Week 6- Anish Kapoor Sculpture

1.Research Kapoor's work in order to discuss whether it is conceptual art or not. Explain your answer, using a definition of conceptual art.

Conceptual art “emerged in the late sixties as an idea-based art and heralded the disappearance of the object as necessary a component in art” (Morgan 1996). I think that Kapoor’s work is conceptual. At the Royal Academy of Arts 2009 Kapoor discusses his work as being “not fully formed, I think that the whole notion of being an artist today is that it is a kind of discovery and that one takes on different but related ideas”. This can be related to works such as Svayambh a huge block of wax that has formed its shape by being pushed through the gallery doors. “The process reveals all that is needed to be revealed” Kappor (2009).

2. Research 3 quite different works by Kapoor from countries outside New Zealand to discuss the ideas behind the work. Include images of each work on your blog.

Memory by Anish Kapoor was presented at the Guggenheim as part of the Deutsche Bank Series. Kapoor was inspired by the Guggenheim’s structure and passage. Working within a tight space the gallery was separated into 3 different viewing points. The first view point of just the exterior of the work, the second an opening into the interior that on first appearances comes off as 2 dimensional. The third again the exterior but you are able to see just how big the work really is. Kapoor explains that “that notion of hiding parts of a procession is what the work is trying to do” Kapoor 2009. The form is made from steel that has a ribbed system. Working with this new material as it rust it changes colour from a powdery orange to a chocolate brown. “the fact the artist is not giving you an object that can be perceived as a whole, it’s truly fragmented, it’s really preventing you from getting an experience of the object in one felt swoop, that is the meaning behind memory” Sandhini 2009. What I like about this work is that you have to really engage with the work to really understand it. The fact that the art isn’t presented to you as a whole keeps you thinking about it.

The work Levain at Grande Palais Paris is about working with light and trying to turn the building inside out. It refers to a monster with no sort of form which says we can all relate to as having inside us. Levain is 38 metres in height, measuring 100 metres long and 70 metres wide working with the volume of the building. The use of colour associates with the body and that you are walking into a dark bodily space. Like most of Kapoor’s work there is no meaning with a narrative. I like how Kapoor associated the volume of the space with the object as the space is a part of the art. The structure is huge in comparison with the small human figures that walk inside it.

Orbit by Anish Kapoor is a 120 metre tall tower that people can climb which will be situated at the 2012 Olympic Park. This steel structure will be Britain’s biggest piece of public art. Inspired by the tower this work will be made out of 1,400 tonnes of steel and cost $19.1m to make. The piece will be officially named ArcelorMittai Orbit after the person funding the project who is also the richest man in Europe. There is movement and instability “using a traditional kind of engineering, but putting it together in a completely new way”. Kapoor (n.d). Kapoor is collaborating with one of the best engineers in the world Cecil Balmond. What I like about the work is that you will be able to climb it. You can really engage with the work. It will define London just as other structures across the world define the cities they are in. For example New York and The Statute of Liberty or the Eiffel Tower in Paris.

3.Discuss the large scale 'site specific' work that has been installed on a private site in New Zealand.
4. Where is the Kapoor's work in New Zealand? What are its form and materials? What are the ideas behind the work?

The work is a combination of fabric made of PVC-coated polyester, cables and steel. Located in Kaipara Bay on a private estate outdoor art gallery “The Farm” is made to withstand winds from the Tasman Sea referred to “rather like a flayer skin” Kapoor (n.d). The Farm cuts into a beautiful New Zealand hillside one sphere on a tilt whilst the other rest down on the ground. The structure works as an installation commissioned by Alan Gibbs and his wife Jenny who have a very impressive art collection dating back to the 1960s. The work engages with the scenery which is important because both Alan and his wife only spend 3 months of the year on the estate. You are able to see these spectacular views of the bay that surrounds the area.

5. Comment on which work by Kapoor is your favourite, and explain why. Are you personally attracted more by the ideas or the aesthetics of the work?

