Collection: Foundation work - Part 1 + 2

Information file

Explanations of class art ideas today (as far as i can remember!)

Paper memories - a series of doors made out of paper, in each next 'room' thre are objects from different stages of life. In the last room the participant writes a letter to themselves saying thier hopes for the future.

Space rain - the participant walks through a series of small mirrors which reflect around them like 'space rain'. This was my group, we also had the idea of an audience facing a large black screen in darkness and them gradually the screen is cut to reveal the light behind by higning blades - possibly set in motion somehow by the audience themselves. Another ide was to project an image onto the audience who then must use hand-held mirrors to reflect all the pieces of the image onto the screen in front of them to see what it is.

Jalopy Jalopy - remaking childhood objects into new things

Rebirth - participants experinnce birth again in a hospital setting

There is no top there is no bottom - a messy chaotic sculpture with wires etc coming out of a car

Untitled no. 7 - layers of water reppellant and absorbant paper moves the water around in a glass box, the exhibit changes as time goes on.

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Henri Matisse

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Henri Matisse

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Henri Matisse

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Henri Matisse

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Quote from above

Henri Matisse

Published by the Museum of Modern Art (New York)

"I have always enjoyed the sea, and now I can no longer go for a swim I have surrounded myself with it" - Henri Matisse

I love how Matisse's cut outs were a way of overcoming his illness to access and respond to the world in a new way. Sometime limitations can mean we are more creative as we have to invent new ways of overcoming them or it means we are not confused by too many options!

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Henri Matisse

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Henri Matisse

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Henri Matisse

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from 'Jazz' by Henri Matisse, published in New York by George Brazillier, Inc.1983 (originally published Paris, Editions Verve, 1947)

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Quotes from reading - 'Inside the White Cube...'

Brian O'Doherty 1976 (1999ed) 

University of California Press

p14 "The history of modernism is intimately frames by that [gallery] space; or rather the history of modern art can be correlated with changes in that space and in the way we see it. We have now reached a point where we see not the art but the space first."

... An image of the white, ideal, space that, more than any single picture, may be the architypal image of twentieth century art"

"Some of the sanctity  of the church , the formality of the courtroom, the mystique of the experiemental laboratory joins with chic design to produce a unique chamber of esthetics."

p18 [on the security of the frame] "It's limiting security completely defines the experience within."

p24 "The way pictures are hung makes assumptions about what is offered. Hanging editorialises on matters of interpretation and value, and is unconciously influenced by taste and fashion."

p29" Now a participant in, rather than a passive support for the art, the wall became the locus of contending ideologies"

"Most of us now "read" the hanging as we would chew gum- unconciously and from habit."

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Pippa Tucker screenp rinting

The Welcome Collection - Things

"Whether explicit or not, it remains that a display of objects can’t help but become part of the anthropology of today; the latest, but not final, chapter in an object’s narrative. Whenever we encounter an object, old or new, we re-imagine, re-interpret and re-invent its meaning and contribute to its never-ending story. Museums are increasingly incorporating these different voices into the display of objects but the loudest and clearest will, by its very nature, always be the here and now."

- Natalie Coe

http://blog.wellcomecollection.org/tag/things/

Grayson Perry Playing to the Gallery – Democracy Has Bad Taste

"I ran an election in college. I put up a little ballot box in college a few weeks before to elect the best artist in the college, democratically, and of course this was a very facetious act and the audience of course acted very facetiously in response and elected me as the best artist because they knew I was organising it, and I won the prize which was a big head that I’d made.

 But I learnt two things from doing that performance. One was I had to have very low expectation of audience participation, and the other one was that judging quality is a very tricky area, and my lecturer afterwards, he said to me, he said that was fun he said, but I don’t know if it was good art. Because quality then, you know I realised there was this sort of tension between the idea of popularity and quality within the art world, and they seemed often to be almost at odds with each other. "

Full transcript: http://downloads.bbc.co.uk/radio4/transcripts/lecture-1-transcript.pdf 

http://www.bbc.co.uk/programmes/b03969vt

British Museum 'A History of the World in 100 objects'

The Ain Sikhri Lovers

I love this sculpture because it speaks to humans of all ages - is our capacity for love and relationship one of the main things that defines us as human beings?

http://www.bbc.co.uk/ahistoryoftheworld/objects/vNEwNR8rSzGPSwSn3yeJwA

The Barbican: Martian Museum of Terrestrial Art

Amnesty FGM campaign - MOMA Design and Violence blog

I saw this recently and I think it is really powerful - it uses the human imagination to make a really strong and emotional impression about an issue that is very hard to represent visually (the issue of FGM - Female Genital Mutilation).

