Week 6- Anish Kapoor Sculpture Anish Kapoor

THURSDAY, AUGUST 23, 2012

Week 6- Anish Kapoor Sculpture

Anish Kapoor

Cloud Gate (2004), Millennium Park, Chicago

Celebrated for his gigantic, stainless steel Cloud Gate sculpture in Chicago’s Millennium Park, Anish Kapoor is changing the cultural environment with his public works.

1.Research Kapoor's work in order to discuss whether it is conceptual art or not. Explain your answer, using a definition of conceptual art.

conceptual art

n.

Art that is intended to convey an idea or concept to the perceiver and need not involve the creation or appreciation of a traditional art object such as a painting or sculpture.

The American Heritage® Dictionary of the English Language, Fourth Edition copyright ©2000 by Houghton Mifflin Company. Updated in 2009. Published by Houghton Mifflin Company. All rights reserved.

When asked in an interview with CNN what his work meant, and who it was meant for; Anish Kapoor replied by saying: "It's useless, it's for no one!". Kapoor's work has been described as "sterile" by art critic Jonathan Jones saying that "it leaves nothing for the imagination.... It's this absence of effort from the viewer, of doing any work, that makes looking at Kapoor so sterile."

In my opinion Kapoor's work is conceptual because it is what it is. Its mechanical with no evidence of process to show the making of the work. As viewers we don't have to 'think' and build up our own ideas as to what it means. 

2. Research 3 quite different works by Kapoor from countries outside New Zealand to discuss the ideas behind the work. Include images of each work on your blog.

Leviathan' by anish kapoor grand palais, paris

A video of an interview with Kapoor about the Leviathan:

The 'Leviathan' is found in Paris in a grand cathedral it is this great red balloon like structure in which viewers enter into. Kapoor wanted to created the feeling of being swallowed by this large sea monster. On the outside viewer get to walk underneath the "labyrinth" to experience the space between the sculpture and the ground. He also deals with the idea of this monster that is massive and cannot control itself. Kapoors 'Leviathan' also touches on the state of mind that all humans have, the fragility and vulnerability of or thoughts.  

Anish Kapoor- Sky Mirror

A video of the Sky Mirror in Rockefeller Center

2. Anish Kapoor's Sky Mirror was exhibited in New York's Rockefeller center. Kapoor's sculptures are left to run wild in the viewer imagination, his sky mirror is large scale and makes the viewer feel as though they are in another realm, it makes you forget that you are in this big busy city. It engulfs you draws you in. It reminds me of the story of Snow White and her evil stepmother who like into the mirror and talked to it. Once again Kapoor plays with our psychological state.

Anish Kapoor's Recycled Steel Arcelor Mittal Orbit Tower Provides Views of London's Olympic Park

This tower was built as a observatory for the London Olympics stadium the magnificent structure is taller than the Eiffel tower.

Discuss the large scale 'site specific' work that has been installed on a private site in New Zealand.

This particular work by Kapoor is called 'Dismemberment' and it can be found on the Gibbs Farm in Kaipara Bay. The Farm is owned by a wealthy entrepreneur he bought the farm, having in mind the potential of making a place for a sculpture collection. "The Farm" feature works by many famous sculpture artists.

4. Where is the Kapoor's work in New Zealand? What are its form and materials? What are the ideas behind the work?

Kapoor's work can be found in Kaipara Bay, north of Auckland, New Zealand. It is made from fabric and steel, Kapoor has used PVC coated polyester fabric manufactured by Ferarri. Both openings are made up of ellipses when horizontal and the other vertical. The vertical ellipse shows the view of the beautiful Kaipara Habour on the other side the horizontal ellipse feature the rolling hills. 

This piece was inspired by the Greek myth about Marsyas who played the flute better than Apollo, this made Apollo very angry he flayed Marsyas. The red fabric used in Kapoor's "Disememberment" is like skin and symbolises Marsyas' skin. 

5. Comment on which work by Kapoor is your favourite, and explain why. Are you personally attracted more by the ideas or the aesthetics of the work?

