There was something about recreating an observation on your own terms that seemed so new and innovative to me, but sat so conformably in the canon of art history, of memory, of perception, of how we want things to be.
It’s the number of times something is deemed profound, significant, inspiring, useful, compelling etc. in a specific text, based on ones current knowledge. This makes this number both extremely personal and potentially very telling.
Joy Shellard recounts growing up in the museum during WWII in a book entitled A Child of the Home Front. Anecdotes of her youth are set against the backdrop of not only war, but growing up in a museum.
It’s people like Davis that have started to inform my ethical position; not progress vs conservation, but ‘progress for conservation’, research that negotiates successfully between the two, or makes both equal stakeholders in its investment, outcomes and impact.
To formalise this idea, I distilled de Botton’s sentence into something visual, an artwork as a symbol. With the regal portrait prevalent in 17th century european art I decided to re-appropriate an etching of La Rochefoucauld, adding the blue bird (representing the Twitter logo) and the hand upon which it perches.
Edward Bernays (Lucian Freud’s nephew) quickly realised that “what could be done for a nation at war could be done for organizations and people in a nation at peace” …and duly opened a ‘public relations’ business in New York.