Archive for February, 2008

Cornelia Parker
February 27, 2008

Cornelia Parker is a sculpture artist and installation artist.She was born in Cheshire, she studied at Gloucestershire College of Art and Design. She received her MFA from Reading University in 1982 and an honorary doctorate from the University of Wolverhampton in 2000.In 1997 she was a Turner Prize nominee.I would she is best known for large-scale installations like her piece Cold Dark Matter: An Exploded View (1991). It consisted of a shed, that she firstly placed in a room with a light suspended in the middle of it. She then took the shed and had it exploded by soldiers and took a film while it was done. This is my favourite piece by Parker, it was also the first piece I was ever shown. She then arranged the pieces of wood in the room in the process they were exploded and suspended the light back into the centre. I really like this piece I feel the light being suspended casts shadows of the wood across the wall dramatically.She is fascinated with processes in the world that mimic cartoon ‘deaths’ – steamrollering, shooting full of holes, falling from cliffs and explosions. There is something quite cartoon like in the picture above, it has the extreme kind of explosions as in cartoons.

Advertisements

Martin Creed
February 26, 2008

  Martin Creed was born in 1968 in Wakefield, England. From the age of three he lived in Glasgow, Scotland. Between 1986 and 1990 he studied at the Slade School of Fine Art, London. After art school he lived and worked in London. Creed works with paper, music, air, light or text to create his works. Since 1987, Creed has numbered each of his works, and most of his titles relate in a very direct way to the piece’s substance. For example Work No. 79, some Blu-tack kneaded, rolled into a ball and depressed against a wall (1993) it is just what it sounds like, as is Work No. 88, a sheet of A4 paper crumpled into a ball (1994). Perhaps Creed’s best known piece among the general public is the work he exhibited for the 2001 Turner Prize show at the Tate Gallery, Work No. 227, the lights going on and off. This was an empty room in which the lights periodically switched on and off. As so often with the Turner Prize, this created a great deal of press attention, most of it questioning whether something as minimalist as this could be considered art at all. Creed, despite what the press thought art to be, won the prize. I find his piece to be very simple but effective at what it is doing. I feel like the lights going on and off gives a feeling of unexpected, not always knowing what is about to happen. While Creed’s work can often seem abstract and conceptual, in interviews the artist reveals a sensitive, thoughtful side. He often does not know what to make and often wonders is it even worth time what he is making. Creed explains that he used to ‘make paintings’ but never liked having to decide what to paint. He decided to stop making paintings and instead to think about what it meant, and why he wanted to make things. He says: “The only thing I feel like I know is that I want to make things. Other than that, I feel like I don’t know. So the problem is in trying to make something without knowing what I want. […] I think it’s all to do with wanting to communicate. I mean, I think I want to make things because I want to communicate with people, because I want to be loved, because I want to express myself”  Work no. 370 Balls (2004)This piece of work contains over a 1000 different kind of balls, all different sizes, colours, shapes, weights, all meant for different uses. The artist has explained that the installation is ‘about exploring shape, size and colour, but it also has a physical aspect to it’. It makes me think of the relationship between the objects and the space that is around them and they have created. I also find the balls to be childlike. There is so many of them it’s almost like a a playground minus the children.

Tracey Emin’s
February 26, 2008

Tracey Emin (born 1963) is an English artist, one of the so-called Young British Artists (YBAs).  

I like Tracey Emin’s work but feel some of her work is maybe a bit to personal, quite often feels uncomfortable when you know what her work is actually about and what where the idea is come from. I appreciate Emin’s work more now since I have done research on it, a lot more than I thought I would.

She was born in London, but brought up in Margate. She has a twin brother Paul. Emin’s father was married to a woman other than her mother and while still young he abandoned the family which lead to a decline in their standard of living, an event which has featured in a number of works. Around the age of 14 she was raped. She initially studied art in Maidstone which she has described as one of the best experiences of her life where she was greatly influenced by Billy Childish, then returned to London to study at the Royal College of Art, where she graduated with an MA in painting. She was initially influenced by Edvard Munch and Egon Schiele, though later destroyed all her paintings from this early period. Later still, she studied philosophy at Birkbeck.

In 1994 she had her first solo show at the White Cube gallery, one of the most significant galleries in London. It was called My Major Retrospective, it was mainly autobiographical work.consisting of personal photographs, and photos of her now- destroyed early paintings as well as items which most artists would not consider showing in public, such as a packet of cigarettes her uncle was holding when decapitated in a car crash. This willingness to show details of what would generally be thought of as her private life has become one of Emin’s trademarks. In 1995 her piece Everyone I have Ever Slept With 1963-95 was included in the group exhibition Minky Manky at the South London Gallery organised by her then boyfriend Carl Friedman.