Personally I was intrigued by the Leviathan the most. I'm just amazed by the whole structure and the experience that it gives you on the outside as well as on the inside. It would just be breathtaking to be there and actually being able to stand  underneath the giant 'beast'. It also taps into the psychological aspect of the human mind, which I find fascinating.  

http://fabricarchitecturemag.com/articles/0110_sk_sculpture.html

http://www.criticalmob.com/culture/more/anish_kapoor

http://www.youtube.com/watch?v=12Ni0c4D27Y

http://www.telegraph.co.uk/culture/art/art-reviews/8506594/Anish-Kapoor-Leviathan-Monumenta-2011-Grand-PalaisParis-review.html

http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2009/sep/14/anish-kapoor-art

Posted by

Jonathan Jones

Monday 14 September 2009 12.25 BSTguardian.co.uk

http://articles.cnn.com/2010-05-17/world/anish.kapoor.interview_1_cnn-sculpture-and-architecture-anish-kapoor?_s=PM:WORLD

www.royalacademy.org.uk › 

http://www.robgarrettcfa.com/thefarm.htm

http://www.billslater.com/cloudgate/ 

Dismemberment of Jeanne d’Arc- 

Old Municipal Market Building Brighton

Week 5 - Pluralism and the Treat of Waitangi

WEDNESDAY, AUGUST 15, 2012

Week 5 - Pluralism and the Treat of Waitangi

Pluralism and the Treaty of Waitangi

In teaching week 5 you will discuss pluralism and the Treaty of Waitangi in your tutorials.
Use this discussion, the notes in your ALVC book and the internet to respond to the following
questions;

1. Define the term 'pluralism' using APA referencing.

pluralism - The doctrine that numerous distinct ethnic, religious, and cultural groups should and do coexist, and that no single group is superior to others. This is very similar to multiculturalism. The opposite is particularism.
>>> http://www.artlex.com/ArtLex/Pin.html

"Pluralism in art refers to the nature of artforms and artists as diverse. The cultural context of art is all encompassing in its respect for the art of the world's cultures. Inclusion of individuals of differing ethnicities, genders, ideologies, abilities, ages, religions, econimic status and educational levels in valued. Pluralism honours differences within and between equitable groups while seeing their commonalities." (Caldwell 1999)

2. How would you describe New Zealand's current dominant culture?
New Zealand is a multicultural society,  there is a mix of many different cultures. We have all intergrated very well generally people are very excepting of individual cultures. To me there is no clear dominant culture in New Zealand, however I think the Kiwi culture is still slightly dominant. Many immigrants have come here and settled and their children adopt the New Zealand culture and therefore become a kiwi. From perosnal experience; my family is from Singapore and we moved to New Zealand when I was nine years old. I feel like I'm a kiwi.

3. Before 1840, what was New Zealand's dominant culture?

Before the 1840's New Zealand's dominant culture was the Maori culture. Before the 1840s to 1970s the main source of immigrants were the British. 


4. How does the Treaty of Waitangi relate to us all as artists and designers working
in New Zealand?

Many young artists and designers have taken the abstraction from European art and mix it with Maori art which is geometric and symbolic. The techniques used by young designers often derive from European art, however the themes and motif reflect the Maori belief system. The result of this is hybridity in their art. 

I think the Treaty of Waitangi has influenced us as designers and our art in a good way, beacuse we see the mix of two very different styles of art come together and create exciting and modern art. European art is more abstract and 'secular' on the other hand Maori art has quite a lot of symbolism with the use of patterns and geometric shapes. As artist we use these different elements in our work which helps to build a diversity n our art.

5. How can globalization be seen as having a negative effect on 'regional diversity' that leads to a 'homogenized world culture' in New Zealand in particular? (ALVC2 handbook page 52, http://searchcio.techtarget.com/definition/globalization)

In my opinion globalization might be viewed as having a negative effect because various culture a no longer clearly defined. Strong cultural roots are watered down, and all cultures begin to merge into one; which therefore leads to homogenized world culture. 

In New Zealand we experienced world culture because of all the different races that we have in our society there is no clear line between cultures. This is a shame because people loose their "roots".

6. Shane Cotton's paintings are said to examine the cultural landscape. Research Cotton's work 'Welcome'(2004) and 'Three quarter view ' (2005) to analyze what he is saying about colonialization and the Treaty of Waitangi.

Shane Cottons painting examines New Zealand bi-cultural landscape. Cotton focuses on the Maori moko face tattoo in his paintings. In the 'Three quarter view' the man depicted in the painting is off European descent his name is Bernett Burns, he had spent a lot of time with the Maori people in fact he lived among them in the 1830's; which led him to get the traditional Maori moko. There are also targets, a sparrow and a goldfinch in the painting, the goldfinch symbolises Christianity. 

