Contents
I like the Crazy Horse one, too, because I love the premise. I like that it’s always actively engaged, so it’s never finished, and you can’t forget it because it’s still in the making. I’ve been living near Vernon Park for six years now, so it’s a neighborhood I know, but there’s always something to unearth. I liked the idea of having to reinvestigate a place I thought I knew.
Christo transgresses the typical purpose of this object, which ultimately characterizes it as a piece of artwork. Hence to to purchase this singularly would repurpose it and therefore it can be argued it would loose its significance as an outcome. Furthermore, it highlights the egotistical ideals that infiltrated the psychology of man as it is not the barrel itself, which is valuable but the fact it was employed by Christo.
I am fascinated by the concept of the adaptives and at what point the viewer becomes the adaptive to the sculpture oppose to the paradoxical traditional artistic prescriptions. Furthermore, I am fascinated by Gilbert and George’s discussions of form not “being the boss”. Within their methodology the artists illumine a practice in which the aesthetic should not dictate the dialogue between your work and https://cryptolisting.org/ the viewer but rather act as a catalyst in instigating a new narrative. This is made overt in their performative sculptures, whereby their unconventional use of the body as a performative piece redefines the corporeal form as a tool for sculpture rather then something organic. In terms of the somatic, Gilbert and Georges sensory pieces immerse the viewer due to an intimacy that arises in human contact.
galvanised water tank, 73 cm x 56 cm x 55 cm
As we speak of the past, the present, the future the meaning of life becomes part of the question. In that context Min Jeong Seo points out the buddhist notion to understand time as a sequence of moments. Each point in time holds a certain meaning and represents a fraction of the whole.
Hence to sign purpose illumines the human as the authoritative party, within the relationship between purpose and content,It becomes mortal. An appendage to human success into its purpose it is fulfilled. I find the notion of this intriguing in relation to my plug sockets, in which I have removed purpose from the plugs. I think this more exciting as it allows the viewer to interrogate this material in relation to corporeal from of the Archway site and evaluate this creature a living organism. Furthermore, through Abloh’s discussion of the “Earth being a precious place” is synonymous to my idea of considering the art studio as a sacred environment, which as humans we worship through our ritualistic processes of abuse. I think it is important as art students we work cohesively and sustainably with each other and the Archway site, which is comparable to Virgil Abloh’s interrogation of the “larger ecosystem”, which as humans is important we asses our interaction with.
I have attempted to utilise wire, fabric and plaster as they ate synonymous to the site and therefore seem cohesive with this idea of the building being an ephemeral being. As this is intermingled with both Duchamps studies and my work in the Unserhaus in terms of how as an artist we determine the success of the outcome based ehrt token on the size of the audiences reaction. Moreover, Genzken’s methodology of finding beautiful things in every day objects reaffirms my interest in content and context and how in exploiting the domestic you can manifest something bizarre and monstrous. Hence, could it be argued against Yinka Shonibare that myth is still alive.
I have a terrible case of ADHD and the only thing that’s ever helped is listening to natural sound. I suspect, from my experience, that it would have a similar effect on others, too. And when I began to realise the changes that had taken place, my first feeling was one of astonishment and anger, followed by depression, followed in turn by a tremendous sense of loss. I just try to ignore those feelings now because the damage is so profound.
Richard Deacon – Lisson Gallery
I really enjoyed doing the mouthpiece for her to wear on the W magazine cover – trying to distort the mouth into an orchid. I start out with an idea of what I want the object to be, and I try to impose it on the material. That’s the opposite of the tradition that began with the Black Square . Jackson Pollock, Barnett Newman, et cetera—I think they’re great. But I didn’t want these modernistic, flung-down objects that strive to avoid all content.
- I love that it felt very feminine but strong, but like I said they did sort of grow in the studio.
- Please discuss with us as soon as possible the re-offering of unsold lots.
- That’s where it’s most problematic, especially in the case of sculpture.
- Fundamentally, some of the takeaways of that period were developing a strong knowledge around a particular material and the numerous constraints that go into working with clay and ceramics.
