Newman is a highly experimental artist, he pursues achieving an aesthetic and intellectual ambiguity in order to reflect the uncertainty of life. Despite being described as ‘conceptual’ Newman’s work is materialistic and playful, and does rely on aesthetics for any meaning to transcend.
Newman is overtly focused on the limitations of his own body, in both his life and art practice, looking at bodily failure, endurance, claustrophobia, awareness, contortion and desire. I enjoy Newman’s conviction of his own craft, a confidence and freedom that allows for a sense of humour and experimentalism. Limitations of the body, and how there is a dissonance between mind and body, is something I would look into further.
His linear focus lends itself to the textual presentation of his ideas. In this way there is a superficial frankness and seemingly direct transmission of ideas from artist to viewer, although the comical and rhythmic quality of ‘Run From Fear, Fun From Rear’ leaves much to be desired in terms of understanding Newman’s intentions. Subverting expectations of clarity with the use of text, being obtuse and garish in a white cube, formalised setting, stand out to me as a possible route for myself.
Hanged Man 1985
Mapping the Studio II with colour shift, flip, flop & flip flop (Fat Chance John Cage) 2001
Bouncing in the Corner, No.1, 1968
Black Marble Under Yellow Light 1981/88
Coffee Spilled and Balloon Dog 1993
Run From Fear, Fun From Rear,1972
Studies from Holograms (a-e) 1970
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