that is sitting on the roadside miles away from the electricity supply? Is it still a television? It's something to do with being dead yet alive. It's the small human acts that reach out to my way of seeing. Without someone being able to raise a brick and deposit the right amount of mortar then there would be no walls. That's all a wall is really - a lot of brick raising. A little human act multiplied. A half brick raised, though, can be a murder weapon.

My work is also attached to the limits of purposefulness. If something is discarded you can read that and see that it's been rejected. To me, there is something terribly beautiful in that. Formal things are incredibly important to me. I always see the crack in the glass before I see the window. I have always had this "sickness". I am interested in the aberrant.'

Wentworth

Katie =)