Wednesday, 30 November 2011
Do not strive to be a modern artist: it's the one thing unfortunately you can't help being. (Salvador Dali)
I think what Dali is trying to say here is that no matter if we want to be or not we cannot help but be influences and reacted to previous art works and artistic movements we are exposed to new influences and contexts all the time weather we understand them o
r not is irrelevant our mined make up some kind of opinion on the matter and therefor we consider it in our work even at a sub conches level and also the fact that work we reacted in the present is modern in comparison to any past works.
1. a literary, musical, or artistic piece consisting wholly or chiefly of motifs or techniques borrowed from one or more sources.2. an incongruous combination of materials, forms, motifs, etc., taken from different sources; hodgepodge.
In the art world a pastiche is when an artist imitates a work or an element of another’s work and uses it
in there own weather it be subject, material, technique or artist sys
This is apparent in Banksys version of Claude Monet’s bridge he has created the original sense in the original brush style but added shopping trolleys and traffic cones a sight commonly seen in rivers and streams today, baksy is a street artist with strong
political views by choosing to using Monet’s image a scene we all know and associate with calm peaceful and tranquil imagery it amplifies his massage.
This work is also a Pastiche using the famous image of Leonardo da Vinci’s M
onalisa only not recreation the image in the more traditional medias of paint or p
encil this work was created using COFFEE! This work took eight artists three hours to create usi
ng only tea and coffee at various different strength to create different colours
Pastiche not to be confused with parody with imitates works in a sinister way or to produce humours results or thou these line can sometimes become blurred for example the Simpsons parody of Arnold Schwarzenegger characters in the form of “mcbain” as some would argue that yes the Simpsons are “taking the mickey” by being recognises by such a popular and long running show and to have been parodied could also be considered an honour in itself and therefore become a pastiche of Arnold Schwarzenegger’s work .
British art show Peninsula
Wolfgang Tillman’s Truth StudyThis work consists of 8 glass tops wooden benches each different in heights and size all was a selection of various newspaper cutting, leaflets, posters, photographs, internet print offs, extracts from scientific journals, lottery tickets, restaurant menus, brochures and much, much more
At first glance this piece is just a random selection of different topics ranging from space and time to religion and crime, current trends, drugs, nature all a big mish mash of topics and things of hight intrest today.Sins childhood Tillman has collected scrap books of subjects that currently concern him and I think this is the case here I think the artist is trying to communicate some of the insanity and contradictions of todays modern world, in this work he brings together so many issues facing todays people highlighting today attitudes to things such a world hunger depicting desperately malnourished children in third world country’s placed next to Malteaser wrappers with highlighted calorie counts while another ridicules a weight loose advert directed at women who are already of a healthy size but then go on to promote the new fad of size zero, these storm contrast really made me think about where my priority’s are. the tables also has an article outlining the Vatican views on homosexuality lying new to reports of young teenage boys being put to dead through hanging for crimes against Sharia law in Iran, I’m not shore where’s Tillman’s piece is passive or aggressive, weather it is simply informing you of the worlds injustices or weather it is trying to invoke a strong reaction there is such a wide range of topics covered that the meaning to anyone person will be completely different to another based on the personal and political views.
Monday, 28 November 2011
When we were asked to find a quote on Post Modernism, I found it quite hard because there were so many different opinions. Some people like it and some people really criticise it. So, I chose to look at this quote because for me, it sums up the negative outlook on Post-Modernism.
This quote is taken from Andreas Huyssen in 'The Post-Modern Reader' by Charles Jencks (1992).
"There are good reasons why any attempt to take the postmodern seriously...meets with...resistance. It is indeed tempting to dismiss many of the current manifestations of postmodernism as a fraud perpetrated on a gullible public by the...art market in which reputations are built and gobbled up faster than painters can paint"
Whilst I was reading this quote, I made these notes on what I thought Huyssen was talking about:
- mass production, consumerism, money and fame
- is there a loss of relationship between artist and their work?
- many manifestations - can art really be anything? there seems to be no true definitions of art anymore because so many people interpret it in different ways
- is art Now appreciated like it was before Post-Modernism?
- some of the art can't be taken seriously - is it a joke?
- Post Modernism makes art simple, easy and more accessible to everyone - not everyone can paint like Rembrandt but everyone can turn a toilet upside down and sign it like Duchamp.