 "Creating an ad campaign to raise awareness on this subject must have been a challenge. Because of its intimate nature, using graphic images—which other campaigns could have used with few qualms—is not an option. Instead of pushing the boundaries on violent imagery or watering down the message with beautiful faces of poor girls, the designer has used a powerful solution that, in my view, expresses the outrage without degrading the viewer or the victim. Even though the practice of infibulation is almost literally pictured here, those ads use strong symbolism and the power of imagination to make sure we won’t stay indifferent. And we should not."

http://designandviolence.moma.org/female-genital-mutilation-fgm-awareness-poster-campaign-amnesty-international-volontaire/?utm_source=social&utm_medium=twitter&utm_campaign=101714b

Scenes in corridors

At 7.40 is a scene from Willy Wonka and the Chocolate Factory (1971) which I based my installation partly on

http://vimeo.com/26117979

Ai Wei Wei - When is smashing a work of art, a work of art?

Ai Wei Wei photographed his work 'Dropping a Han Dynasty Urn in 1995' where he smashed a precious vase, then recently someone smashed his work in the Perez Museum in Miami - is it only art when someone well known for creating art does it?

http://www.theguardian.com/artanddesign/jonathanjonesblog/2014/feb/18/ai-weiwei-han-urn-smash-miami-art

Immersive theatre

Terror and Wonder: Guardian review

For this is not an exhibition about art. It seeks out something more intangible – the nature of imagination.

http://www.theguardian.com/artanddesign/2014/oct/03/terror-and-wonder-the-gothic-imagination-british-library

'Myths' at the Blue Elephant theatre

The set was quite simple but the actors suspended disbelief with abandon! they played many different characters and wove many tales.

http://femalearts.com/node/1554

Chasing Mirrors Portraits of the Unseen

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Personal objects belonging to the collective, representing an aspect of their personality or a meaningful experience, have been wrapped in cloth with the artist through a process of ritual and shared reflection. These objects will be suspended in the gallery and mirrored from above and below to create a series of three sculptures. Moving away from the concept of a portrait depicting personality through physical appearance, the exploration of language and the use of personal objects will create a collective portrait of these young people.

http://www.npg.org.uk/about/press/chasing-mirrors-year-2-press.php

Bobby Baker

Bobby Baker is a woman, and an artist. She lives in London. In a career spanning nearly four decades she has, amongst other things, made a life-sized edible version of her family and driven around the streets of London strapped to the back of a truck yelling at passers by through a megaphone to ‘Pull Yourselves Together.’

http://dailylifeltd.co.uk/about-us/people/daily-life-ltd-team/bobby-baker/

Bobby Baker

One day I admired my technique while peeling carrots. I was spending a great deal of my time doing mundane tasks and decided that an international satellite link should be set up where my live actions would be beamed around the world to crowds of cheering spectators. The next best thing was to open my kitchen to the public and display a set of live actions. This toured and was shown on Australian TV – I was mobbed thereafter in the street with people saying they’d taken to hurling pears around and felt “Bloody marvellous, thank you, Bobby.”

She takes such care to enjoy little things!

http://youtu.be/RIbzhmljz_k

Ethelburga Tower: At home in a high-rise

Geffrye Museum Exhibition

Photographs by Mark Cowper 

Taken from the same position within the same room (usually the living room) in 46 flats, this series of photographs provides a life-affirming view into one of the ways we live now – cheek by jowl, but often quite isolated from one another, trying to create spaces which celebrate our tastes and individuality. Indeed, the photographs show a wealth of approaches to home-making and decoration, even when contained in the same architectural shell.

http://www.geffrye-museum.org.uk/aboutus/press/releases/ethelburga-tower/

Let's Talk About Boundaries - Tim Bano

"Paradoxically, theatregoing may be personal but it is rarely solitary. There are usually lots of other people in an audience, and the individual can feed off the atmosphere that all those other people create – and so can the performers."

