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University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2006 An Enquiry into Fully Lived Moments Hawkins, Philip http://hdl.handle.net/10026.1/2651 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. An Enquiry into Fully Lived Moments by Philip Hawkins A thesis submitted to the University of Plymouth School of Art and Performance February 2006 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author's consent. AUTHORS DECLARATION AND WORDCOUNT At no time during the registration for the PhD has the author been registered for any other University award. This study was financed with the aid of a studentship for three years from the University of Plymouth. Relevant seminars and conferences were attended. For example work was presented at a Critical Spaces Conference at the University of Plymouth and at a New Voices Conference with the Association of Art Historians at Reading University. Other departments within the college have been contacted including the Geography, Architecture, and Art History departments where presentations were also made. Museums have also been visited. The Word count for the thesis was 77,790. Signed ...................... 2. .. Dated ..................................2.-.Lf · O't · OC. Acknowledgements I would like to thank Malcolm Miles and Katy Macleod for their personal help and support. They both have in different ways helped and stimulated me to consider in rigorous ways elements of the study, for which I am very grateful. I have benefited greatly, intellectually and personally, from the encouragement they have given me to consider the study in creative and trans-disciplinary contexts. I, of course, also thank my wife for her help and humour. University of·Piymouth Library . Item No qcxn 2-~ 25~ 15 Shelfmark ~E'SI.<; '{ 0 I . I 5' 1-/:Pr Contents List of illustrations Introduction 1. Cobra: the experimental development of new productive tensions and practices outside of a traditional aesthetic .............................. p.l-89 Introduction The Founding of Cobra: Cobra thinkers, values and history Surrealism, Cobra polemicists, and politics Provenances of Cobra painting and sculpture Bachelard and Cobra's experimental materialism Creativity and actions, experimentation and collaborative artwork A Case for the Everyday Visual Culture and Creative Methods Jorn's Visual Culture and Creative Methods Situated collaborative practices and events in Cobra and Post-Cobra. Situated collaborations and post-Cobra Footnotes 2. Henri Lefebvre's Radical Romanticism: Lh•ed Moments and Lived time in Art and Architecture .•.........••.•••..••....•.................. p.90-194 Introduction Contextualising Lefebvre and the lived; rethinking time with space Poesis, agency and aesthetics; Dada, Surrealism, and Romanticism The Everyday: lived moments, methodology, and the Situationists Lived time: history and oeuvres (works) The present future: ideals for living and the possible Lefebvre and (ex-Cobra) Constant's Architecture Footnotes 3. Burgin, Lefeb\•re and psychoanalysis. A critical differentiation and reconsideration of the lived and its mis-alignments .•••.......•.•. p.195-266 Introduction The Value of Identifications, Objects and Drives Burgin's development of Lefebvre-Lacan and its problems Unravelling Lefebvre from Lacan: the strengths and weaknesses of Lefebvre Object Relations and the lived: near connections and problems Creative tensions and fractures in the lived Conclusion Footnotes 4. Conclusion and the different parts of the thesis ............•......•......• p.267-308 How the thesis is pursued Re-considering Cobra achievements, events, and activities Lefebvre and Cobra-Lefebvre Why re-consider Lefebvre-Cobra? Recommendations for Cobra, post Cobra and Lefebvre The critical limitations of Burgin and the lived Near Connections and unresolved fractures in the psychoanalytic Conclusion: the strengths of Cobra-Lefebvre Footnotes Literary Survey ........................................................................ p.309-322 Bibliography List of illustrations Volume I L Heerup, H. 'The Tortoise,' (1950), Granite, 50 x 135cm; Private Collection. Heerup, H. 'Death, the Reaper', (1943~, Assemblage of wood and metal, Height 75cm; Louisiana Museum, Humlebaek. [llln. source: Lambert, J-C. (1983), Cobra; p.63.] 2. Heerup's,Garden in 1960, Rods;;vre. [llln. source: ibid, p.61.] 3. Appel, K. 'The Little Donkey,' (1949), Oil on Canvas, 70 x 155cm; Private Collection. [Illn. source: Lambe11, J-C. (1983), Cobra; p.80.] 4. Appel, K. 'Composition with animal figure' 1951, [llln. source: Lambe11, J-C. (1983), Cobra; p.53.] 5. a) Corneille, 'Summer,' (1948), oil on canvas, 100 x 100 cm; Stedelijk Museum, Amsterdam.b) Corneille, 'The Sailor's Return,' (1949), oil on canvas, 70 x 50cm; Private Collection, Amsterdam. c):Corneille, 'The Port in the Head,' ( 1949), watercolour, ink, and collage of newspaper on paper, 48 x 37cm; Stedelijk Museum, Schneidam, The Netherlands. e) 'The Joyous Rhythm of the City,' 58.5 x 49cm; Stedelijk Museum, Amsterdam. [llln. source: Stokvis (2004), Cobra: The Last Avant-Garde Movement of the Twentieth Century; p.76.] 6. Constant, '8x the War,' ( 1951), Eight black-and-white lithographs, each 31 x 48.7 cm; The British Museum, London. [llln. source: Shield, P. and Birtwhistle, G. et.al., (2003), Cobra: Copenhagen. Brussels, Amsterdam; p;60.] 