My favourite Kapoor work is Memory. I am personally attracted to the ideas of the work. The way in which he broke the gallery up into three different viewing points and that you could get a different experience from each was interesting. The structure of teh object was huge so working within a space would have also been challenging. I liked the fact that you have to really engage with the work to really understand it. The Architecture and detail that would have gone into a structure like this would have taken allot of planning.
References:
Foss, P (May2009). Anish Kapoor Regen Projects , Art in America, P161-162

Anish Kapoor (n.d). Retrieved August 26th,2011, from
http://en.wikipedia.org/wiki/Anish_Kapoor
Anish Kapoor at the Royal Academy (24.09.2009). Retrieved August 26th, 2011, from
http://www.youtube.com/watch?v=umVSGErfg8E
"Anish Kapoor: Memory" (09.06.2009). Retrieved August 26th, 2011, from
http://www.youtube.com/watch?v=R-wL06rp_hI
A Look at Kapoor's sculpture for London 2012 Olympics (31.03.2010). Retrieved August 26th, 2011, from
http://www.youtube.com/watch?v=An60H5a1OMs&feature=related
Anish Kapoor sculpture blends fabric and steel in New Zealand (2010). Retrieved August 26th, 2011, from
http://fabricarchitecturemag.com/articles/0110_sk_sculpture.html
The Farm: Alan Gibbs-businessman, collector and artists' accomplice (n.d). Retrieved fAugust 26th, 2011, from
http://www.robgarrettcfa.com/thefarm.htm

Week 5 - Pluralism and the Treat of Waitangi

1. Define the term 'pluralism' using APA referencing.

“Pluralism in art refers to the nature of art forms and artists as diverse. The cultural context of art is all encompassing in its respect for art of the world’s cultures. Inclusion of individuals of differing ethnicities, genders, ideologies, abilities, ages, religions, economic status and educational levels is valued. Pluralism honours differences within and between equitable groups while seeing their commonalities.” Caldwell (1999)

2. How would you describe New Zealand's current dominant culture?

If you Google images “kiwi culture” the first thing that appears on your screen is the giant kiwi fruit at kiwi360, followed by the hongi (a traditional Maori greeting between two people), bungee jumping, kiwi holding the New Zealand flag, jandals, Jaffa’s, swandris, buzzy bee, Marmite, sheep, clean green, nuclear free and last but not least the All Blacks. Those are just to name a few. We are a diverse country, with many different nationalities. Therefore we have created our own culture so that all cultures can relate too.

3. Before 1840, what was New Zealand's dominant culture?

New Zealand’s dominating culture was the Maori people. Before the first European settlers came in 1840, Maori arrived in Aotearoha in around 950. According to Maori legend it was Kupe who found New Zealand. Everything was in abundance wood, food, bone, green stone, and flax. As communities flourished there were wars between different iwi and their territories. There were 100, 00 Maori in New Zealand compared to the 2000 Europeans. However due to land disputes an estimated 40, 000 Maori died before 1900.

4. How does the Treaty of Waitangi relate to us all as artists and designers working

in New Zealand?

The treaty of Waitangi relates to us all as artists and designers working in New Zealand as we are all New Zealander whether we be Maori, Pakeha, islander, Indian, British, American. It is a part of our countries heritage and therefore our right to uphold it. As artist and designers it is important that we reference correctly when it comes to developing and producing art “texts come before us as the always-already-read” Fredric Jameson (n.d).

5. How can globalization be seen as having a negative effect on regional diversity in New Zealand in particular?

In the second part of ALVC we watched a documentary that related to how globalization has a negative effect on regional diversity within New Zealand. Big international companies are taking inspiration from the ethnic. Without doing proper research and any compensation instead they are saying they didn’t know and copyrighting it, which means there is nothing that people can do about it. Something as little as a name can be copyrighted. For example the Bionicles had reference to Maori culture. The names of the warriors Huki and Tohunga are from Te Reo Maori. The spokesperson for Dutch company Lego said that they didn’t know and that “Bionicles” had been trademarked.  Later Lego changed the names after Maori representatives threatened to take them to court. Since then there haven’t been any other use of Maori names however some of the Bionicles names have not been changed. I didn’t know Toa was Dutch? But if you Google image Toa Maori the first image that appears is a Maori warrior.

6. Shane Cotton's paintings are said to examine the cultural landscape. Research Cotton's work 'Welcome'(2004) and 'Forked Tongue' (2011) to analyze what he is saying about colonization and the Treaty of Waitangi.

Shane Cotton’s work ‘Welcome’ represents colonization and the treaty of Waitangi as we see  at the top point of what seems to be a cross the head of Jesus Christ representing the British. The bottoms point a Toi Moko representing Maori. To the left appears to be a fantail and to the right another fantail that has been printed much darker, referring to good and evil. The placement of the objects brings unity between the Maori and Pakeha. The work has been printed with a lithograph which gives it a very colonial look. The simple black and white could relate to both racial connections and good and bad. It is interesting that the head of Jesus Christ has been placed at the top. It shows how Pakeha thought they were far more superior. The Toi Moko which translated means mummified Maori head represents death. The use of the fan tail is also significant as it is also a symbol of death. You can see what race dominated. The title tells it all “Welcome” the coming together of two cultures.