"The actual, real world – all that green and grey stuff outside your window (which is another rectangle, unless you live on a boat) – isn’t rectangular. It’s 3D, and you don’t even have to wear plastic glasses. So, in a theatre or any kind of performance space our eyes are free to wander and to take in a complete consideration of the surroundings."

http://www.thespace.org/news/view/bac-scratch-tim-bano-second

The Character of Stefan Zweig

The discrepancy between people's facades and their inner existance.

http://vimeo.com/89710851

Graylingwell Heritage Project

Rachel Johnston - tutor of a friend of mine at Chichester Uni has done several projects with communities and the third sector. including this, Art in Mind and Arts4Dementia.

http://www.graylingwellheritage.co.uk/creative-and-arts

Davina Drummond

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On Friday 13th April, the unluckiness day of all, artist Davina Drummond invited families to come and be daring and indulge in several bad luck superstitions. She transformed the venue Komedia, Brighton into a shrine of bad luck activities with a creative and mischievous twist.

http://www.davinadrummond.co.uk/Break-the-Spell

Our group ideas for pieces of art inspired by our processes, practitioners and materials

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Class brainstorms 11th Sept

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'Crocodile Scars' - National Geographic

Lars Krutak - Tattoo Anthropologist

FT article: 'Es Devlin’s designs for (cultural) life'

Telegraph article: 'Portrait of an artist: Es Devlin, Olympic Ceremonies set designer'

Thoughts on Es Delvin

Es Delvin works with big names and creates spectacles almost like present-day tempoprary cathedrals to a demi-god. She brings the audience together at a significant moment and is part of creating the significance.

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esdelvin.com

http://www.modernshadows.com/

Moving on by James, viseo directed by Ainslie Henderson

Life/ death

I have been thinking about how string is associated with a life span and cutting it with dieing - this is what happens in Greek myths. I love this music video by Ainslie Henderson for the band James called 'Moving On'. it is about life and death and time slipping away. It is sooooo sad but I think if there was nothing moving in life happy or dad then it woudl be quite boring!

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Illustration inspiration

The Grand Budapest Hotel (from the film by Wes Anderson)

http://a-m-p-e-r-s-a-n-d.tumblr.com/post/95555223954

Illustration inspiration

Anthony Gormley - human beings, and their environment

Simon Lewandowski, 100 Things With Handles

Jan Harlan producer of Eyes Wide Shut: "It is much better to leave the end of 2001 and the whole story in fact as it stands, unexplained, as a bow to the unknowable."

notes

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Milgram Obedience Experiment - "In the early 60s to the early 70s a group of social scientists coducted a series of experiments examining the nature of human behavior and it's relationship to social conventions and situations"

Joseph Cornell - 'Setting for a Fairytale'

What I love most about this is how the viewer is invited to become part of it by adding their own story, the reflective surface at the back emphasised this dynamic ability.

http://www.guggenheim.org/new-york/collections/collection-online/artwork/903

Laura Owen - Untitled, 2000, acrylic and oil on canvas, 11 x 144"

"Owens makes very large paintings of subjects that, generally speaking, are enjoyable and engaging for her audience. Sometimes they are painted for particular places. An example is a large landscape of rolling hills painted for the Inverleith House, Royal Botanic Gardens in Edinburgh, Scotland, in 2000.

Sometimes Owens’s paintings are in parts, with the intention that space will be left between them. Two large paintings of monkeys exhibited in London in 1999 are an example. "

Owen uses lots of different painting techniques in one painting.

http://owenslaura.com/piece/so86/?e=65

Hans Haake - Condensation Cube

The Audience creates the piece - it responds to their presence

http://www.macba.cat/en/condensation-cube-1523

Post Secret

www.postsecret.com

Post Secret is where people post in a post card with their secret written on it. It's a kind of voyeurism and also confessions.

 

http://i.huffpost.com/gen/2278118/thumbs/n-POSTSECRET8-570.jpg

Bregenz Festival 2001 Andre Chenier

Echo - Susie MacMurray 2006

Echo - a sight-specific intervention.

