How to deal with an image displayed within the text? On my last course we had to use "Figure 1: Jackson Pollock (1950), title of piece" and then give further details in a list of illustrations.

Checked with Matthew - use the 'Figure 1' notation, but I can put all of the details under the image where it is displayed in the text instead of setting up a separate list of illustrations.

I am trying to work out how to reference a web page. It is http://www.artisancam.org.uk/pages/artists.php?artist=gordon
which has videos of how Cheung creates one of his works.  Our lecture notes and the UWE SkillZone guide both say that a web page reference should include the year of publication. However, I have searched all over the Artisancam site and done a Google search and I cannot find the year of publication.

I have done another Google search and found a Harvard referencing guide from De Montfort University at the following link:
http://www.library.dmu.ac.uk/Images/Selfstudy/Harvard.pdf
It gives advice on what to do with an undated website:

"Dates are not always available for web pages, if this is the case use (n.d.) where n.d. represents no date so that the reader knows you have omitted this element."

Checked with Matthew - he advised me to use the year that I accessed the website.

My broken arm is starting to cause a few problems. Luckily it is my left arm and I am right handed. However, I had been planning to try to create my poster in a similar way to Cheung's process, involving a lot of collage, but now I am limited to a design that I can produce on the computer. Also, I cannot get to the UWE library so I am limited in my access to books. I have ordered some from my local library (at 75p a time) and I will see what UWE have available online.

How to fit at least 250 words onto a poster? My Graphic Design training is telling me that this is a fundamentally wrong thing to do. However, a look on the internet tells me that there is something called a 'research poster' which is used mainly in the sciences to present the results of research. It contains far more information than you would usually find in a poster. Here are some links that I have found: 

http://www.westernpsych.org/pdf/WPAPosters.pdf
http://www.ncsu.edu/project/posters/NewSite/ExamplePosters.html
http://www2.le.ac.uk/departments/gradschool/resources/presenting/posters/examples

Here are some more details about the other artists I saw on my trip to London. Started at the British Museum to see 'Renaissance to Goya: prints and drawings from Spain'. Very interesting - not an area I had studied before.

Then to the Rook and Raven gallery to see James Mylne 'Vintage Vogue'. He produces remarkably detailed and subtle photo realistic drawings using a biro, with a coloured background created with spray paint. http://www.jamesmylne.co.uk/

Next the Photographers Gallery, luckily it was a sunny morning so I managed to see the camera obscura in operation.

The Blain Southern had an exhibition of Tim Noble and Sue Webster. Very impressive to see in real life - the gallery was very big so I could walk round each sculpture and get the full impression of how each image was built up.  http://www.timnobleandsuewebster.com/

Then on to see Kate Atkin's exhibition at the Trinity Contemporary. This is a very interesting gallery as it specialises in contemporary drawing. The exhibition that I went to in Salisbury last year was organised by them. Quite a few of Atkin's new works were created by cutting shapes out of plywood, applying a coat of gesso and then drawing. Several of the pieces achieved a strikingly 3-D effect. The marks she makes on paper are only properly visible when the actual works are viewed.

Finally to Edel Assanti gallery to see Gordon Cheung's latest exhibition and choose a piece for my essay as previously reported.

Cheung was included in the British Art Show exhibition in 2005 and was interviewed on the dvd that was made about it. He said:

"My first work 'Underworld' (2005) was part of a triptych dealing with the universal themes of paradise, earth and the underworld. It is based on Corbusier's designs because he is a utopian architect but one who has heroically failed. This modernist dream has decayed.

The second painting is 'Breughel's Highway' (2004) which is of a carriageway, but one that is half built and then decays. It was inspired by Breughel's 'The fall of Icarus'. This is using ancient myths and combining them in a way to reflect our condition now.

'Skyscraper' (2004) is a generic skyscraper bursting through the clouds, and it also has a hallucinatory element.  I am not seeking to proclaim anything but simply to use these archetypes as a way of creating works that will somehow generate spaces for us to question our existence. I think of them as revealing the fractures of the gloss of modern life and revealing the undercurrents."

This interview is on the dvd 'british art show 6', Channel 5, 2005, directed by Gary Malkin. The film was produced by BALTIC Library and Archive in conjunction with Hayward Gallery Touring Public Programmes and BALTIC Education and Public Programme teams.

