Color, Facture, Art and Design
Artistic Technique and the Precisions of Human Perception
How is technique political?

With its appeal to the most subterranean aspects of perception art was always destined to be one of the last bastions of the transcendental in the 21st century.

Color, Facture, Art and Design investigates the "beauty" of art based on the somatic "magic" of the physical body and its relationship to nature, arguing that the sensual affect of expert artistic combinations of art materials: pigments and resins, in some paintings exploits a bridge between the intricacies of human sentience and the external world.

Art is thus more accurately located next to the sciences of language, mathematics, physiology and psychoanalysis. As the "pure mathematics" of the discipline, this materialist definition of fine-art develops guidelines for architecture, design, cultural-studies and ultimately social change.
REVIEWS & ENDORSEMENTS
  • http://www.thalo.com/articles/view/397/color_facture_art_and_design
    See this site for article on the book ~ http://www.thalo.com/articles/view/397/color_facture_art_and_design
  • Review of "Color Facture Art & Design: Artistic Technique and the Precisions of Human Perception", a book by Iona Singh

    In the first place, this is a book written by a writer, it is 'writerly'. When Singh refers to paints and materials you can almost smell them, the concatenation of the sentences is fluid, enjoyable, prose. And this is not an easy subject, it is in fact a new approach to art, to understanding art, one that does not come from the art as narrative or art 'tells a story' side of the fence, a side of the fence that is also, superficially at least, Marxist, in the sense of social realist interpretations of art. And yet this author constantly refers to dialectical materialism as the bedrock of her development, not the one that is usually vilified and strangled-off, or ossified, but a living breathing version of the Marxist philosophy as it collides into a new context. It is, on this count, small wonder that the mainstream press has studiously ignored it and offered absolutely no reviews. Thus my intervention here. Zero books, a great new publisher, does not provide any publicity or advertising until a certain limit is reached in sales, and so for this reason things can also go unnoticed. On the other hand, the provenance of these chapters is from peer reviewed journals, the work has been tested in the field, so to speak, in "Rethinking Marxism" and in "Capitalism, Nature, Socialism" it has its scientific pedigree.

    On the other hand, this book does not ignore or set aside social history or context, or resort to mere formalism, it is Marxist, which means it is materialist. The chapters on Vermeer and Turner are remarkable in their evocative uniting of the materials and techniques of the artist, the artist as a producer, with the social history of their times, they place the materials and techniques of the artist into this maelstrom of politics and reveal their effect, and affects, their sensual reasons for being that way in their time and space, and, what is more important, their agency. This is unlike almost all art historians and critics hitherto, who are divided into the standard camps: those who set art history as a history of formal structure hermetically sealed-off from social struggle, and those who regard art (anachronistically) as always realist, a mirror or reflection of the social times.

    Iona Singh herself is an artist, and has grappled with materials and gone through the U.K. art education system, her work is also unusual that someone with this experience nevertheless is able to articulate what they have learned in those institutions, I mean in words that have a scientific resonance and validity. Often there is also a reluctance from these quarters to disclose the secrets known here, and instead we get a playing to the gallery, the well known professional artists' obfuscatory and elusive self aggrandizement and posture as a transcendental being. Yet there is no blaming of the artist here for this, she exposes the economic productive contradictions at work and always refers to the bedrock of theory in her references. This is a solid work, but it sometimes betrays the origins of the struggle she must have had to get this 'out there' into the world, noticeable at times in the text. It is a book that should be in every art college, university art department, department of design and art history faculty, but it should also appeal to the layperson who appreciates art, is not a philistine, but finds the current 'art world' mystifying. This 'world' is meant to be mystifying, and this book explains why, among many other things. ~ Amazon Custome Review, Amazon.com
  • "Beautifully written..." ~ Deborah Wells
  • I think the author has the potential to make quite a splash with the presently well-argued thesis about how the materials aspects of the construction of Vermeer's paintings account to a large degree for the "aesthetic effect" that is seized on for questionable purposes-by many bourgeois and even Marxist critics. This paper serves as a great corrective regarding the exclusively "narrative" focus of contemporary cultural criticism and the neglect of the material "determinants' of narrative in painting and more generally, in all forms of creative production. ~ Jack Ameriglio, Rethinking Marxism
  • Speaking for myself, this constitutes a definite advance into the very poorly theorized area of the "sensuous", that is, ecology as the human being and nature directly interact through the senses....the sensuous is precisely the point at which Marx's materialism distinguishes itself from idealism and mechanical materialism, and becomes historical. So you are working with something very profound here, yet with a firm grip on something very empirical as well. ~ Joel Kovel, Capitalism, Nature, Socialism: A Journal of Socialist Ecology
  • ...I am struck by the novelty and ingenuity of the author's arguments about the physical construction of Vermeer's work and the anti-transcendence that attention to this material aspect makes possible. I like very, very much as the argument that Vermeer shows the way to a sensuous-and not narrated-appreciation of a work of art, and that this sensuousness, shown to be the result of manual labour and manipulation of the materials, helps to de-construct the narrative of transcendence. This is really brilliant stuff,.... ~ Jack Ameriglio, Rethinking Marxism
  • " it is precisely this breaking down of rigid disciplinary categorisations that gives the book its appeal, and in this respect it follows in a fine tradition of materialist/Marxist histories...""combines scholarly insight and critical engagement." ~ Houman Barekat
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