Art & Audience - Brook Andrew

'Art and audience’ can discuss a number of different movements or techniques in art, and the great variety of ways the audience can react to or change an artwork. Interactive artworks, however, seem the easier way to involve the audience, so that they become an vital part of the work itself.

One work that I had intended to see, (and am now very disappointed that I missed it) was The Cell, by Brook Andrew. I am seriously annoyed that I missed that. Just look at the links. It would have been so good. This work is essentially a jumping castle. It combines art, a jumping castle and exploration. You can never top that.
Apparently the work deals with ideas of cultural identity and consumerism. I don’t need to know that to catch my interest. I just need to know it’s an inflatable rectangle you are allowed the climb in. Although this doesn’t help convey my knowledge of art, I think it appeals to a study of human nature and engaging the audience. Would you say no to climbing into the cell?
For people who do not usually take an interest in art, there may be a number of reactions. Would it attract their attention and cause them to consider the artist’s intention? Would they consider it just another one of those weird things the crazy artists do? Would it not matter what the work meant, it would just become an experience to enjoy?
This choice of material is in opposition to the title of the work. Being a cell, a container for people, who for whatever reason must be kept away from other people, this work should discourage participants from entering. However people are attracted to exploring new spaces, jumping castles and bright colours. This may show that curiosity and a desire for new experiences can overpower misgivings. This may show that the power placed on certain phrases or words, and our associations that guide our choices are illogical. This may just be an experience where the audience can become the author in a space cut off from reality.

Some links have information. Some have pictures. Enjoy.
http://www.nelsonmeersfoundation.org.au/case-studies/SHERMAN-CONTEMPORARY-ART-FOUNDATION-BROOK-ANDREWS-THE-CELL
http://www.sydneydesign.com.au/2010/index.php/exhibitions/brook-andrew-the-cell
http://manexus.ning.com/events/brook-andrew-the-cell
http://www.abc.net.au/rn/artworks/galleries/2010/2948335/image2.htm

Art & Politics - Van Thanh Rudd

Van Thanh Rudd is an Australian political artist (Melbourne-based), who works within different media, including painting, graffiti and other public works.

Kevin Rudd has a political artist nephew. Who knew?
He is very much against the Labor party, which is to be expected when you are related to someone high up in the system.

Used Car Part From Afghanistan, 2009 is a work consisting of part of a tyre on a plinth, with associated text. It is part of a car that had been targeted by missiles in 2009.This work is clearly bringing a relic of war into the gallery space. I believe this work is directed at the audience to awaken them. I use the term ‘relic’ because that is how it appears. It is torn, blackened and has lost its purpose. It looks old, and is placed in the way a museum may place an ancient and interesting artefact. It is easy to imagine uncovering a piece like this after a famous battle. However, this was part of a family car, and it had been in one working piece up until last year. This work focuses in on a single object, representing one car belonging to a family. This work is reminding the viewer of the problem of civilians caught in a war zone. We are in a position where we are not in danger from our soldiers or the people they are fighting, so it is easy to not think about it.

Another work - if it is a work - that interested me was Rudd’s decision to run against Julia Gillard. It is an election campaign which aims to be a genuine, but is also an attempt to further blur the lines between art and life. To be quite honest, I’m not sure how it is any different from any other member of a party running for a seat somewhere.

Here is an art critic (Mark Holsworth) writing about it.
Part one:
http://melbourneartcritic.wordpress.com/2010/07/23/van-rudd-vs-julia-gillard/
part two:
http://melbourneartcritic.wordpress.com/2010/08/13/political-junkies/
Used Car Part:
http://www.abc.net.au/news/stories/2009/10/05/2705160.htm
Video for Used Car Part:
http://www.youtube.com/watch?v=28LuVRKSVBY

Mio I-zawa update :)

In case anyone was interested, here is another recent organic machine from the artist I presented on in first semester, Mio I-zawa. It is an umbilical cord iphone charger.
Check out the video.

http://pinktentacle.com/2010/10/video-squirming-umbilical-iphone-cable/

Art & its Institutions - Kate Ericson and Mel Ziegler

MoMA Whites (1990)

I found these artists in Art & Today, which talked about two works that really interested me. MoMA Whites (1990) and Signature Piece (1988).
for MoMA Whites the artists uncovered the various specific shades of white used in the Museum of Modern Art, which they displayed in jars labelled with the names. They found that some shades of white were chosen by curators specifically, while others were a typical industrial shade.
Signature Piece are silk-screened signatures of industrial creators, displayed near their creations. The names help re-establish that this creation was born in the mind of an individual, that it hasn't always been a part of the arhcitecture of the space.