How through sculpture the artist can make a conscious decision to give life to an object. Or alternatively is that life always existent it is just the practioner’s choice to engage with it that makes it overt. This idea of creation, power and entities is rooted in my interrogation of myth and how as artists we can evoke a sense of wonder as described by Shonibare through our expression.
Interview with Christo
This highlights how in our practice our outcomes, can depart from the limitations of their form and act as a catalyst in discussion for socio-political issues. This is alluded to in my own practice, whereby I question humanity’s desire to egotistically play God in a sense and the potential dystopic implications this could have. Alternatively as discussed by Semple and Serbin does art and design practice enables us as humanity to question scientific boundaries and the potential of humanity. This being symptomatic to a sense of curiosity and myth that Shonibare illumines as so pivotal in unifying communities.
Furthermore, in my practice, I parallel Violette’s choice to use a material – Henrium – that is overtly symbolic of my life, synonymous to Violette’s use of salt due to the salt mines that influenced his child hood. However, I differ in the fact the artist “adapted his process” to ensure the success of his outcome yet in my own work there is no desired endpoint. I want to push the boundaries of Henrium and whether its reactions can be perceived as successful is regardless. Ultimately, it is interesting to interrogate how I judge the success of my material’s reactions. The disposabillity of Landy’s outcomes are integral to an exploration of time. Landy exposes his preoccupation with the impermenant, reinforcing my fascination with value and how artwork like can just be discarded in this performative process.
Interview with Erwin Wurm
Therefore, Ito oppose both Yinka Shonibare’s belief that myth no longer exists in contemporary society and Csapo’s ideas of humanity exploits myth fo their personal gain. These develop not from the archaic stories that have infiltrated history but rather a wonder generated through materials and science. I will allude to this in my own process by attempting to form inextricable links between the person, sculpture and site specific features. I agree with Csapo’s argument that not all myths are from rituals as this dichotomous to to my belief that art and science are not a new form of myth. However it can be suggested that ritual is a nuance of myth. I will integrate this into the archway studio as to m there is something ritualistic how the extension leads pugged into the wall form a sort of isolated space.
Antique Salvaged Unusual Solid Brass Horse Plough Pub Desk Mascot Sign Wall Art
Cragg realises this in the “presence” he gives to his sculptures that act as informants of certain issues through their sculptural language rather then biased dictators. Through his process, Oursler alludes to the idea of paranormal activity, science and phantasmagoria being mythical. I find it fascinating how the artist interrogates Newton’s ground breaking concepts but also an awareness to the fact that this information was incomplete and that some knowledge is incomprehensible.
I also find it fascinating in the exploration of “newborns” and their extremely streamline clinical aesthetic there is something dystopian. Perhaps it alludes to humanity playing God and the destruction of the once mythical ideologies that seemed communities together. As we progress in technology we destroy imagination and perhaps this causes these negative connotations to infiltrate my psyche. Trouve comments that involvement is intermingled to perception.
It would no longer be accurate to call it a glass of water. One could call it anything one wished, but that would not alter the fact that it is an oak tree. I was intrigued by that whole debate stemming from Break Down around value, so for Art Bin, I wanted to open it up for everybody, make it democratic. In a sense, it was like any other bin because after awhile it all looked the same, form-wise—you couldn’t tell what it was anymore.
There will evidence of catharsis in the work relating to the healing of the patient through speaking with avatars (Julian’s work). This avatar/robot featured in the installation will address neuroscience questions on consciousness and brain functioning in the film through his/her thoughts/narration. She/he muses on what mistakes we made in the past before we understood the brain. The difficult and broader question of this project is what is consciousness and what can science contribute to understanding it? Through gaining this knowledge will we potentially be able to fully understand mental health problems through the scientific methods of neuroscience. Abloh’s real-life societal observations played into this collection.
Regardless of the change in style, it would still have to do with natural forces like gravity. While this is newly exhibited, it’s an older idea, even older than when I had my first show in Dubai in 2014. After I pull down the work from the show, so goes those videos. Beyond what I need to represent the work in terms of documentation–mostly stills–the only data from my projects I’m interesting in preserving only lives in my memory. The success of your project and the huge response that you’ve received from the media do sort of prove that fashion, money and the media are indeed the big superpowers today.