In 'Welcome' Cotton deals with a similar idea where he has faces of Maori men and juxtaposes it with the symbol of an goldfinch and sparrow. Again he shows the bi-cultural New Zealand landscape with his subject matters.

Both of his paintings show the complexity between Christianity, colonialism and contemporary culture. His painting analyses the idea of the Western and Maori culture integrating together.

Here is a informative video about Cotton's 'Three quarter view':

 

'Welcome' (2004) Shane Cotton 

http://www.printsandprintmaking.gov.au/catalogues/work/52293/shane-cotton-welcome.aspx

  

'Three Quarter view'(2005) Shane Cotton

http://artsearch.nga.gov.au/Detail-LRG.cfm?IRN=149998 

http://www.nbr.co.nz/article/shane-cotton-paintings-examine-cultural-landscape-126412

7. Tony Albert's installation 'Sorry' (2008) reflect the effects of colonization on the aboriginal people of Australia. Research the work and comment on what Albert is communicating through his work, and what he is referring to. Describe the materials that Albert uses on this installation and say what he hopes his work can achieve.

Albert is trying to communicate through his work the history behind the relationship between the Aboriginal people and Australian's. He uses faces of Aboriginal people on plaques and attaches these within the word 'Sorry'. I see this piece as sort of a commemoration of the Aboriginal people who had injustices done to them in the past. However now the issues have been resolved and an apology has been issued as illustrated in big letters SORRY. To me this pieces has a piece and calm to it, it draws a conclusion the things that have happened in the past; it marks a new beginning.

 A short video featuring Tony Albert:

8. Define the term 'kitsch'.

kitsch [kɪtʃ]

n

a.  tawdry, vulgarized, or pretentious art, literature, etc., usually with popular or sentimental appeal

http://www.thefreedictionary.com/kitsch

9. Explain how the work of both artists relates to pluralism.

Both Cotton and Albert's work relates to pluralism because they deal with the  mixing of cultures, and the complexity of our society today. They show the unity between different ethnicities and cultures and how in our day they are able to co exist. Their work shows the progress that has been made between the relationship between native people and western people.

                                       Tony Albert | Australia b.1981 | Girramay people | Sorry 2008 |

                                               Found kitsch objects applied  to vinyl letters | 99 objects :    

                                               200 x 510 x 10cm (installed) | The James C Sourris Collection.

                                               Purchased 2008 with funds from James C Sourris through the 

                                               Queensland Art Gallery Foundation | Collection: Queensland Art Gallery

                             

www.youtube.com/watch?v=6afMy0rlqq8

http://qag.qld.gov.au/collection/indigenous_australian_art/tony_albert
http://www.realartroadshow.co.nz/essays/Cotton%20Shane_Kenesis-Kotahi%20Ki%20Kotahi.pdf
http://www.thearts.co.nz/artist_page.php&aid=24&type=video&video_id=118

THURSDAY, AUGUST 2, 2012

Week 4 - Kehinde Wiley and inter-textuality

Week 4 - Kehinde Wiley and inter-textuality

Kehinde Wiley

1. Untitled (2009)

2. Untitled(2009)

3. Kehinde Wiley Count Potocki, 2008 oil on canvas, 274.3 x 274.3cm

4. Kehinde Wiley Support Army and Look after People, 2007 oil on canvas, 258.4 x 227.3cm

Kehinde Wiley is a Gay American based painter born in Los Angeles, who has an international reputation. Wiley lives and practices between Beijing and Brooklyn.


This weeks ALVC class focuses on the Postmodern theme "INTERTEXTUALITY", re-read Extract 1 The death of the author on page 44 of your ALVC books and respond to the oil paintings of Kehinde Wiley.

1. Find a clear definition of Intertextuality and quote it accurately on your blog using the APA referencing system. Use your own words to explain the definition more thoroughly.

• "Intertextuality seems such a useful term because it foregrounds notions of relationality, interconnectedness and interdependence in modern cultural life. In the Postmodern epoch, theorists often claim, it is not possible any longer to speak of originality or the uniqueness of the artistic object, be it a painting or novel, since every artistic object is so clearly assembled from bits and pieces of already existent art."
  (Graham Allen, Intertextuality. Routledge, 2000)
• " No- one today - even for the first time - can read a famous novel or poem, look at a famous painting, drawing or sculpture, listen to a famous piece of music or watch a famous play or film without being conscious of the contexts in which the test had been reproduced, drawn upon, alluded to, parodied and so on... The concept of intertextuality reminds us that each text exists in relation the others". (Foucault1974,23)

2. Research Wiley's work and write a paragraph that analyzes how we might make sense of his work. Identify intertextuality in Wiley's work.

