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

Week 2- Post-Modernism, Ai Weiwei and Banksy

1.   Define Post-Modernism using 8-10 bullet points that include short quotes.

Post-Modernism is:

·      “open, unbounded, and concerned with process and “becoming” Witcombe (2000)

·       The ideas derived from Modernism were unjustifying and inflicting. “Modernism has played itself out and is now floundering and directionless” Witcombe (2000) which therefore marked the beginning of post-modernity at the latter half of the 20^th century.

·      “For some it means anti-modern; for others it means the revision of modernist premises.”

(Witcombe 2000)

·      Deconstructive Modernism:

The principle and beliefs of Modernism are cast aside:

“it seems to destroy or eliminate the ingredients that are believed necessary for a world-view, such as God, self, purpose, meaning, a real world and truth” (Witcombe 2000)

Or nihilistic.

·      Constructive Modernism:

Attempts to remove all pre-existing borders that withhold the fundamentals of modernism. Seeking “to recover truths and values from various forms of premodern thought and practice”. Unifying “scientific, ethical, aesthetic, and religious intuitions”.Witcombe (2000)

·      Minouru Yamasaki, Pruitt-Igoe Housing Estate, St Louis 1950-54 proved that “social design requires an understanding of social context” Crouch(1999)

·      Postmodernism was playful, where as modernism was about purpose and coming to a conclusion.

·      There was a return of optimism after many wars and revolutions

2. Use a quote by Witcombe (2000) to define the Post-Modern artist.

“The post-modern artist is “reflexive” in that he/she is self-aware and consciously involved in a process of thinking about him/herself and society in a deconstructive manner, “demasking”

pretensions, becoming aware of his/her cultural self in history, and accelerating the process of self-consciousness.”

3. Use the grid on pages 42 and 43 to summarize the list of the features of Post-Modernity.

Postmodernism challenges the fundamentals of modernity. The post modernist artist plays with ideas to make a statement based on own opinion and beliefs rather than in relation to context. There is a balance between pop culture and high culture paving the way for social and cultural pluralism, hyper-reality and intertextuality.

4. Use this summary to answer the next two questions.

5. Research Chinese artist Ai Weiwei's 'Han Dynasty Urn with Coca-Cola logo'(1994)
in order to say what features of the work are Post-Modern.

Ai Wei Wei is one of the most highly recognised and influential avant-garde artist. Ai Wei Wei is known for his installations, sculptures using historical pieces and found objects and sensual photographs. On first appearances you can see how Ai Wei Wei has made a statement based on own opinion and beliefs. As a member of “The Stars” the Coco Cola label makes a mockery of the Chinese government. A country that is based on tradition and values opposed to western ways of living circum when it comes too money, represented by the coco cola label. Thus showing just how despotic pop culture is over high culture. There is playfulness about the work labelling an ancient artefact with a internationally known brand.

6. Research British artist Banksy's street art, and analyze the following two works by the artist to discuss how each work can be defined at Post-Modern.(Use your list from point 6.)

Banksy is an England based artist who uses various different media from graffiti, film and paint. Like Ai Wei Wei Banksy is also a political activist. Banksy’s “Flower Riot” can be seen as postmodern in the aspect the artist is voicing his own opinion. In relation to society today we are seeing allot of widespread looting, rioting and arson in cities and towns in England due to a rise in prices of goods that lower class people can’t afford. Banksy has taken the seriousness away from the piece by placing a bunch of flowers in the hand of the man thus creating humour. There seem to be attributes of hyper-reality. This stencil image is a depiction of what we see on TV a man wearing a bandana, hat and baggy clothing therefore making the image more powerful.

In the second image we can see a Neanderthal holding a bone in his left hand and fast food in his right hand. It makes a statement about humans and the way we live. It questions whether not we have evolved and revolutionised as race for the common good. The bone in his left hand represents a sacrifice of hunting for food and the fast food a sacrifice of good health. Has much changed in the few hundred years? Using reference to Cyndee Mudilar (2011) “ he is also exploring pluralism and acceptance of apes in our society”. To expand, science has told humans that we originate from apes; religion has told us god created us. It is the idea that two different ideologies can co exist about existence. Again displaying humour and taking away from the seriousness a primitive holding a burger, chips and drink. In relation to intertextuality the image almost looks like an early prehistoric cave drawing, “art as a recycling of culture” (n.d)

References:
 Banksy (n.d). Retrieved July 31st, 2011. from
http://en.wikipedia.org/wiki/Banksy
 Ai Wei Wei (n.d). Retrieved July 31st, 2011. from
http://www.artzinechina.com/display_vol_aid109_en.html
Amir, S. (2008, October 24). Writing is on the wall for banksy's west end mural; Art attack: a council order to remove this Banksy work near Oxford Circus has started a row over who owns the wall, The Evening Standard, (n.p)

WeeK 1- Nathalie Djurberg's 'Claymations'.

