A three-layered process of documentation A three-layered process of documentation: (1) First, there is the field notebook. This is where the actual numbers are recorded, together with passing observations relevant to the interpretation of these numbers. Paper is still proving more durable than electronic data. (2) The journal is a parallel record to that of the notebook—a daily account of events, thoughts, and observations. (3) Last of the three strata, then, are the publications. Traditionally, in science, these are articles in academic journals leavened with chapters in books. To be successful, a young scientist need aspire to no more than these two forms of output together with their oral versions at interminable conferences and meetings of learned societies. There came a time in my scientific development, however, when other forms of publication became important: magazines articles, and writing books. Roger Kitching, A Reflection of the Truth notetakingrecords
Phenomenal: An Introduction An Essay from Phenomenal: California Light, Space, Surface by Robin Clark Aesthetic palate cleansingUntitled (Light Canvas)Little Blank Riding HoodNot intended to be read until you have seenA vaporous middle-world+5 More
Aesthetic palate cleansing During the 1960s and 1970s, light became the primary medium for a loosely affiliated group of artists working in Greater Los Angeles who were more intrigued by questions of perception than by the notion of crafting discrete objects. ...Often with modest means (a bolt of scrim, a sheet of glass, a bucket of resin, an open window) these artists engaged in a kind of aesthetic palate cleansing, shaking off the art-historical weight and heavy impasto of midcentury painting as it had been influentially practiced in New York and San Francisco. aestheticsmaterial
Not intended to be read until you have seen This is not a catalogue because there is no list of works. The exhibition will comprise three spaces in which three artists will have made their art. At the moment of writing we are not sure exactly what they will do—and we cannot know how what they do will appear to us. Therefore we cannot attempt to help you perceive it. So this is also not truly an introduction to the art. It is not intended to be read until you have seen the exhibition. Michael Compton perceptionseeing
A vaporous middle-world In between these two extremes is a room with three constructions by Robert Irwin. These can be read as individual works of art but their function here is primarily that of creating a climate of fastidious ambiguity. Light turns into a new kind of material; new kinds of material are fused into light; a vaporous middle-world stands midway between total black (Bell) and total white (Wheeler) light