Wiley's potraits are of African American men, they have hip hop street style. His portraits are a fusion of modern culture with the olden day French Rococo and Renaissance paitnings. He mixes his portraits with famous ones for example Ice T sitting on a horse reminds us of the famous portrait of Napolean the ruler crossing St.Bernard Pass. Wiley aims to take African American men and depict them in a more uplifting light, he breaks down the stereotype and misconception that people associate with African American men. In his backgrounds he used baroque and rococo patterns mixing in European culture. His portraits are very intertexual because he takes the modern hip hop world and the olden day european world and fuses them together. He manages to make two things that are so opposite from each other harmonious.

To me Wiley is trying to say that these modern day African American deserve respect too, just like rulers like Napolean who got people to paint portraits of him to show his prominence and power. These modern day men are also accomplished and deserve recognition.

3. Wiley's work relates to next weeks Postmodern theme "PLURALISM" . Read page 51 and discuss how the work relates to this theme.

During modernity the visual culture of European people; usually male who had middle class status was highly venerated, and prioritized in art galleries. The other forms of visual culture left were historical or ethnic. There was a shift in the West towards post modernism, art critics were more interested in contemporary visual culture from other social groups; this shift if known as Pluralism. 

Wiley's work evidently relates to Pluralism because he is mixing elements from the most well known painting from the European world, with the culture of African American people. In his paintings they are the main subject, his art works are contemporary and mixes cultural identities. This is how Pluralism is seen in his work.

4. Comment on how Wiley's work raises questions around social/cultural hierarchies , colonisation, globalisation, stereotypes and the politics which govern a western worldview.

Wiley's work questions social hierarchies because, he depicts modern African American men in so called high or well respected positions. He does so by taking elements from European paintings done by old masters he replaces rulers like Napolean with hip hop styled black men.

In my opinion he is challenging the stereo typical western world view; which is that white people are more superior and any 'important' or 'upper class' people are white. Wiley challenges this idea by placing African American men in these important positions. There is no reason why they can't be just as important, successful or respected, he switches the hierarchy of the white and black race. He work also raises questions about globalization; which is the idea that the whole world would be equal and opportunities for growth would be the same throughout the earth. This is clearly seen in his paintings because he is showing his viewers that it is an equal playing field for both the white and black people, both races are have the potential, one is not greater than the other.
  5. Add some reflective comments of your own, which may add more information that
you have read during your research.

I've thoroughly enjoyed researching the works of Kehinde Wiley. I like the message he conveys in his paintings and also how he challenges the issues of cultural hierarchies, globalisation, stereotypes and so forth. He's paintings are not only have impact aesthetically, but also emotionally. It really makes the viewer think, personally I find to very refreshing and liberating because it shows how much the world has improved and moved forward we are breaking free from stereo types, and also cultural hierarchies.  I like the way in which he does this he uses bold colours and renders his subjects in a lively manner, so although he is addressing some serious issues he does it in a light hearted and non over bearing way.

http://www.interviewmagazine.com/art/kehinde-wiley/#/_http://www.npg.si.edu/exhibit/recognize/paintings.html
http://www.cretique.com/archives/4012
http://www.deitch.com/artists/sub.php?artistId=11
http://www.thinkcontra.com/kehinde-wiley-on-current/

Week 3- Hussein Chalayan and Post-Modern Fashion

THURSDAY, JULY 26, 2012

Week 3- Hussein Chalayan and Post-Modern Fashion

Hussein Chalayan

Chalayan is an artist and designer, working in film, dress and installation art. Research Chalayan’s work, and then consider these questions in some thoughtful reflective writing.

1. Chalayan’s works in clothing, like Afterwords (2000) and Burka (1996) , are often challenging to both the viewer and the wearer. What are your personal responses to these works? Are Afterwords and Burkafashion, or are they art? What is the difference?

Not all clothing is fashion, so what makes fashion fashion? (Research some definitions  for these terms.)

In my opinion Hussien Chalayan's 'Burka' and 'Afterwords' are works of fashion. Both pieces have so much meaning and significance behind them and that is what fashion is about, its not just about the functionality or practicality of a garment that makes it fashion. In Chalayan's 'Burka' he addresses the issue of modesty and they different degrees of modesty, how far is too far? 'Afterwords' was inspired by refugees and their story of leaving home and not being able to have possesions. Chalayan transforms furniture into garments which makes it so poignant that refugees have to literally leave with just the clothes on their backs.