Hairnets were chosen for their delicate nature and their metaphorical connection to the human body. The violin bow hair was chosen because of its former role in the intense and emotive human experience of making music.

In Susie’s words:

“Echo is a response to York St Mary’s as a kind of vessel for the traces of profound contemplation, sound, memory, history and human faith.”

http://www.yorkstmarys.org.uk/wp-content/uploads/sites/3/2014/05/Echo4-hires.jpg

Prayers at the Wailing Wall

I love the idea that things and places can get heavy and layered with significance so they become something completely new.

I found this strange website where you can pay someone to put a prayer in the wailing wall in Jerusalem for you! Is the significance still there? Or has mass production of sorts lessened the impact of this action?

http://www.fiverr.com/golan74/put-a-note-in-the-western-wall-with-your-private-messageprayer

Know Your Place, Series 2 Episode 1

Tom Dyckhoff, writer about architecture, looks at the world we inhabit through the lens of design.

He examines how the design of the built environment can influence who we are and who we might become. 

http://www.bbc.co.uk/programmes/b04p84h8

'The Maybe' Cornelia Parker and Tilda Swinton

I GOT UP- On Kawara

Considered the most personal and intimate of his works, I GOT UP I GOT UPis part of a continuous piece produced by On Kawara between 1968 and 1979 in which each day the artist sent two different friends or colleagues a picture postcard, each stamped with the exact time he arose that day and the addresses of both sender and recipient. The length of each correspondence ranged from a single card to hundreds sent consecutively over a period of months; the gesture's repetitive nature is counterbalanced by the artist's peripatetic global wanderings and exceedingly irregular hours (in 1973 alone he sent postcards from twenty-eight cities). Moreover, Kawara's postcards do not record his waking up but his "getting up," with its ambiguous conflation of carnal and existential (as opposed to not getting up) implications.

Contrasted with the random temporal shifts conveyed in the text messages are the diverse images of Manhattan featured on the postcard fronts, which accumulate over the piece's forty-seven day duration into an unexpectedly quasi-cinematic aerial tour of the city—circling around the United Nations (and inside the General Assembly), down the East River along the waterfront to New York Harbor and the Statue of Liberty, and finally roaming around Federal Plaza at street level before coming to rest at City Hall. Like the newspaper pages that line the special cases housing each date painting, these found images juxtapose the infinite variety and quotidian reality of the public world with the elliptical, self-reflexive messages on the back. The sequence also extracts a drifting urban poetry from the mass-produced and anonymous, layering it conceptually over the banal, functional postal route of the objects themselves, as well as reintroducing a formal design to a work that is at first glance anticompositional.

With tremendous economy of means and a surprising visual elegance, Kawara creates a complex meditation on time, existence, and the relationship between art and life.

http://www.metmuseum.org/toah/works-of-art/2001.228a-pp

Marina Abramovic 'Rhythm 0' 1974

Designing for The Grand Budapest Hotel - Creative Review

The 18th Century at the V&A

Jans Haaning - Arabic Joke

I heard about Jens Haaning while reading Relational Aesthetics by Nicolas Bourriaud:

"When Jens Haaning broadcasts funny stories in Turkish  through a loudspeaker in a Copenhagen square (Turkish Jokes, 1994), he produces in that split second a micro-community, one made up of immigrants brought together by collective laughter which upsets their excile situation, formed in relation to the work and in it." P 17

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http://www.creativetime.org/programs/archive/2006/whocares/projects_haaning.html

Behind the Shadows: understanding a Wayang performance

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Behind the Shadows: understanding a Wayang performance

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Behind the Shadows: understanding a Wayang performance

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Behind the Shadows: understanding a Wayang performance

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Behind the Shadows: understanding a Wayang performance

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Behind the Shadows: understanding a Wayang performance

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notes from Behind the Shadows: understanding a Wayang performance

by Helen Pausacker

Indonesian Arts Society

1996

(more or less) 

"The lakon (plots or stories) for Wayang performances are derived from Mahabharata and Ramayan [Hindu] epics, though some charachters are thought to be Javan in origin."

More recenty adaptations have involved thier use by the government to tell people of contemporary events and ideas. 