Friday, 25 November 2011
Kruger uses black and white images and often red text in much of her work. The text in her work in the 1980s included phrases such as 'Your comfort is my silence' 1981, 'I shop therefore I am' 1987, 'You invest in the divinity of the masterpiece' 1982. The concept behind her work is to question the viewer on feminism, consumerism, desire and classicism, however the very source she obtains the images from are the 'mainstream' magazines which promote everything which she is challenging. Her concept involves robbing the associations we make as a society and using that as central to the irony and questioning she puts across as a challenge to the viewer.
Barbara Kruger states, 'I work with pictures and words because they have the ability to determine who we are and who we aren't.' This quote from Kruger is a good example of how her ideas fit in with that of the postmodernist movement, postmodernism was about questioning the social constructs of the world and challenged the use of such classifications such as 'male vs female,' 'black vs white' and 'straight vs gay.' It was a reaction to society and its constraints, its new found consumerism, technology and its priorities, Kruger herself is reacting to these things within her work. As a conceptual artist her work is very much about the 'big ideas' but in my opinion she not only has a meaningful, challenging concept behind her work, it is also visually successful as a piece of art. I did not choose to write about one piece of her work specifically but to instead, look into how her ideas fit into the concept of postmodernism.
Since the 1990s Kruger has gone on to create large scale 'immersive' video and audio installations; this work continues her questioning of power, control, affection and contempt.
Wednesday, 23 November 2011
Where the sense of place is subtle and creepy. Creepy as is ‘it creeps’.
It is something unique to the home and to the people who live there. They are places of particular time/space significance and very mutable places all the same – at least in my case there is rarely a room that has just one function or specific kind of ‘memory’ attached to it. Even hallways constantly change to suit the occupants. Mess or tidy? In or out? A good place for phone calls and quiet nothings. The sense creeps in with the artful and incidental arrangement of things, the space they occupy and the space that they don’t.
A tacit knowledge of the home seems to surface when a new something is to be introduced into a person room of how things just should be that is not entirely removed from the passively absorbed orientation that allows you to cross the room with the lights off avoiding all the mess and protruding furniture without fear. There is an emotional sense that haunts hallways and stairs especially, bathrooms and other unobserved places that allow for a passing and intense privacy, allowing things to linger in secret, quite distinct from the communal spirit of kitchens and living rooms.
It is these variety that make up the entire spirit of ‘home’; the small spaces that you hid in and the large ones we meet in, their relationship to each other and their overlapping uses as escape routes. That these places are used makes them. They are made differently for every perspective. It would be odd to try to pin such an elusive concept securely down.
So…what makes my home my “place”? What make a home a home?
With regard to these questions, initially my thoughts were what elements constitute a home – a kitchen, living-room, bathroom and bedroom? But is this really what makes a home a home?
Thinking about my own home environment, my answer to this question would be my family, how we interact and where we congregate – the living-room. My living-room seems to have several functions and qualities i.e. a play space – toys scattered over the floor, a sentimental place – photos of loved ones, a working space – paperwork haphazardly piled up on shelves or just a place for noisily arguing over the remote control. But strangely, this set of elements seems to disappear on the arrival of visitors and what is “real” is hidden by the illusion of how I wish my home to be perceived – tidy, organized and quiet – an ideal. This of course is a fake representation of my home’s sense of place and this is perhaps because I wish to portray the “perfect” family home-life to others or maybe its simply just down to pride (even if said visitors are close friends or extended family, which seems ridiculous).
Another ridiculous place I find myself in, is the conservatory. Why is this ridiculous? The conservatory was a major selling point for the property – an additional living-space, a luxury where I could see myself relaxing with a glass of wine, watching the world go by. I even bought myself a ridiculously large sofa at a ridiculous price specifically for the conservatory. However, the joke was on me because 3yrs down the line, I have probably sat on that godforsaken sofa a handful of times! This ideological place has turned into a non-place, a fake place and has been reduced to place for clothes waiting to be ironed – sometimes hanging from the crosstrainer (another useless purchase with an alternative function – but “hey look at me – I’m into exercise”…unfortunately another falsity!) Why is this? I’ve no idea, maybe because of its cold environment – white venetian blinds for walls, or perhaps the large glass sliding doors, which cut off the nucleus of the home, the living-room.
And yet, here I find myself again, portraying an ideal “sense of place” to visiting friends…“hey, why don’t we go and chill out in the conservatory with a bottle of wine, play some music and smoke a fag”. Why do I put on this showy display? My home's "sense of place" in truth, is a lived-in space which unfortunately causes embarrassment to my insecure nature and my ideas of what is expected of me. Shallow? Phony?...me? Probably!