I like these two quotes I found about what fashion really is:

"It has the power to transform an image and make a social statement".

"To some fashion is an art form to others its almost a religion''.

Hussein Chalayan, Burka (1996) (99

6

                                                                 Hussein Chalayan, Afterwords, 2000

2. Chalayan has strong links to industry. Pieces like The Level Tunnel (2006) and Repose (2006) are made in collaboration with, and paid for by, commercial business; in these cases, a vodka company and a crystal manufacturer. How does this impact on the nature of Chalayan’s work? Does the meaning of art change when it is used to sell products? Is it still art?

'Level Tunnel' is a huge art installation it is 15m long and 5m high, the expirience is from the inside of the tunnel where the viewer would go in blindfolded. The viewer is able to hear the sound of a flute which is actually sounds being played by a vodka bottle.

There is also a breeze and scent of lemon and cedar running through. The person is also fitted with a heart monitor where their heartbeat would be projected on the exterior of the tunnel for people on the outside to view.

Repose is an installation of the nose of an aeroplane and the wing of it which is decorated with swarovski elements lit up by LEDS it moves up and down slowly and gracefully The installation looks clean and sophisticated. With smooth lines and the main colours being white and blue, it gives the feeling of movement and stillness.

For me personally the meaning of art certainly does not change although it is paid for by a commercial business. Both the 'Level Tunnel' and 'Repose' have such beauty to them, they dont have that cold austere feel Chalayan is able to connect with his audience by using sight and sound. In my eyes both pieces are still pieces of art.

3. Chalayan’s film Absent Presence screened at the 2005 Venice Biennale. It features the process of caring for worn clothes, and retrieving and analysing the traces of the wearer, in the form of DNA. This work has been influenced by many different art movements; can you think of some, and in what ways they might have inspired Chalayan’s approach?

"Absent presence" is about identity and hydridity which are both characteristics of the art movement Post Modernism. He deals with idea such as multiculturalism, immigration and identity. The short film is about the recovery of lost woman from history, by the use of genetics and anthropology. It can also be seen as having scientific ideas so it could be linked with enlightenment ideas relating to science; that it has all the answers.

by m

Hussein Chalayan, still from Absent Presence, 2005 (motion picture)

4. Many of Chalayan’s pieces are physically designed and constructed by someone else; for example, sculptor Lone Sigurdsson made some works from Chalayan’s Echoform (1999) and Before Minus Now(2000) fashion ranges. In fashion design this is standard practice, but in art it remains unexpected. Work by artists such as Jackson Pollock hold their value in the fact that he personally made the painting. Contrastingly, Andy Warhol’s pop art was largely produced in a New York collective called The Factory, and many of his silk-screened works were produced by assistants. Contemporarily, Damien Hirst doesn’t personally build his vitrines or preserve the sharks himself. So when and why is it important that the artist personally made the piece?

I think it is important for an artist to make a piece personally when it is a painting such as Jackson Pollocks works. Its very personal and expressive with the paint dappled on in a very thoughtful manner. The artist really gets up close and its all hands on. Not to say that Chalayans collections are not as expressive or personal, however he definetly would have needed the help of people from other industries to pull of his idea of having this dress that was remote operated, it can be transformed and moved. To me they are both considered art but it really just depends on what processes are required to achieve the final idea.

Im just thinking of how this relates to me personally. For example at the moment Im doing an art installation of the studio brief, in which I got help from the technicians at the 3D lab to help me with certain processes that own my own I would not have been able to accomplish. The end result of that doesn't mean that because I've had help from other people; therefore it is not art. Rather it was essential for me to get that aid to achieve my end result. 

References:

http://www.dezeen.com/2009/01/27/dezeen-podcast-hussein-chalayan-at-the-design-museum/

http://arttattler.com/designhusseinchalayan.html

http://fashion.about.com/cs/historycostumes/a/whatisfashion.htm

http://usedmagazine.co.uk/?p=1542

http://www.designboom.com/weblog/cat/10/view/2858/level-tunnel-installation-by-hussein-chalayan.html

trespassingjournal.com/Issue1/TPJ_I1_Aksel_Article.pdf

http://www.euppublishing.com/doi/abs/10.3366/drt.2012.0030

http://www.husseinchalayan.com/#/home/

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

http://www.husseinchalayan.com/blog/