I also thought it was facinating how some of the demon charicters' charicteristics are thought to be based on Dutch colonial people (fiery hair and wotnot). p 29

Finally, electrical lights are now often used rather than oil lamps, this effecgts the aesthetics, it becomes less spirital and more akin to cinema. p34-35

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Indonesian Contemporary Art and Cultural Festival - 18th October

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Kumi Yamashita

LIGHT & SHADOW

Kumi Yamashita - "I sculpt using light and shadow. I construct single or multiple objects and place them in relation to a single light source. The complete artwork is therefore comprised of both the material (the solid objects) and the immaterial (the light or shadow)."

http://www.kumiyamashita.com/light-and-shadow/

Holy wounds

Jesus, Mary and John outside St Augustine's Church Queensgate. In this crucifix you can clearly see the cut into Jesus side, this is a symbol of death and sacrifice that brings new life all over the world.
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Candle making and meditation

Church candles

"a candle is a symbol that our prayers are alive, an they produce energy... as i say the prayer i light the candle and even though i walk away the candle continues to burn"

http://www.fotoeloadasok.hu/wp-content/uploads/2013/10/candles-1024x790.jpg

Ainslie Henderson

“It is 2014, I’m on the phone to Tim and he is describing how they came to write this song, and what the words mean to him.The story he tells me is deeply moving; one thing that stayed with me is his describing death as a birth. Some days later this conversation echoes around my mind while I’m listening to ‘moving on’ I walk past a typical Scottish woollen knitwear shop. My eyes flit over a ball of wool in the window while the word ‘unwinding’ is sung. Pretty quickly I’m leaving a garbled, over excited message on Tim’s phone about the music video I have in my head."

http://www.wearejames.com/blog/2014/05/06/tim-on-the-making-of-the-video-for-moving-on/

A few examples of illustration that I LOVE!

From Cradle to Grave - in the British museum

Cradle to Grave by Pharmacopoeia

2003

Cradle to Grave explores our approach to health in Britain today. The piece incorporates a lifetime supply of prescribed drugs knitted into two lengths of fabric, illustrating the medical stories of one woman and one man.

Each length contains over 14,000 drugs, the estimated average prescribed to every person in Britain in their lifetime. This does not include pills we might buy over the counter, which would require about 40,000 pills each.

Some of the treatments are common to both: each starts at birth with an injection of vitamin K and immunizations, and both take antibiotics and painkillers at various times. Other treatments are more specific. The woman takes contraceptive pills, and hormone replacement therapy in middle age. The man has asthma and hay fever when young, but enjoys good health until his fifties. He finally stops smoking after a bad chest infection when he is seventy. He is treated for high blood pressure for the last ten years of his life and has a heart attack and dies of a stroke in his seventies. He takes as many pills in the last ten years of his life as in the first sixty-six.

Cradle to Grave also contains family photographs and other personal objects and documents. The captions, written by the owners, trace typical events in people's lives. These show that maintaining a sense of well-being is more complex than just treating episodes of illness.

Pharmacopoeia are Susie Freeman, Dr Liz Lee and David Critchley.

http://www.britishmuseum.org/explore/highlights/highlight_objects/aoa/c/cradle_to_grave.aspx

'Bed' - Anthony Gormley

With Bed the artist returned to the theme of a sleeping place, this time using a double mirror-image representation of his recumbent body, delineated in the hollows eaten out of layers of sliced white bread. Gormley used 8640 slices of Mother's Pride bread (minus those he ate in making the negative spaces), which he dried and dipped in paraffin wax before stacking and layering them to produce the final form. The volume of the artist's body is represented by empty space, the contours of which are defined by a surrounding environment composed of bread. Referring to the inevitable destruction (or evaporation) of matter through consumption and digestion (solid to liquid to air), this work also suggests the body's ability to transform it into spirit. Gormley had a strict Catholic upbringing, both from his father's family (Catholic Irish) and the Benedictine boarding school he attended. Bedsuggests the Catholic ritual of consuming the body and spirit of Christ, dually symbolised by bread, through the taking of the sacrament. The pose of the absent and supposedly sleeping figure, arms folded on the chest, replicates the traditional pose of the dead carved on mediaeval tombs. The growth of mould on the bread illustrates the life-death-life cycle literally: as one substance decays, another organism is able to take life. Bed, the usual location for conception, birth and death, becomes the ground for the transformative processes of life itself.

http://www.tate.org.uk/art/images/work/T/T06/T06984_10.jpg

Félix González-Torres (American, 1957–1996). "Untitled" (Portrait of Ross in L.A.), 1991.