7. Constant, 'Festival of Sadness,' ( 1949), Oil on Canvas, 85 x I I Ocm; Boymans-van Beuningen Museum, Rotterdam. [llln. source: Lambert, J-C. (1983), Cobra; page 73.] 8. Jorn, A. 'The moon and the animals,' ( 1950), Oil on chipboard, 4 7 x 60.5cm; Collection Alechinsky, Bougival. [IIIn. source: Shield, P. and Birtwhistle, G. et.al., (2003), Cobra; p.76.] 9. ibid, Lucebert, 'Orpheus and the animals,' (1952), Gouache on paper, 42 x 56cm; Stedelijk Museum, Amsterdam. [llln. source: Shield, P. and Birtwhistle, G. et.al., (2003), Cobra; p.81.] I 0. Heerup, H. 'Woman as Temple,' (1949-50), Granite, 46 x 26 x 13cm; Collection Ellen and Jan Niewenhuizen Segaar. [IIIn. source: Shield, P. and Birtwhistle, G. et.al., (2003), Cobra; p.68.] 11. Tajiri, S, One-day sculptures on the banks of the Seine, Paris, 1951, [llln source: Lambert, J-C. (1983), Cobra; p.l45.] 12. Tajiri, S. 'David and Mrs Goliath,' (1949), Bronze (originally gypsum), Height 55cm; private collection. [llln. source: Stokvis, W. (2004), Cobra; p.90/91.] 13. Photo of Hs;;st exhibition, November-December 1948. Back row, leji to right: Mancoba; Pedersen; Ortvad; Bille; Nielsen; Mellerup; Vogei-Js;;rgensen and Thommesen. Middle Row: Appel; Dotrement; Ferlov; Alfelt. Front Row: Jorn; Corneille; Constant; Heerup and recorder. [Illn. source: Lambert, J-C. (1983), Cobra; pI 03.] 14. a) The experimentalists taking their work to the Stedelijk Museum in Amsterdam for the Cobra exhibition held 3-28 November, 1949. b) llhe entrance for the international exhibition of Cobra experimental art at the Stedelijk Museum. c) Tony Appel and Aldo van Eyck hanging work by Appel in the Stedelijk Museum. d, e,) Inside Constant's House, in Amsterdam, 1949. f) During the party after the opening of the exhibition. [IBn. source: Stokvis ( 1987), Cobra: An International Movement in Art after the Second World War; p.l6.] 15. 'Free Artists,' Artists' book covers of the first and only series of the Cobra Library. From top row, left to right: Alechinsky; Alfelt; Appel; Atlan; Bille. Second Row: Constant; Comeille; Doucet; Ferlov; Gilbert; Third Row: Gudnason; Heerup; Jacobsen; Jorn; Pedersen. (1950), Covers of 15 volumes, 13 x 17cm; published by Ejnar Munksgaard, Copenhagen. [IIIn. source: Shield, P. and Birtwhistle, G. et. al., (2003), Cobra: p.92/93.] 16. a) Jorn, A. and Dotrement, C. (text) 'There are more things in the earth of a picture than in the heaven of aesthetic theory', (194 7/48), Oil on canvas, 99 x 103cm; Private Collection, Belgium. b) Jorn, A. (drawings) and Dotrement, C. (text), two examples of Peintures-mots (word-pictures) series, 1948-53, ink on paper, 19.6 x 14.3cm (1948) and 20.5 x 14.8cm (1949); pub. in Paris, 1961, under title, 'La chevelure des choses.' c) Corneille (standing) and Dotrement, working in Brussels in 1949, probably in the garden of Dotrement's home in the rue de la Paille. [IIIn. source: Stokvis, W. ( 1987), Cobra: p.40.] 17. Jorn, Appel, Constant, Corneille, and Nyholm, 'Cobramodification,' (painting over a work by Mortensen, R,) (1949), Oil on Canvas, 42.5 x 62.2 cm; Collection Eric Nyholm on loan to Silkeborg Museum, Denmark. [llln. source: Stokvis, W. (1987), Cobra: p.38.] 18. Top left; 'Corneille, 6sterlin, Appel, Constant, Hulten, and Svanberg, 'Some of these Days', November 1949, Lithograph with Bistre, 40 x 39cm; Collection Karel van Stuijvenberg, Caracas. Lower Middle; Double-page spread from 'Good Morning Cockerel', (1949), drawings by Constant, text by Kouwenaar. G, 17.5 x 25.5cm, published by the Experimentele Groep, Amsterdam; [Illn. source: Stokvis, W. (1987), Cobra:
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  • The Henry Moore Foundation Review Contents

    The Henry Moore Foundation Review Contents

    Issue Number Fifteen Winter 2006 The Henry Moore Foundation Review Contents 3 Chairman’s Introduction Sir Ewen Fergusson 4 Director’s Report Tim Llewellyn 7 Financial Statement 2005 – 2006 8 Henry Moore Collections and Exhibitions Anita Feldman Bennet 11 Restoration of Hoglands David Mitchinson 12 Henry Moore Institute Penelope Curtis 15 Publishing Sculpture Studies at the Henry Moore Institute Martina Droth 16 Grants Programme 20 Publications 23 General Information Front Cover: Sheep Piece 1971–72 (LH 627) at Perry Green. Photo: Michael Phipps Tim Llewellyn in 1994 with Moore’s Large Figure in a Shelter 1985– 86 (LH 652c). Photo: Michel Muller Chairman’s Introduction This year has been rich in achievements and there is much Whatever has been achieved over the past year, I must to excite us for the future, but I start with the bad news. now look ahead to a most significant event. Next May, after While last year’s Review was being printed, thieves succeeded thirteen years of extraordinary activity on behalf of the in stealing a large bronze from Perry Green. No trace has Foundation, Timothy Llewellyn will be retiring from the since been found. It is hard to imagine a motive for this post of Director. audacious crime, which inevitably has influenced the Tim Llewellyn came to the Foundation early in 1994 conditions under which we and others will be able to show after a highly successful career at Sotheby’s. He brought sculpture to the public in the future. with him experience in management, a knowledge of finan- In spite of this discouraging beginning, the year has seen cial affairs and, above all, a genuine feel for works of art, many exciting projects brought to fruition, including the historic and contemporary.