In Shane Cottons other work “Forked Tongue” there is a combination of symbols of both culture including Maori ethnic birds. In relation to the Treaty of Waitangi and Colonization this work talks about the land and how it has been divided. The background is of grey and black cliffs. The cracks make reference to the earth being divided.  In the foreground you see these shapes and symbols which are obviously related to Maori culture. In the top left hand corner there is a bird which resembles a fan tail. Shane Cotton uses allot of Maori iconic birds in his art work. It is almost like it too has been frozen in time, unable to fly and be free. The use of colour is very dark and dangerous and very familiar. These symbols look almost as if they are dividing up the cliff face into sections to advise who owns what piece.

7. Tony Albert's installation 'Sorry' (2008) reflect the effects of colonization on the aboriginal people of Australia. Research the work and comment on what Albert is communicating through his work, and what he is referring to. Describe the materials that Albert uses on this installation and say what he hopes his work can achieve. Define the term 'kitsch'.

Kitsch means “Art objects, or design considered to be in poor taste because of excessive garishness or sentimentality, but sometimes appreciated in an ironic or knowing way”. Kitsch (n.d) Tony Albert made ‘Sorry’ in response to Australian Prime Minister Kevin Rudd’s formal apology to Indigenous Australians. The work serves as a reminder of the past, yet a more hopeful future. “Each represents a false identity, manufactured black faces made to fit white society” Tony Albert Sorry 2008. Each photograph tells an unheard story about the people that were stolen, land and culture taken. However it almost seems as if the artist is saying here is a reminder of what we did, sorry but ohwell. I think that there is allot more work to be done. But to admit you were wrong is the first step.

8. Explain how the work of both artists relates to pluralism.

Both artists reflect back to their culture to communicate the idea of pluralism. Both works talk about coming together as a united front. It is about accepting the past and mistakes that both cultures have made and moving forward together. There is more work that has to be done, but it is about making that first step. Despite our skin colours and our differences we really are all the same. They also bring to light different issues that still exist between cultures at the hope that someday both can co-exist.

References:
kiwi culture. (n.d). Retrieved August 21st, 2011, from
http://www.google.co.nz/search?pq=hongi+greeting&hl=en&cp=7&gs_id=y&xhr=t&q=kiwi+culture&rlz=1R2ADRA_enNZ420&gs_sm=&gs_upl=&bav=on.2,or.r_gc.r_pw.&biw=1366&bih=459&wrapid=tljp1314515847979016&um=1&ie=UTF-8&tbm=isch&source=og&sa=N&tab=wi
History of Maori. (n.d). Retrieved August 21st, 2011, from
http://www.newzealandnz.co.nz/maori/
The Maori Brief pre-history (n.d). Retrieved August 21st, 2011, from
http://history-nz.org/maori.html
POPULATION, POPULATION TRENDS AND THE CENSUS. (22.04.2009) Retrieved August 21st, 2011, from
http://www.teara.govt.nz/en/1966/population/1
Colonisation. (n.d) Retrieved August 21st, 2011, from
http://www.newzealand.com/int/article/colonisation/
Bionicle (n.d)Retrieved August 21st, 2011, from
http://en.wikipedia.org/wiki/Bionicle
The Wavering Interiority of Cotton's New Paintings (28.07.2010). Retrieved August 21st, 2011, from
http://eyecontactsite.com/2010/07/pondering-the-marks-and-symbols-of-shane-cotton
Collection Search (n.d). Retrieved August 21st, 2011, from
http://cs.nga.gov.au/Detail.cfm?IRN=142200

Johnston, K. (01.06.2008). The Treaty of Waitangi, Journal: New Zealand law review, p609

kitsch (n.d). Retrieved August 2st, 2011, from

http://www.google.co.nz/#sclient=psy&hl=en&rlz=1R2ADRA_enNZ420&tbs=dfn:1&source=hp&q=kitsch&rlz=1R2ADRA_enNZ420&pbx=1&oq=kits&aq=2&aqi=g10&aql=&gs_sm=c&gs_upl=6747800l6751091l4l6753993l10l8l1l0l0l1l468l1639l2-2.2.1l7l0&bav=on.2,or.r_gc.r_pw.&fp=e3c3638da76d866a&biw=1366&bih=498

 

Week 4 - Kehinde Wiley and inter-textuality

This week’s ALVC class focuses on the Postmodern theme "INTERTEXTUALITY", re-read Extract 1 The death of the author on page 39 of your ALVC books and respond to the oil paintings of Kehinde Wiley.

