PLEASE READ: EXAMPLES OF EXHIBITION REVIEWS

http://www.frieze.com/shows/

Art and Politics

I wanted to put up a post up about 'culture jamming' in response to this weeks topic. Art beyond the gallery and beyond the myth of the capital 'A' Artist. Art that is organic and autonomous.Culture jamming is in my mind a meeting point between art and activism: from messing with billboards, to banner dropping, to flash mobbing, to free parties, to street performance, etc, etc and all the bits in between...

Check out Graffiti Research Lab for some hot tools to get you started ;P

http://graffitiresearchlab.com/

Also, the Billboard Liberation Front and Space Highjackers are deffinitely worth a google if you're interested..

Art and The Body

When I began my research in Art the body I asked myself what attracted me the most and what is art in relation the body to me, then i put the two together and drawed to the conclusion that when it comes to art and the body the most profound artform to me is tattooing and the history of tattoos. Of course there are many histories on tattoos, one that predates back up to 5000 years, and the art itself is evolving and is becoming digital, and is available everywhere and is now on a mainstream and fashionable level. Once in the western world about 50 years or more ago tattoos were only seen on gangs and the roughest of chicks and circus performers, no person in there right mind got one. I remember my dad telling me that he hid his tattoos for a long time, for he got them in the 70's and back in that time it wasn't a social acceptable thing to have; it was shocking in a sense and he went further into boasting how he was one of the first in Australia to do so, though that is probably an exaggeration. But now, to the shock of my father, every man and his dog can have a tattoo, and the significance of tattoos has changed, its become more personal rather than a culture practice.

The significance of tattoos is different in every culture and in every history. All over the world it has been practiced and it can be spiritual, it can be a fad especially in England in 1862 when the Prince of Wales got a Tattoo it was also prevalent in the English Navy, it is something decorative like in Japan with the full body suit; horis- japanese tattoo artists doing there work and once the individual dies the suit that was created on their skin in maintained and preserved, in Egypt it was a ritualistic practice associated with women, it can be seen as a sign of courage in South America and so forth.

Tattoos have changed in application, what was once something of high pain, placing ink through the skin and also different natural ingredients to create colour has become one of an artform just because of the complexities of the practice of tattooing especially since the permancy of the image being on the individuals body, with the advancement of technology it is no as painful as it once was there are a variety of inks/colours to enhance the image and differebnt guns and needle size. What was once an artform with basic techniques has become complex because of the diverse nature and the advancements in tattooing.

I thought i would conclude my brief on tattooing with my own personal experience with Tattoos. I got my first Tattoo when I was 16, and when my Parents found out I was 17 and my father instead of exploding in rage just found it funny. It is a phoenix bird and I extended it further when I was 18.It now covers my whole back, and I designed it myself, it is inspired by my name and the origin of the Phoenix Bird and its birth from the Tree of Knowledge out of a rose. Its not finished but i am lookinh forward to it being :), it is on the bottom and the other three images are of german circus performers found on early 20th century postcards.

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

Art & Politics: Jota Castro

Jota Castro is a Peruvian artist, who lives in Brussels, Belgium, and he has also been a curator. He used to be a diplomat at the United Nations and European Union, and left the career behind in the late 90s to devote in the field of art. His works propagate political activism, and his practice includes photography, sculpture, video and installations.

BBB, Oil Shame (2004).

Mortgage, Dollar Bills, Rope (2009).

I find his works raw, in the sense that it is direct to the point with no articulation or pretention. It must have taken a lot of guts, or he must have been a really frustrated diplomat to change the career altogether, and produce artworks which are politically incorrect. I think art gave him a platform and freedom to voice his opinions, and at the same time make people aware or remind of the politics around the world.

Bibliography:

http://www.jotacastro.eu/

http://dawire.com/2010/04/09/jota-castro/

http://new-art.blogspot.com/2005/05/of-politics-and-art.html

Art & Polotics

WHAT is the value of politics in art? Does political art work and should art be political?