1. What do you understand by the word 'claymation'?

What I understand by the word claymation is clay that is used to make animation. “a method of animation in which clay figures are filmed using stop motion photography" (definition: claymation 26/07/2011)

2. What is meant by the term 'surrealistic Garden of Eden'? and 'all that is natural goes awry'?

According to Stangos (134) Surrealism is:

" a certain point of the mind at which life and death, the real the imaginary, the past and the future, the communicable and the incommunicable, the heights and the depths, cease to be perceived contradictably. Now it is in vain that one would seek any other motive for surrealist activity than determining this point."

Alan (1996) goes on to further explain: "Through the unconscious or a highly sensitized state of mind, the surrealist brought forth a new manner of seeing and feeling the world as it was understood and negotiated by Western peoples". 'Surrealistic Garden of Eden' can be applied to the work 'Experiment' 2009 by Nathalie Djurberg as it is almost as if what you are seeing is like a dream or in this case a nightmare. Gloomy and dark, the flowers are out to attack you, everywhere you walk there are claymation horror scenes. As the viewer you step away from the appropriate, planned or expected. What was told in the bible and storybooks off this happy and plentiful paradise is the complete opposite. Therefore all natural goes awry.

3. What are the 'complexity of emotions' that Djurberg confronts us with?

The 'complexity of emotions' that Djurberg confronts us with are fear, horror, imagination, excitement. When I look at this piece I don't know what to think or feel.

 "Through these minutely composed sequences of stop-motion animations, Djurberg toys with society's perceptions of right and wrong, exposing our own innate fears of what we do not understand and illustrating the complexity that arises when we are confronted with these emotions." Biennale Catalog (n.d)

 Aside from being absolutely terrified from the creatures that roam this forest, there is a feeling of utter amazement. The "non-rational drives and impulses in human thought and behavior" Kreis (2000). There is a unexpentancy, so you don't know whether to be happy or sad. Djurberg's work raises allot of questions in relation to what is right and what is wrong. You are pushed out of your comfort zone into the unknown, which makes the work so successful. We like the claymations are always running from something, judged by people who think they are above us, unusual yet unique only to disintegrate in the world.

4.  How does Djurberg play with the ideas of children's stories, and innocence in some of her work?

According to Alan (1996) "Art produced by young children was more real than that produced by adults-- since the art of adults was usually repressed and contaminated." Djurberg has recreated this classic and portrayed it through the eyes of a child. When something is scary and frightening it’s always dark, there are loud and strange noises, and monsters under your bed. The pretty princess is represented by the woman in one of the claymations trying to escape the forest, the Catholic priest are the villains and the clay figure battling her limbs or inner demons. In relation to innocence the catholic priest just stand and watch as the nude woman rip each other to shreds for entertainment. When we observe other works produced by Djurberg’s is it is almost as if her characters have got themselves into trouble by accident which is usually the case in most story lines.

5. There is a current fascination by some designers with turning the innocent and sweet into something disturbing. Why do you think this has come about?

I think that some designers are turning the innocent and sweet into something disturbing because people are sick of “and they lived happily ever after". We live in a world were unfortunately “happily ever after" does not exist. Society has changed and has come to grips that not all stories end well. The innocent and sweet doesn’t sell, where as the disturbing does because it is the truth. When you look at Djurberg’s work it shows the world and the people for who they really are "civilization is a burden and people must bear it for the alternative is worse" Kreis (2000). In relation to psychoanalysis and the subconscious artist are able to express the non-rational.

6. In your opinion, why do you think Djurberg's work is so interesting that it was chosen for the Venice Biennale?

In my opinion I think Djurberg's work is so interesting that it was chosen for the Venice Biennale not only for its visual impact but the message the artist is trying to communicate with the viewer. The work gives credit to surrealism and surrealist artist in the world of contemporary art. What I find so daring about the artist is that the Catholic Church knows Italy as the home. 'Experiment' as we know means "a method of testing with the goal of explaining the nature of reality". In a way this piece questions the foundations of the Catholic Church both faith and belief.  Was the Garden of Eden picturesque and harmonious as depicted in the renaissance paintings? Was it Eve who eat the apple from the tree of knowledge of good and evil? Maybe it was Adam? The work also brings to light speculations that I'm sure the Catholic Church would like to stay buried.

