Monday, June 7, 2010
Simryn Gil: Art & Representation
Xu Bing: Art & Time
A book from the sky, 1987-91 - Woodblock print, wood, leather, ivory - The Kenneth and Yasuko Myer Collectiom of Contemporary Asian Art.Sunday, June 6, 2010
Annotated Bibliography - Rona Pondick
Art & Today, Eleanor Heartney, New York, Phaidon Press, 2008
art and deformation of the body



1994Top of the sculpture work from organic elements: bone pen-latex ..
Pour s'imprégner de la "logique du vivant To soak up the "logic of living
This Is probably my favourite topic in art and today because my absolutely favorite artist is all about deformation of the body through performance, painting and sculptures. .Oliver De Sagazan. his works are horrific and unsettling, his painting and sculptures show array of death and torture to the body making it become deformed from that process. as seen in images above.
in his performances he shows the transfer of ‘forms’ between the "body of the artist and the work of art"
transfiguration 2009:
http://www.youtube.com/watch?v=-ljqvg7xaxc&feature=related
a perfomance of his from 2008
http://www.youtube.com/watch?v=6gYBXRwsDjY&playnext_from=TL&videos=2IRHuwQIAIE
art and nature and technology


Mark Dion believes that his art is to go against the norm of art in the sense that is isn't to satisfy the public and make us as the audience happy bu instead to challenge our perception. By appropriating archeological and scientific methods of collecting, ordering and exhibiting. His works question the rational and the irrational methods of science. he shows this through his style of how he works and presents in a very museum like display way. as seen in works like perfectly in (above images) where he mixing nature with man science.
"His desire to heighten our awareness is called for by the entropy of contemporary life. Presenting fragments of the local (past and present) as pointers to a whole that is absent, Dion offers the balance exemplified by natural systems as the tool with which to dig our way out of the holes in which we are entrenched." (quote from http://bombsite.com/issues/85/articles/2586)
catch up, representation
Jeff Wall deals with art and representation and also the nature of reality and illusion with art and life, fro the mundane life of suburbia to the 19th century style of historical painting. This can bee seen in his work dead troops talk (2002) where we see men from war from about the 19 century relaxing and conversing and only on closer inspection can we see that they are actually dead. His photographs are theatrical and very 'realistic' in a sense they look like they are a real war photographs but actually is just a recreated scene in a studio with actors that have all been photograph separately and then layered on the image. his style is very documentary and representational of they grizzly and grose side of the war and the violence among man and our destructiveness energy.
Saturday, June 5, 2010
Art and Deformation: Rohan Wealleans

Art and Abstarction: Dale Frank

Bieanlle trip. Marcus Coates.

Friday, June 4, 2010
art and biennale
I was interested in Louise Bourgeois's works (although I didn't know they were hers at the time). These were a series of bronze and steel statues, although they looked more like concrete to me because of how they were painted. They were jumpers, stretched out. They were standing vertically upright, very long and thin.
For my biennale visit, I didn't want to be reading all the time, so I haven't read into the narrative behind these works (which seem to be present in her other works). However, I was drawn to these works because of the contrast of the materials used and the representational form. As clothing, we immediately have an expectation of texture. We are expecting softness, and something flexible, able to drape or be pulled.
This is in direct contrast with the medium of this artwork. Bronze represents an unbending, lasting strength, devoid of comfort. It is generally associated with its common use in ancient societies. This may have been the reason she has used this material. The lasting qualities of the material over time (ancient bronze items still exist today) and the lasting quality of the ancient society itself over time, may parallel her meaning. Her works are entitled 'echo', and are apparently casts of her old clothing. The concept of capturing time or preserving personal history may be central to these works.
I found the representation interesting, particularly because the items were stretched. This felt as if the tension of the item was trapped within the heavy material of the sculptures.
www.dedeceblog.com/2010/05/24/biennale-of-sydney-2010-louise-bourgeois/
Thursday, June 3, 2010
art and biennale -Liu Jianhua