Even as a minimalist, Félix González-Torres also had a whimsical, humanistic side that showed the influence of pop art on his installations. In this “portrait” of his deceased partner, Ross Laycock, González-Torres created a spill of candies that approximated Ross’s weight (175 lbs.) when he was healthy. Viewers are invited to take away a candy until the mound gradually disappears; it is then replenished, and the cycle of life and death continues. While González-Torres wanted the viewer/participant to partake of the sweetness of his own relationship with Ross, the candy spill also works as an act of communion. More darkly, the steadily diminishing pile of cheerfully wrapped candies shows the dissolution of the gay community, as society ignored the AIDS epidemic. In the moment that the candy dissolves in the viewer’s mouth, the participant also receives a shock of recognition at his or her complicity in Ross’s demise.

http://www.brooklynmuseum.org/exhibitions/hide_seek/gonzalez_torres.php

Gerhard Richter - 'Betty'

He chose to paint his daughter Betty in a photorealistic style, based on a photo of her lookng over her shoulder to one of his paintings.

Betty was brought up in West Germany whereas Richter was brought up in East - Soviet ruled - Germany. The country is very conscious of it's own history, including the atrocities that have been committed in the name of the German people. In this picture the new generation is looking back and perhaps learning from this experience, as now is done in German Schools and public places, though she is looking to a faded grey back ground perhaps symbolising that the past needn't be the soul definer of the future. 

http://www.gerhard-richter.com/en/art/paintings/photo-paintings/children-52/betty-7668

Germany: Memories of a Nation (BBC Radio 4)

Kaori Homma

I like how her work is often about the idea of transience, the impermanence of the here and now.

http://www.kaorihomma.co.uk/meridian

Artist research - John Stezaker’s

John Stezaker’s work re-examines the various relationships to the photographic image: as documentation of truth, purveyor of memory, and symbol of modern culture. In his collages, Stezaker appropriates images found in books, magazines, and postcards and uses them as ‘readymades’. Through his elegant juxtapositions, Stezaker adopts the content and contexts of the original images to convey his own witty and poignant meanings. 

'Visitation'

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'Old Mask IV'

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http://www.saatchigallery.com/artists/john_stezaker.htm

The stage on Lake Constance at the Bregenz Festival

This is amazing and Hilarious!

Cuddle parties!/ cafes / services

inspired by 'The Snuggery' http://www.thesnuggery.org/index.html

"Jacqueline established The Snuggery because she believes in the healing power of touch. The Snuggery is a place to take a break from the hustle and bustle of life and focus on the simple restorative pleasure of touch. Though science has unquestionably supported the psychological and physical benefits of non-sexual touch, Americans distinctly lack it. It's time for change. At The Snuggery, Jacqueline provides individuals with private snuggling sessions. She aims to make the world a gentler place, one snuggle at a time."

http://www.torontosun.com/2013/04/09/popular-cuddle-services-have-a-wide-appeal-to-canadian-consumers

The Nutcracker and the Mouse King - The Unicorn Theatre

Tea in film - Sight and Sound Magazine

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Rhiannon Armstrong

THE INTERNATIONAL ARCHIVE OF THINGS LEFT UNSAID

Charlie Chaplin - The Pawn Shop

Doris Salecedo

Picture: Unland: audible in the mouth 1998

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Her work is profoundly affected by the unsettled political situation in her country. Her sculpture is made in response to testimony from friends and relatives of victims killed during her lifetime and often takes the form of reconfigured pieces of household furniture. Her Casa Viuda VI (1995; Jerusalem, Israel Mus.) consists of a cabinet fused with bone and clothing and forcibly attached to an unhinged door as an image of a widow's house. Transforming objects that should be familiar and comforting into things of horror, Salcedo draws attention to the grisly facts that underpin everyday existence in her society.

http://www.tate.org.uk/art/artists/doris-salcedo-2695

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