Whilst researching this topic these questions constantly arose in articles and public feedback. One article pointed out that political art was not suited in museums, as it achieved more on the streets or on the web. I’m not certain that I entirely agree with this opinion, but there is a definitely truth to it because in all the feedback I was reading online their was a lot of noise being made in protest and agreement. However despite those interested in the statements being expressed, much feedback is negative and simply question’s ‘is this art’ scrutinising the arts rather than the subject addressed.
Thus bringing me back to the frequented question of whether or not political art works? I think it to be as it always has been; it inspires, influences, aggravates, and is ignored but has difficulty to sway large populations esp. on its own. The arts one of many means that keep society in balance, as is it also an influential measure in political activism. I feel that political art that is displayed online is highly practical due to the accessibility and immediate means for further research.

Here are a few political artists and blogs and sites with extra links for further reading. Hope your keen to be inspired about the problems that address you!
Artworks:
Tight Squeeze Assemlage, John Robertson
Shoot the Taliban out of Afghanistan, John Robertson
State Of Shock, Fletcher Crossman
Guantanemo, Banksy
http://www.socialpoliticalart.com/
http://artthreat.net/
http://www.live5news.com/Global/story.asp?S=12529493
http://montages.blogspot.com/2004/12/new-opium-war.html

Meg, Esther, Elizabeth Cha

A reminder you are all presenting this week.

Thank you to Meg and Elizabeth - for letting me know which artists you have chosen.

Esther can you let me know ASAP.

A.

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/

Plagiarism

You are meant to be presenting your own point of view here on the BLOG.

This means you cannot simply copy what others have written without FULL CREDIT with REFERENCING.


Plagiarism is a serious academic offence.

I won't accept Plagiarism in any form.

Posts which exhibit plagiarised text without correct referencing will not be counted as a weekly comment/contribution.

Art and politics

Tribute in light, 2001 by Julian Laverdiere and Paul Myoda

Digital concept rendering

Tribute in light was a public memorial shown for thirty-two days in memory of 9/11. The temporary installation was showed at the original site of the world trade centres that captured the sorrow an yearning of the new yorkers after the attack. The shafts of light were ctreated by eighty eight searchlights that rose in the night sky, ghost like figures of the towers. The work is beautiful and sad but also a symbol of hope.

Art and institutions

Your supermarket, 2002 by Guillaume Bijl (couldnt find a good image)

guillaume bijl has basically utilised this space to make a common supermarket, there is no real difference between the one you would go to buy your groceries from and this artwork. He uses real food, drinks and houshold products; the only difference between this work and an actual supermarket is here you cant buy anything. i guess this artwork relates to both institutions and globalisation because of our constant exposure to advertisment and our addiction to consumerism whilst also creating this twisted shopping environment where your not allowed to purchase anything. in terms of art and its institutions, to me this is a powerful work commenting on how commercial these institutions or galleries may have become- like a shopping centre where your going to buy your household basics.

Art and globalisation

Who am we?, 2000 by DO-HO SUH

Four-colour offset print on paper, each sheet 24x36 inches

Consist of thousands of tiny faces from the artists high school year book, in rows on large sheets of wallpaper. When the work is viewed from a distance the tiny faces because a blurred mass suggesting the disappearance of the indivdual into a large mass. Many of his works involve this idea of 'masses of people' which strongly relate to this idea of globalisation and becoming so strongly innterconnected that this loss in individuality and perhaps 'voice' may occur.

Art and Politics

New York Post "Special edition"

September 2009

This is a fake issue of the paper that was released by the collective 'Yes Men' and 2000 volunteers at the same time that Secretary-General Ban Ki-Moon was attempting the convince world leaders to reduce carbon emissions in the lead-up to the Copenhagen climate conference in December 2009.