1. Find a clear definition of Intertextuality and quote it accurately on your blog using the APA referencing system. Use your own words to explain the definition more thoroughly.

“The concept of intertextuality reminds us that each text exists in relation to others” Chandler (2003). When you look at something such as painting, drawing, sculpture one of the first things that would come into your mind is I have seen that before? Intertextuality is comparing work that has been reproduced to previous interpretations and making connections.



2. Research Wiley's work and write a paragraph that analyzes how we might make sense of his work. Identify intertextuality in Wiley's work.

Intertextuality can be applied to Wiley’s work we see a black African American man, whom we compare with people we see on the movies, rappers, singers, athletes because we are familiar with them. Although stereotypical we automatically think because they are wearing a hat, chain, baggy clothes we think gangster or thug. The style of portraiture in Wiley’s works is similar to the renaissance and the enlightenment. The poses are very strong and give the viewer this sense of power and success. The work quotes " historical sources and position young black men within the field of power" Kehinde W, (n.d).


3. Wiley's work relates to next week’s Postmodern theme "PLURALISM" . Read page 46 and discuss how the work relates to this theme.

Wiley’s work relates to pluralism as it is diverse. Wiley is a gay African American artist he is just as successful and well-known as Ron Mueck who is white and straight. The depiction of the black man as being an authoritative and holy figure just as equal as any other man on earth reminds us of our past as “Those who don’t know history are destined to repeat it” Edmund(1729-1797). There is more respect for people of colour, than there was 50 years ago.

4. Comment on how wiley’s work raises questions around social/cultural hierarchies, colonisation, globalisation, stereotypes and the politics which govern a western worldview.

We live in a postmodern society where there are no social/ cultural hierarchies. To some the juxtaposition of this style of art may seem very odd and intimidating. However, we are not use to seeing art work being presented like this which is the power of globalisation. We are use to seeing the classic stereotype of the black man someone who is poor and violent. Wiley’s work is the complete opposite. It reminds us that the leader of the free world is black. It also tells the uknown story of the black man from the 14th to 18th century. We are reminded of where we have come from, what we have done and what we have still left to do.


5. Add some reflective comments of your own, which may add more information that
you have read during your research.

I found Wiley’s work very inspiring especially for someone like me who is of colour. He brings out the irony in work from the renaissance and the enlightenment. It is almost like he makes fun of them. The people in Wiley’s work are real people that he has photographed and they aren’t trying to be something that they are not. Then there are these very beautiful backgrounds that surround the figure are like old master paintings and French Rococo. It also represents that men can be feminine yet still masculine. The fusion of the traditional portraiture that was aimed at the white man and history has bought back unity between black and white.
References:
 Art KEHINDE WILEY (n.d). Retrieved August 13th, 2011, from
http://www.interviewmagazine.com/art/kehinde-wiley/
 Kehinde Wiley (n.d). Retrieved August 13th, 2011, from
http://en.wikipedia.org/wiki/Kehinde_Wiley 
Kehinde Wiley: DEITCH PROJECTS. (Nov 2009). Artforum International, p229

Week 3- Hussein Chalayan

Week 3- Hussein Chalayan

Chalayan is an artist and designer, working in film, dress and installation art. Research Chalayan’s work, and then consider these questions in some thoughtful reflective writing.

1. Chalayan’s works in clothing, like Afterwords (2000) and Burka (1996) , are often challenging to both the viewer and the wearer. What are your personal responses to these works? Are Afterwords and Burka fashion, or are they art? What is the difference?

Not all clothing is fashion, so what makes fashion fashion?

Art is fashion, fashion is art. Art is the quality, production, expression, or realm, according to aesthetic principles, of what is beautiful, appealing, or of more than ordinary significance (dictionary.com). Fashion is a prevailing custom or style of dress, etiquette, socializing (dictionary.com). But isn’t fashion also about quality, production, expression, or realm, according to aesthetic principles, of what beautiful, appealing, or of more than ordinary significance. To say that Burka is not fashion, but isn’t it? Arabic and Hindi women wear burka because of religious reasons so why can’t it be classed as a trend. It is no different to us wearing coats in winter because it is cold. If you were to look at the piece from an art perspective the idea of having to cover your body for some may seem daunting. When I look at these women I see a loss of identity and sexuality. When I see women in burka I feel intimidated and scared. As the hem line gets shorter it is almost as if it is an unveiling of the real women underneath. At times these women are misunderstood not all women who wear burka are forced too, but it is a way of saying that these women are like everyone else.