7. Add some of your own personal comments on her work.

I didn't understand the work until I researched into it and read other student blogs on their opinion. This was my first time analyzing and researching into surrealism and I found it really interesting. The way in which artist developed and came up with new ideas to inspire and create art was fascinating. You are taken to another world, exploring the forest and vicious creatures, stumbling across true horrors. The use of installation and claymation is something I have never come across which is what I find so rare and effective.

natalie djurberg: 'experiment' at venice art biennale 09. (07.05.09). Retrieved August 24th, 2011, from 

http://www.designboom.com/weblog/cat/10/view/6886/nathalie-djurberg-experiment-at-venice-art-biennale-09.html

Claymation (n.d). Retrieved August 24th 2011, from

 http://www.google.co.nz/#hl=en&rlz=1R2ADRA_enNZ420&q=claymation&tbs=dfn:1&tbo=u&sa=X&ei=7nwrTpvWBcOJmQWpyYC6Dw&ved=0CBYQkQ4&bav=on.2,or.r_gc.r_pw.&fp=23252b83265afd95&biw=1366&bih=498

How to make Animated Films

Tony White 2009 published by Elsevier Inc

Digital Character Animation

George Maestri 1996 published by New Riders Publishing

 

Week 9-Modernism and Post-Modernism

Maggie, (1996), Oil on canvas, 30 x 24"
(76.2 x 61 cm), Photograph by Ellen Page Wilson, courtesy of PaceWildenstein, New York, © Chuck Close 

Self Portrait (1994). Chuck Close. Detail.

Water Lillies (1920) Claude Monet

Water Lillies (1920) Claude Monet.

Both Claude Monet and Chuck Close were exploring paint, colour and human perception. Research the work of both artists in order to;

1. Outline the intentions of each artist.

Monet’s work tells the story of his flower garden at his home in Giverny. The artist work depicts his love of nature, fascination with capturing light at different times of the day and season. In his series of works we can see the use of reflection, water and love for his wife Alice Hoschede.

Close work reflects Ancient Roman floor Antioch mosaics. His sitters range from family, friends,
other artist and himself. His portraits show his remarkable skills in painting, print making and photography.

2. Describe the techniques of each artist

Monet’s work comprises of many layers of paint. The time it would take to complete a piece like this would range from months to years. What is significant in his work are the lilies and how they have remained watered over the course of a long process to completion. Time has been captured itself. Little strokes of the paint brush to capture every detail. The blurring is due to cataract the artist suffered at an older age.

Closes approach to the construction of art is through a systematic process of a grid and cells. The cells are filled with shapes that are abstract and all links together to portray the face of sitter. The use of large scale and hands on detail means that one portrait could take months even years to finish. Close is known for using different processes from wood block printing, reduction block printing and scribble and etching.

3. Find 2 quotes about each artists work, and reference them correctly.

"It took me time to understand my water lilies. I planted them for the pleasure of it; I grew them without ever thinking of painting them". Claude Monet

"...Rather than you being larger than the view that you’re looking at on a isle sized canvas, your just right in the face of those water lilies and the surface of the water with the clouds reflected from above you become lost in this expansive water and of light that is unique in modern art." Anne Temkin

"I was trying to rip it loose of the context in which we normally saw portraits and normally saw people, and try to make it a scanning experience, an experience of stumbling through this landscape." Chuck Close

"a creative process that could be interrupted repeatedly without…damaging the final product, in which the segmented structure was never intended to be disguised." Chuck Close
4. Note 3 similarities of the work of both artists.

The process that each artist has used to construct a piece of art can take months even years. Another similarity is detail both artist are very hands on, they like to get every last detail in their work. Scale, both artist use large scale effecting how the viewer sees the work. Layering, the mixing of colours is also very important. The way in which each composition has been laid out everything has been systematically organised. Subject matter each artist has portrayed things or people that are close to them.
5. What are some differences between the artist's works? (At least 3)

Differences between the artist works are the process both artists used to make the work, Monet. Success, when Monet’s works were first displayed they weren't celebrated instead scrutinised. Whereas Close has had allot of success and accomplishment. Both artists had very different influences Monet was influenced by his water Lillie garden where as Close was influenced by Ancient Roman mosaics.
6. Describe your response to the work of both artists.

Both Monet and Close is favourite artist of mine. Like both of them I am a person of detail. When I look at Monet's water lilies, I get so lost in the painting it is as if I am swimming in the water garden. You almost don't know where to look. However when I look at Closes work it is like the sitter is almost trapped inside. The resemblance is almost exact.

7. Add any other comments you would like

References:
www.whitecube.com/exhibitions/close/paintings-i/
http://www.moma.org/collection/object.php?object_id=80220
http://www.worcesterart.org/Exhibitions/Past/close.html
http://www.artquotes.net/masters/monet/water-lilies.htm
http://www.chuckclose.coe.uh.edu/life/index.html
http://blogs.princeton.edu/wri152-3/kgoss/
http://www.worcesterart.org/Exhibitions/Past/close.html

http://painting.about.com/od/oldmastertechniques/a/Techs_Monet.htm

Academic Literacy’s in visual communication 1- Resource Book