The artists that interfere with politics through their art are interfering with the government status quo and most powerful organizations. Yes Men are a kind of an activist group that do this by creating websites, posing as representatives of corporate entities giving interviews and leaking false information, humiliating these corporations for their wrong doings. They are meticulous in the details and produce accurate facts that make their fake statements seem legitimate, this stirs up controversy and confusion which causes the people being attacked address the issues they are being held accountable for. It's great to see these people not only question political issues but also infiltrate and get involved with the media.

http://theyesmen.org/

Art and Spirituality

Do Ho Suh

Someone Venice Beinnale 2001 Karma 2003

Was born in Seoul Korea 1962. Best known for his intricate sculptures that defy conventional notions of scale and site-specificity, Suh’s work draws attention to the ways viewers occupy and inhabit public space. In several of the artist’s floor sculptures, viewers are encouraged to walk on surfaces composed of thousands of miniature human figures.

Covered by stainless steel metal dog tags Suh has created a sculpture in a human figure. Once looking upon this image the dog tags form together creating a hollow image dress. The back of the sculpture depicts a human figure wearing the dress with no head only yet to realize there is no appearance of a human once approaching the sculpture from the front view. Once approaching the space the spectator has a welcoming essence due to the opening and the scale of the dress.
Exhibited in the centre of the room of the gallery Suh has allowed the viewer to participate within the work and has given the opportunity to approach the work in many directions.

http://www.designboom.com/eng/interview/dohosuh.html

Art and Architecture

Michael Lin

A Modest Veil

Was born in Tokyo and based in Taipei. His installation work A Modest Veil transforms the architecture of the Vancouver art gallery portraying a new image to the public. Due to the vibrant colours he has displayed it has become a new site of engaement. It was exhibited for gathering protest closure of Canada's parliament.

Most of his works are from traditional Tawainese material which he enlarges and displays on architectural sites, building, the exterior and the interior. Michael Lin applies art to various architecture and in doing soon he exhibits his work publicly. His installations works are usually noticable to the public due to the colourful material and patterns being applied and displayed.

His relationship with his works are often personal and uses materials which are traditional representing various cultures. I quite like the concept of Micheal displaying his installation artworks on architectural sites. It allows the public, viewer whoever it may be to observe and examine his art practice. Often we look at various architectural space as just a building, when coming across an installation work as shown above it gradually grabs the attention of the viewer automatically. Michael Lin has given a new appearance and representation to the gallery by simply exhibiting his installation work on the architecture. The public has a distinctive approach to the gallery as one walks by. Lin has not covered the entire front building of the gallery just various parts which the view has not dramatically changed. Yet the installation has changed the appearance of the gallery slighlty.

‘I often spent time in the countryside with my grandfather when I was young. I still remember such textiles being used for bedding as women’s dowry; to me they also mark an age when Taiwan was transferring from handcrafted modes of production to industrial production, from rural to urban.’ (1) The quote explains the significance of the material textile he often portrays in his art practice and how it orginated within his installation works.

www.vanartgallery.bc.ca/theexhibition/exhibitmichaellin.html

http://www.visualarts.qld.gov.au/content/apt2002_standard.asp?name=APT_Artists_Michael_Ming_Hong_Lin

http://mayfairhotelsandresorts.com/details/398-michael-lin-a-modest-veil.html\

Art and Politics - Anselm Kiefer

Anselm Kiefer (born March 8, 1945, Donaueschingen) is a German painter and sculptor. After attending numerous universities which included studying under Joseph Beuys, Kiefer initiated his career with images of himself in the Hitler salute and became astutely political in art. He has involved himself with German history and the horror of the Holocaust and other devastations that have brought him to question the role of art and the artist in the long, ongoing process of reconstruction.

This assessment of the role has led him to create a collective memory and reinvention of a national identity and to reinstate a people into a regenerative process that was guided by a cosmological vision. Kiefer’s work covers a broad range of ideas and looks into mythology, religion, the Kabbalah, literature of great poets and philosophers.