I find Afterwords very fashion forward. Function is form in this work. The skeletal structure appears to be on the outside rather than the inside. The process of how the garment was made is interesting as the model takes this bee hive skirt off and the layers fall into flat spiral. It shows progress, when you think of taking a skirt off it will just fall to the lover but you don’t expect to see a skirt fall like a jigsaw puzzle and the pieces fall into place and form the picture. Perhaps it is almost like the shedding of a skin and what happens afterwords. Although the top is not the dominant feature the simplicity makes it draw attention to itself. The work is referred to as wearable, portable, architecture’.

The difference between art and fashion is that art is broad it can apply to different media like music, visual arts, photography, film. Fashion is a subculture of that culture. Not all clothing is fashion which is true. You can wear clothing and it isn’t the latest trend. What makes fashion fashion is progress and innovation. Designing for the future yet drawing inspiration from the past.

2. Chalayan has strong links to industry. Pieces like The Level Tunnel (2006) and Repose (2006) are made in collaboration with, and paid for by, commercial business; in these cases, a vodka company and a crystal manufacturer. How does this impact on the nature of Chalayan’s work? Does the meaning of art change when it is used to sell products? Is it still art?

The meaning of art doesn’t change when we use it to sell products. We use graphics to sell things like tooth paste, alcohol, spaghetti. The level tunnel is a depiction of level vodka. It is as if the alcohol unlocks your senses as you move down the tunnel or you drink more from the bottle.

3. Chalayan’s film Absent Presence screened at the 2005 Venice Biennale. It features the process of caring for worn clothes, and retrieving and analysing the traces of the wearer, in the form of DNA. This work has been influenced by many different art movements; can you think of some, and in what ways they might have inspired Chalayan’s approach?

I think Chalayan would have been inspired by the Enlightenment. We use science to understand the world but in the film it is using science to understand the wearer. Realism is another art movement Chalayan has used in the sense that he has used scenes from everyday life. Chalayan has also used expressionism as he has depicted mental illness and delusions based around terrorism using clothing and DNA.

  

Hussein Chalayan, still from Absent Presence, 2005 (motion picture)

4. Many of Chalayan’s pieces are physically designed and constructed by someone else; for example, sculptor Lone Sigurdsson made some works from Chalayan’s Echoform (1999) and Before Minus Now (2000) fashion ranges. In fashion design this is standard practice, but in art it remains unexpected. Work by artists such as Jackson Pollock hold their value in the fact that he personally made the painting. Contrastingly, Andy Warhol’s pop art was largely produced in a New York collective called The Factory, and many of his silk-screened works were produced by assistants. Contemporarily, Damien Hirst doesn’t personally build his vitrines or preserve the sharks himself. So when and why is it important that the artist personally made the piece?

When an artist makes their own work there is indescribable sense of accomplishment and finish. Artist might spend months even years making the one piece, but it is coming to a resolution after spending hours learning and practising techniques. Learning from your mistakes after making many, watching your work transform after pouring your blood, sweat and tears into it. It is at the end you can really look back and say it was worth it all. Determining when an artist should make his own work is hard to justify because it depends on the situation. Lone Sigurdsson made some works from Chalayan’s Echoform (1999) it is hard for some artist to work using different media so collaborating and seeking expertise from someone who has more experience and skill is something that should be complimented on. At the same time you can’t be two places at once, especially if you are working to a deadline or your work is quite large.

References:
hussein chalayan. (n.d). Retrieved August 6th, 2011, from

http://www.designboom.com/eng/interview/chalayan.html
Burqa (n.d). Retrieved August 6th, 2011, from

http://en.wikipedia.org/wiki/Burqa
'level tunnel' installation by hussein chalayna (05.12.08). Retrieved August 6th, 2011, from

http://www.designboom.com/weblog/read.php?CATEGORY_PK=&TOPIC_PK=2858
 hussein chalayna (n.d). Retrieved August 6th, 2011, from

http://www.husseinchalayan.com/#/art_projects.absent_presence.overview/

Hussein Chalayan: Proje4l Istanbul Museum of Contemporary Art.(ISTANBUL). (Nov 2004). Artforum International, P236