On this page I am going to make a list of useful links about Gordon Cheung:

http://www.gordoncheung.com/PAGES/archive/Arc_Press_Reviews/interviews/2007_chimera_angles.html A review by Martin Holman
http://jeffreydennis.blogspot.co.uk/2012/03/techno-sublime-lecture-by-gordon-cheung.html  Notes of a talk that Cheung gave at the Chelsea College of Art in January 2012
http://www.artisancam.org.uk/pages/artists.php?artist=gordon   This website has videos about his techniques.
http://www.youtube.com/watch?v=j88OP8AFqYQ  Part of a BBC story about Damien Hirst - Cheung discusses his use of assistants.
http://www.alancristea.com/artist-Gordon-Cheung  One of the galleries that represent Cheung.
http://www.gordoncheung.com/  Cheung's own website.
http://www.spoonfed.co.uk/spooners/tom-699/immortal-nature-an-interview-with-gordon-cheung-6422/  An interview about his approach and techniques
http://www.artlyst.com/events/gordon-cheung-the-light-that-burns-twice-as-bright-alan-cristea-gallery  An article about an exhibition at the Cristea Gallery
http://visualartists.org.uk/articles/video-guides/trade-secrets-episode-3-gordon-cheung-on-working-with-galleries/  An interview in which Cheung talks about working with galleries
http://www.culturestreet.org.uk/artstreet/artist.php?id=5  More videos about his techniques (may be duplicates)
http://www.bbc.co.uk/manchester/content/image_galleries/180108_gordon_cheung_gallery.shtml?1  About an exhibition in 2008
http://www.arbuturian.com/2011/mendes-cheung-interview
http://www.dazeddigital.com/artsandculture/article/549/1/gordon-cheung An article about a previous exhibition.
http://www.aestheticamagazine.com/modern-economy-ancient-mythology  An article about the influence of his ethnic origin
http://www.johnjones.co.uk/case-studies/gordon-cheung/  Cheung's picture framers.

Gordon Cheung has an exhibition at the Edel Assanti Gallery in London. I went to it last Saturday to have a close look at his latest work and choose a piece for my cultural text. I have picked 'Supercell' (2012).

 Cheung, G. (2012) Supercell, [Stock listings, acrylic on canvas and polycarbonate]. At: London: Edel Assanti gallery [online]. Available from: http://www.edelassanti.com/exhibitiondetails.php?ID=111 [Accessed 4 November 2011].

I have decided to choose a piece of work by Gordon Cheung as my cultural text as there is something about the themes in his work that 'hail' me very strongly. He also combines digital and traditional methods, something that I am interested in. We have been advised to choose a subject that we find interesting and that we want to spend time researching - his work fits this description.

I am using the word 'hail' in the sense introduced by Althusser, who describes 'that very precise operation which I have called interpellation or hailing, and which can be imagined along the lines of the most commonplace everyday police (or other) hailing: ‘Hey, you there!’ '

Althusser, L (1970) Ideology and Ideological State Apparatuses (Notes Towards an Investigation). In: Lenin and Philosophy and Other Essays. New York: Monthly Review Press. Marxist Internet Archive [online]. Available from: http://www.marxists.org/reference/archive/althusser/1970/ideology.htm [Accessed 4 December 2012].

For this week's seminar, we were asked to read 'Visual Pleasure and Narrative Cinema' by Laura Mulvey so that we could discuss it in the seminar. Unfortunately, I could not attend due to food poisoning, so I will just post a few thoughts.

• It provides a very good example of how to go about applying a particular critical approach to a text, in this case psychoanalysis.
  
• Daniel Chandler has written a very interesting piece about Mulvey at http://www.aber.ac.uk/media/Documents/gaze/gaze09.html  He says that it was the first work to introduce the concept of 'the gaze', with Mulvey describing the figure of the woman on screen as the object of desire and "the male gaze". The term is now used in a far wider sense by media theorists and includes both the way that viewers look at a visual text and the gaze of those depicted in the text itself.
  
• However, at present I am not convinced of the validity of Freudian psychoanalytic theory as a basis for a critical approach. I tend towards Karl Popper's view that psychoanalysis is a 'pseudoscience' as its claims cannot be rigorously tested and subject to possible refutation.