In my house, the main living room is of great importance to me, in that I see it as a place to relax at the end of the day, but in order for me to relax every thing has to be in it's place with some semblance of order. I see clutter as a distraction to whatever I choose to do in order to relax, whether I'm watching the TV, reading a book or playing my guitar.
Belongings displayed within the living area tend to give clues to my interests as an individual, for example my guitar proudly displayed on its stand. Also two water colour paintings, framed and displayed on the wall for all to see, they show friends and family my progress with art, almost as a validation for my decision to return to education
The kitchen, although smaller than the living room, often tends to be the main area in the house where friends and family congregate, but this is mostly because it's the only room in the house where we allow people to smoke.
The way each space in the house is governed by functionality and a set of rules. many of which help to maintain some order in what I feel would otherwise be a more chaotic, slightly overcrowded living space.
The house is surrounded by walls which provide boundaries and a feeling of safety, keeping unwanted elements out and children and family pets in. Nearby parks are important places for me as my yard is very small and I miss having a garden.
The location of my house is in a relatively quiet street across the road from a school, which all of my children have attended. The local post office no longer exists and shops in the area seem to be constantly changing (a sign of the times). Interestingly there is no pub on the entire estate due to a condition set out by Lady Astor when she handed the estate over to the local council. The estate is within walking distance of the city centre, but just far enough away from all the noise and hustle and bustle.
The city is filled with non-places, the voids between A and B. For example, when you park your car in the multi story car park you take the stairs to the nearest shop.
There is a huge walkway in the shopping mall which is used mainly to cut through from one street to another with no stopping off in the shops that occupy that space.
There are places that feel safe when occupied during the day, but become quite unnerving at night as the underbelly of our society starts to occupy the same space. ie the bus station, the benches, the alleys between the main streets and the entrance areas to pubs and clubs.
In this example by Stefan Segmeister, over 300,000 coins were laid out in a public area in Amsterdam. The experiment was to see if the public would interact with the finished piece of art once the protective barriers were removed. would the coins be stolen? would the piece be changed in anyway? Or would any of the coins be turned over to reveal their bright blue painted underside?
Sunday, 20 November 2011
Wednesday, 16 November 2011
|Spiral Jetty, Robert Smithson, 1970|
Post-Modernism and Roy Lichtenstein:
Post-modernism is a philosophical movement created in reaction to the Modernist movement (Late 19th – early 20th century) and occurred straight after it, (Late 20th and early 21st centuries). It focuses on the role of language, power roles in genders and motivations in the formation of ideas and beliefs. It particularly emphasises and attacks the use of classifications such as; black versus white, gay versus straight and male versus female. Postmodernism recycles past styles and themes in a modern-day context, as well as the break-up of the barrier between fine and high arts and low art and popular culture.
One of the artists that were involved in this particular movement and the sub-movement of ‘pop-art’ was the artist Roy Lichtenstein, Who focused on using the popular art to show parodies of life, his favoured style being that of an old fashioned comic strip. He produced clean-cut, hard edged, precise work, detailing as well as presenting itself in a humorous manner. Both the popular advertising of time mixed with the rising popularity of comic books inspired Lichtenstein.
Lichtenstein used oil and magna paint for his best works, such as drowning girl (1963), and feature bold lines and the famous ‘Ben-day’ styled dots, to create the illusion that his works were in fact merely photographic copies.
“Abstract Expressionists put things down on the canvas and responded to what they had done, to the colour positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock's or Kline's." – Roy Lichtenstein
There was a lot of controversy about some of the pieces Lichtenstein produced as some of them were, even so altered; replicas of panels of comic books, many critiques questioned his originality, but Lichtenstein commented that he never tried to replicate the piece fully and the subject of his pieces were more focused about how the mass media production portrayed and “cleaned up” artists work.
- Kimmelman, M. (1997). Roy Lichtenstein Dies Aged 73: New York Times Archives - http://www.nytimes.com/1997/09/30/arts/roy-lichtenstein-pop-master-dies-at-73.html
- Coplans, J. (1972). Roy Lichtenstein. Interviews, p55, 30, 31.
- Bernard, A. (1986), “BOMB Magazine” - http://bombsite.com/issues/14/articles/726
- Little, S. (2004). …isms: understanding art. P130 – 141.