art and deformation - nathan sawaya


Art and Deformation
Deformation: [mass noun] the action or process of deforming or distorting. • the result of a distorting process: the deformation will be temporary. • [count noun] an altered form of a word, especially one used to avoid overt profanity (e.g. dang for damn ).
Oxford reference online, (2010), http://www.oxfordreference.com.ezproxy1.library.usyd.edu.au/views/SEARCH_RESULTS.html?q=deformation&ssid=21871522&scope=global&time=0.149995565504895, (accessed June 4 2010)
deform - To distort or change form.
Artlex, (2010) http://www.artlex.com/, (accessed June 4 2010)
to deform or destort means to change, or alter, however does this mean that all art is deformed?
I would say quite possibly. When duchamp created his fountain in 1917, he distorted a pre concieved idea. The definition of deformation has endless possibilites, with almost anything and everything is able to be categorised under the topic. If the object, shape form is not deformed then maybe the concept behind it is. We are so regually taught to question things, to not trust everything we hear or say. But have we ever thought that by doing this, there will never be a clear definition of a word or concept. Is it really deformation or is he/she saying it is? Does deformation exsist, if everything has the ability to be looked at as if it has been deformed.
Annotated Bibliography: Art and Deformation



Edited by Frances Morris. Louise Bourgeois, London: Tate Publishing, 2007
This book titles Louise Bourgeois is a edited by Frances Morris and published in 2007 by Tate Publishing. It mainly consists of a glossary of writings, some produced by Bourgeois, and her art and a short explanation or analysis of each piece of work. It also contains many short essays written by critics interested in her works, such as “Feminism: Is she or isn't she.” It is easy to read through and contains many high quality images of her artwork. It is well referenced and would recommend this book for people interested in her work.
Heartney, Eleanor. Art And Today, London: Phaidon, 2008
This book would be considered scholarly because the author Eleanor Heartney is a respected cultural critic, an Art in American editor and also a lecturer. The text begins by discussing how our ways of thinking have changed, in terms of deformation and the idealized body like Michelangelo's David. It also outlines the possible causes of this change and the political influence on this theme. It descibes terms often used when talking about deformation in contemporary art such as grotesque and carnivalesque and then lists many artists associated with deformation, giving a little description of each artist. I found this article to be very easy to read and helpful because it gives a good overview for this topic. I would recommend this text as a starting point for anyone interested in deformation. It is well referenced and includes high quality images.
Kay Larson. Women by a Woman http://books.google.com.au/books?id=0ucCAAAAMBAJ&pg=PA74&dq=Louise+Bourgeois&as_brr=1&cd=1#v=onepage&q=Louise%20Bourgeois&f=false Retrieved 30 June, 2010
This is a magazine article from New York magazine and talkes specifically about her as a feminist artist, and her Quarantrania work. It also gives a biography on her life and how the effects of her childhood has influenced her works. It is quite easy to understand and would recommend this to people interested in feminism and how she relates to it.
Gallery Visit Blog Posting:Kate Murphy
The lyrics was very personal, the name and events that happened in her life, that she tries to remember. The interesting about this performance was that the audience was faced with back side of the performer, as if she already disappeared from the world. Most of the songs were about her lover, family, friends and her life experiences. For some reason I just can’t forget the title of the song ‘suicide’ such a strong word that I almost can imagine someones death. Not the word that I'd like to hear at all. The other works that was displayed on the wall, the pieces of notes/composed music with the lyrics. It kinda creates the contrast
between two art medium. One with words and note without any sound, other with no words to read but hear the sound.
I'm not sure whether she intended to created different effect of using two medium. I was personally more interested in Kate Murphy's works rather than Jonathan Jones. Because I enjoyed sitting down in front of the video installation and listening to the woman singing (Interested with Opera type musics~) Overall ,the visit to gallery of both artist were excellent, I was wished that there were few more works to look at.
Art and Deformation

Art&Narrative: Fernando Mastrangelo




I love the work ';Felix,2008-2009', the way Fernando Mastrangelo installed his sculpture. The glass floor the way its being positioned and dark room, it all comes together so well!.
Art&Deformation:Lucy and Bart


Germination Day eight:
Go for goldWednesday, June 2, 2010
Art&Nature:Lee Gil Rae
I really like his work, the way he structured the sculpture in the exhibition space, the images of his works are amazing. The details of the works are interesting. Lee's interest in nature hits a turning point in the combination between the inner vitality of nature and the sensusous shapes of nature.