REMINDER

We are meeting at the MCA tomorrow for our Studio Theory Class @ 2pm SHARP.

Wolfgang Laib: Returning to What Is, review

Darren James Jorgenson interview with Wolfgang Laib gives us an insight into the world of the artist and his practice and how his life and past experiences and how they influence him in his work. It also brings to light even though his works have on first appearance a very nature based look tot hem he explains to us the real and true meaning behind his choices of mediums and why he is not as the critics say "nature artist".

Wolfgang Laib is very informant in his answers when talking about his process in his work where we are learn the reasons behind the artist choice material he uses like pollen, milk and beeswax is because to him and pointed out by Jorgernsen that material is already made and been thought this amazing process to get there and then to be used in his works. But instead of placing them in the natural environment Wolfgang takes them out it and and uses it purely for the material its self and placing it in the gallery space turns it into an abstract idea. he tkaes hte nautre out of the material and by doung this removes the "nature artist" from his work. We see through teh interview Liab's commitment to process through the passion in his answers and the way he tlaks of his works and the meaning and influences behind.

From this interview it can be said that Wolfgang's art is his life and that he is a very processed based artist in the way he collects the pollen before he starts the work, they way the milk has to be changed everyday in his works. its all a very slow and time consuming process but which is vital to his works as this interview is to understanding his works and showing the true meaning behind them.
Jorgenson allows Laib to give us this overview and insight into his work and also addresses the topic's that we wouldn't and just a viewer in the gallery wouldn't know.

art and institutions

Pawel Althamer is a sculpture, performance and action artist. he is highly involved with installtion and sculptures. but i won't to focus on one of his early works surrounding people on space.

Althamer has challenged the stereotypical notions of places and and space where he has totally redesigned the gallery space or manipulating the viewers perceptions on it, which was seen in his first solo exhibition call the exhibition where he totally removed and cleaned the place, washed the floors, scraped all the old paint off the walls and placed in the bare minimum but necessary furniture into to building as to refer to the building original 'purpose' which was an apartment which shows the institution as art and how it transform over the years to accommodate to the need of the people who inhabit the area.

in the work below again he change to gallery space into the surrounding you would find in a different type of building. where he transformed the main gallery area in the a waiting room. and cutting a hole in the wall to lead you outside into the gallery garden changes the original use of the place as it would of been used before. and taking away from the idea of the gallery. but more of a waiting room and the exit.


http://www.culture.pl/en/culture/artykuly/os_althamer_pawel#brodno

Art and globalization

Asian field

Anthony Gormely for the past few years ghas been working on projects in different countries that so the idea of globalisation, such as his field projects. the ones seen above are in Asia. and what he does is he collects the clay form local areas. In the process of making this work there were 500 people who volunteered

"My reply is that it's not one artist's work; it's everybody's that made it. The numbers - 180,000 little figures, 25 tonnes of clay, 3500 boxes - all those statistics are justified if you realise it's tackling big issues."

this work adresses a world issue... the growing population as the unborn, our future who will be the possible inheritors of the earth.

the work is meant to close in on the viewer and infect the space around them with all these tiny human like figure with out mouths and only staring eyes

art and spirituality

Ana Mendieta works embody several themes and ideas with in spirituality which tie to pre Columbia/ afro-cuban beliefs and also the body, mainly hers with in space and pushing the boundaries between matter and spirit. This connection with spirit was bought about by her speration from her parents when she was 13 by the American catholic chruch. this then influenced her greatly in her art practice.

Even though her works were shocking to the audience like in her work where she presses different parts of her body on a sheet of glass to distort it in front of an audience to question societies idea of a good figure of a women!

her development of her works were greatly influenced by the exile as well as the intercetion of the Caribbean/ north American cultures later in her last years.





Ana Mendieta's Burial Pyramid- an amazing performance work
http://www.sfmoma.org/multimedia/videos/193