These works both interest me because of the choice to highlight something which has become overlooked. It is often easy to ignore the skill that has gone into constructing a background. The museum space is focused on what is added to the space, despite the care that goes into creating the museum environment. These artists have made the space itself the focus of their art, and draw the audience into considering what went into creating this backdrop.
These works are also aeshetically pleasing. They are simple in construction, but represent great effort on the part of the artists to research and uncover these names.
I think these works leads on well from Art & Architecture.



An image of Signature Piece can be found in Art & Today

Summary Art & Globalism - Yukinori Yanagi

Banzai Corner1991
90.0×240.0×240.0cmplastic toy(x approx.380 pieces) and mirror

EC Flag Ant Farm 1992
32.0x48.0cm(x13 pieces)ants, colored sand, plastic boxes, plastic tubes and plastic pipes

Yukinori Yanagi is a Japanese installation artist. He was born in 1959 in Fukuoka, Japan. He has displayed work in numerous countries including Japan, but most often in the US, where he lives. In 2006 he displayed work at the Art Gallery of NSW. Yanagi creates works that explore Japanese culture, politics and international relations. It is through a focus on Japan that globalism can be explored in the works by this artist.

Most of Yanagi’s works have a similar fell to them. They are critical of ideas and events in Japanese history and recent relations, but retain a sense of hope for the future.I felt it required research into Japanese history to better understand his artworks. In studying globalism this is probably required for most artists from foreign countries. I needed to expand my basic knowledge of Japanese history and understand emblems or in the case of Banzai Corner, the term ‘banzai’ and what it represents. Without this knowledge I found his work interesting, but I struggled to critically analyse it. As it is, I doubt my ability to fully comprehend these works as I might if I were Japanese, or if I had a greater understanding of the nuances of Japanese culture.

One of the features that drew me to this artist was his use of ants in a number of his works. I have included images of more than one of these works, but will only describe one in the presentation. It has, I believe a strong relation to mimicking group relations, relevant to this topic. The use of live animals interested me as it is usually an ethical point for many works, but in the case of this artist this could not be argued, because the ants were treated the same as they would be for study purposes in other fields.



Eleanor Heartney, Art and Today, Art and Globalism
New York, Phaidon Press, (2008)

http://www.artfacts.net/en/artist/yukinori-yanagi-12627/profile.html#Biography


http://www.iniva.org/dare/themes/space/yanagi.html


http://www.yanagistudio.net/home.html


Karin Higa, Some Thoughts on National and Cultural Identity: Art by Contemporary Japanese and Japanese American Artists, Art Journal Vol.55, No.3, pp. 6-13 College Art association. http://www.jstor.org/stable/777760

Patrick Burns, Into the Atomic Sunshine Exhibition, Shift online magazine
http://www.shift.jp.org/en/archives/2008/02/into_the_atomic_sunshine_exhibition.html


http://www.article9society.org/pp-08.pdf



http://japanese.about.com/library/weekly/aa060300.htm

Art and Architecture: Glow

This is the Glow Longue from GLOW: Forum of Light in Art and Architecture, an event in the Netherlands. I liked this piece, the bizarre, uneven, slightly squeezed bubble, just sitting amongst the trees. It almost resembles of snow globe, with the tiny city inside, and the light show makes it look alive. The interactivity made it even better, a fully immersive piece.
From the perspective inside it looks like much more of an enclosed atmospheren than you'd expect in a solid architectural structure, because of the need to keep it closed to ensure the bubble stays inflated. Also because of the flexible, translucent walls. With a house, you look for a door or window to escape, a balloon you need to burst out of.
Fun times by the look of it.

http://www.raumlabor.net/?p=1282

Wolfgang Laib: Returning to What Is (overview)

This interview discusses with Laib his views on his practice, the art world and how he is viewed by his audiences. Laib appears to have a bold character, in that he is unafraid to refute comments made by others about his work, and although he believes he may be seen as naive, he does not waver in his opinion to satisfy others. The interview focuses mainly on his works; what his influences are and what the final pieces mean to him. He discusses how his works are often mistaken, or have ideas read into them that he would not necessarily apply, such as ideas of spirituality and nature as concept and comparisons to painting in style.

Laib maintains that his work is very indicative of himself. He states clearly that the work stems from his personal experiences; his previous work, his home, his physical space. (“My life is my work.”) He stated that studying medicine he had the same drive as now when creating art. He is confident in his abilities, and believes that art, including his own, has the ability to change the world. This suggests that his art, although set firmly in its personal origins, is very much directed to others for their ability of insight to then direct themselves.