Old Pine Tree1-Copper welding 262,5 x 116 x 294 cm 2008
Annual ring 1- Copper welding 247 x 247x4cm 2007
art galleries fact sheet
here is something ive come across doing some research for my essay and found it quite interesting/funny. wanted to share it with you guys. happy writing essay :)
- from "arts and culture in australia : a statistical overview, 2008
- Australian Bureau of Statistics
HOW MANY PEOPLE GO TO ART GALLERIES?
The ABS report, Attendance at Selected Cultural Venues and Events, Australia, 2005-06 (cat. no. 4114.0) found that approximately 3.6 million people, or nearly one quarter (23%) of all people in Australia aged 15 years and over, visited art galleries in the 12 months before interview. Most of these people (63%) had visited an art gallery just once or twice in the 12 month period.
According to Children's Participation in Cultural and Leisure Activities, Australia, 2006 (cat. no. 4901.0), 995,200 children visited a museum or art gallery outside of school hours during the 12 months prior to interview in April 2006. The rate of attendance was similar for boys (38%) and girls (36%) and the same for children aged 5 to 8 years and 9 to 11 years (40%). Older children aged 12-14 years were less likely to attend art galleries, with a lower attendance rate of 31%. Data for children's attendance at art galleries alone was not available.
As reported in Museums, Australia, 2003-04 (cat. no. 8560.0), there were 11.5 million admissions to art museums in the 12 months prior to interview, with the majority of these (87%) being free admissions. Admissions to art museums accounted for nearly two fifths (37%) of total admissions for all museums.
It is important to note the difference between the number of visitors as reported by the Attendance publication and the number of visits as reported by Museums, Australia. Attendance at Selected Cultural Venues and Events, Australia, 2005-06 (cat. no. 4114.0) reported that 3.6 million people visited art galleries, while Museums, Australia, 2003-04 (cat. no. 8560.0) reported that there were 11.5 million visits to art museums. These figures are vastly different because the Attendance publication reports on data collected in relation to 'visitors' while Museums, Australia reports on number of 'visits'. For the Attendance publication, data are collected about whether each respondent has visited a selected cultural event or venue in the past 12 months and, if so, how frequently they have visited. Regardless of how many times a respondent has visited a selected cultural venue or event in the 12 month reference period, they are counted as one visitor. This differs from the Museums, Australia publication where a visit can count the same visitor returning numerous times. So, one person visiting art galleries 10 times in 12 months would be counted as one visitor in the Attendance at Selected Cultural Venues and Events publication, but as 10 visits in Museums, Australia.
ARE SOME PEOPLE MORE LIKELY TO VISIT ART GALLERIES THAN OTHERS?
The Cultural Ministers Council Statistics Working Group published a report entitled The Social and Demographic Characteristics of Cultural Attendees in 2006 using data from the ABS' 2002 General Social Survey. This report found that the following characteristics were associated with art gallery attendance:
- Females in every age group except 18-24 year olds were more likely to visit an art gallery than males.
- Likelihood of attending art galleries increased with age, with people aged 45 years and over more likely to visit art galleries than those aged 18-34 years.
- People living in Western Australia, Tasmania, the Northern Territory and the Australian Capital Territory were more likely to visit art galleries than people in New South Wales.- People born in Australia were more likely to visit art galleries than those born in a non-main English speaking country.
- People without children were more likely to visit art galleries than families with dependent children.
- Part-time workers (1-34 hours a week) were more likely to attend art galleries than those who worked full-time (35 hours or more per week).
- People living in areas that were less disadvantaged (according to SEIFA) were more likely to attend art galleries than those living in more disadvantaged areas. However, among those who attended art galleries, people living in the most disadvantaged areas were more likely to attend frequently than those in the middle SEIFA quintile. More information about SEIFA is available from Information Paper: Census of Population and Housing -- Socio-Economic Indexes for Areas, Australia, 2001 (cat. no. 2039.0).
- More highly educated people were more likely to visit art galleries.
- Those who had a computer at home were more likely to visit art galleries.
- People who were able to raise $2,000 for an emergency within a week were more likely to go to art galleries.
- People who felt safe or very safe at home alone after dark were more likely to attend art galleries than those who felt unsafe or very unsafe or who were never home alone after dark.
- People who stated that they were in excellent health were more likely to attend art galleries than those who said they were in poor health.
- People with at least weekly contact with family and friends were more likely to visit art galleries than those who had less frequent contact.
http://abs.gov.au/ausstats/abs@.nsf/featurearticlesbyCatalogue/EC433861A9687905CA2574E9001337FA?OpenDocument#PARALINK8
Another Chapman bros