Laib states that he prefers his works to be viewed in a gallery space, as they most often are. This appears to be due to a desire to obtain a neutral space. Explaining his choice of materials he refers to his purpose, to show the material as it is, without placement in its usual space. His practice involves isolating the material from its regular environment to allow a greater understanding of the material itself. As a social, cultural or spiritual reading, this seclusion from the restraints of the usual view opens up new interpretations on the nature of the material, why and what it is. Regardless of what it is meant to be, what might it actually have the potential to be?

A question during this interview uses the term ‘austerity’, which can be defined as severity. This could be viewed in his work, particularly in the strict, repetitive processes involved in the creation and exhibition of the final piece. The pollen is collected meticulously over a long period of time. The milkstones must be emptied of milk, cleaned and filled again for each viewing.A word frequently used by Laib in this interview is challenge. He refers to the challenge of himself as a creator, the challenge of other views of life and the challenge to change the world with his work. His work therefore seems to be about achievement. As a human being he is challenged every day and responds with a complex artistic practice centred on embracing life.

Art & Spirituality - Podger and Gyatso

I had initially thought to mention the works by Gonkar Gyatso, after seeing the two displayed at the MCA for the sydney biennale. Then I remembered that the artworks should relate to a sculptural practice. I'm mentioning his works anyway because I just enjoyed them so much. He creates large collages using a wide variety of stickers, and ink. As a Tibetan contemporary artist it is unsurprising that his work deals with the complex issues regarding politics and religion in a globalised world.
I really admire his works. That have that wonderful layering effect that makes you see the larger picture, then think again when you reealise what its made up of. In this case, made from the brightly coloured stickers of pop culture icons, animals, religious symbols and various seemingly random selections.
I'd reccommend giving his work a look.
http://www.bos17.com/biennale/artist/46

However, for sculptural spirituality I have observed the 2008 artwork(s) for sculpture by the sea by Kath Podger (who apparently is a member of the National Spiritual Assembly of Australia). Her works are entitled Revelation II–Transformation, Revelation II–Evolution and
Revelation II-Strata. These are tower sculptures of porcelain, standing among the wind and water-weathered rocks at Bondi.
It creates a beautiful image. The porcelain pieces look like shards of broken shells, and so seem very much in sync with the environment. The space itself, although untouched by human endeavours is so prefectly shaped it could almost have been created by people.
She has read a religious meaning/metaphor into this environment that is reflected in her work.
"As time passes, religion's golden veins are made known, like the new layers of rock exposed after thousands of years.." Podger said of the work.
She is a believer in the Bahá’í Faith. I'm having trouble finding what they believe.
http://www.zimbio.com/pictures/7_ZCnoPkLxf/2008+Sculpture+Sea+Launches+Sydney/tbBr9txbgAX/Kath+Podger
^nice pictures.
http://www.bahai.org.au/scripts/WebObjects.exe/BNO.woa/wa/pages?page=news_and_media/recent_news/sculptor.html
^info on the work

Presentation - Globalisation

For people doing Art and Globalisation, I've picked Yukinori Yanagi.
Just to let you know so we don't overlap.
Thanks :)

Art and Identity: Ani O'Neill

O'Neill works within installation and performance as well as other mediums. Most of her work draws on her Pacific Islander heritage. She uses the traditional craft skills; a lot of her works are largely made up of woven objects. In her art she focuses on her personal identity within a culture, and the issues that are tied to that connection.

Personally I enjoy the simplicity of her works and her use of colour.
There is something about woven items that brings to mind the time and care needed to create it. It brings a human touch to an object, which is harder to find in obviously mass-produced items.

http://www.tautaipacific.com/ani-o-neill/
http://www.pacificartsalliance.com/artists/cook-islands/ani-oneill
http://www.teara.govt.nz/en/cook-islanders/3

Art and the Body: Jessica Harrison

This UK artist has a series of furniture pieces which have the appearance of being sculpted from human skin. Her facination is with the ability of the human body to percieve experiences through the senses; touch, sight, taste, etc. She says that these both facilitate and interrupt our understanding of the world. She observes the human body as a tool with these functions, and explores our ability to have a sense of self within this body of complex processes.
Check the links for pics and info.

http://www.jessicaharrison.co.uk/page12.htm
http://www.edinburghsculpture.org/artist.aspx?artist=Jessica+Harrison

...As an interesting side story, at the The School of Anatomy and Human Biology at the University of Western Australia, a group of scientists have developed a tiny coat made of living tissue (skin). This coat was created as an "art form to illuminate our human conduct with other living systems.
"... by de-constructing our cultural meaning of clothes as a second skin through art, we raise questions about our exploitation of other living beings.”
It is a single piece, without seams, made from immortalised living cells.
It is known as Vitctimless Leather.

http://www.environmentalgraffiti.com/featured/clothes-that-grow-from-living-human-tissue/3162