Emin’s art takes many different forms of expression including needlework and sculpture, drawing, video and installation, photography and painting.

‘I’ve got it all’ (2000)

Tracey Emin is almost always portrayed as a Diana-esque femme tragique. It’s rare to get a glimpse of the happy, successful, confident person she’s become. I’ve Got It All is a brief crowning glory: a shameless, two-fingers up to her critics. She has triumphed over all, and has money to show for it. For the ‘I am Spartacus’ brief, I find her ‘I’ve got it all’ photograph a great piece for helping me with ideas. I like the idea of this person holding onto her/his money, gripping onto all this money and money lying about them. It’s like a grip of happiness like this is my money. The figure looks as though she’s bottom half naked, reminds me of sex, almost prostitution and thats her been paid. 

 ‘My Bed’ 1998

‘My Bed’ is maybe one of Tracey Emin’s most famous pieces. She is showing us her bed in all it’s embarrassing glory. By presenting her bed as art, Tracey Emin shares her most personal space, revealing she’s as insecure and imperfect as the rest of the world. The work caused a lot of media attention when it was exhibited, there is empty booze bottles, fag butts, stained sheets, worn panties, condoms, the bloody aftermath of a nervous breakdown. The bed was presented as it had been when Emin had not got up from it for several days due to suicidal depression brought on by relationship difficulties. She made sure she created the mess herself, arranged all the items herself.

‘Something’s Wrong’

I’m fasniated by Emin’s monoprints, I must say it is probably my favourite pieces by Emin’s. There are desperate figures surrounded by space, their outlines fragile on the page. Some are complete bodies, others only female torsos, legs splayed and with odd, spidery flows gushing from their vaginas. With the title ‘Somethings Wrong’ it makes you wonder what is going on? What is wrong? What has happened? What is wrong? Everything or anything? These works I think comes from the rape from when she was 14, think that is something that is in a lot of her work. It contains a lot of sexuality and not always good in a good way.

On 29th March 2007, Tracey Emin was made Royal Academician by the Royal Academy of Art. Emin became a member of the Royal Academy joining an elite group of artists including David Hockney, Peter Blake, Anthony Caro and Alison Wilding. This entitles Emin to exhibit up to six works in the annual summer exhibition.

Emin has a long history of exhibiting her art at the Royal Academy, having been invited to include works at their Summer Exhibitions in 2007, 2006, 2005, 2004 and 2001. Whilst 2007 saw Emin exhibit a neon work called Angel (2005). Emin’s art was first included at the Royal Academy as part of the Sensation exhibition in 1997.

Douglas Huebler
February 26, 2008

Douglas Huebler was an American Minimal Sculptor and pioneer of Conceptual Artist, born 1924 in Ann Arbor, Michigan.

 

He produced works in numerous media often involving documentary photography, maps and text to explore social environments and the effect of passing time on objects. For twenty years, he was dean of the California Institute of Arts. He is perhaps most known for his statement “The world is full of objects, more or less interesting; I do not wish to add any more.”

First one-man exhibition at the Phillips Gallery, Detroit, 1953. Began as a painter, then turned to making Minimal sculpture in formica on wood and was included in the Primary Structures exhibition at the Jewish Museum, New York, 1966.

He made his first experiments with map pieces in 1967, and in 1968-9 gave up making sculpture and began to make series of ‘Duration Pieces’, ‘Variable Pieces’ and ‘Location Pieces’ by treating everyday activities in such a way as to produce documentation in the form of photographs, maps, drawings and descriptive text.

 

Variable Piece No.44 (1971) Photographs and printed text on board supports.

The themes of this work are changing human appearance, and the owner’s own responsibility to complete the piece. It existed as a work in progress for ten years and was not complete until 1980. As the instructions printed on it show, it is a collaborative work between the artist, the current owner and the owners of the works directly preceeding it and directly following it in the series. This example belonged to the artist until it was sold to the Tate so he appears as an owner until 1974. The Tate is represented by a photograph of the current Chairman of the Tate Trustees during the six remaining years.

‘Duration Piece 5’ 1969

 I find Huebler’s work fascinating, the reasons behind what he does and the techniques he uses. He replaces the artistic photograph with documents of process and strategies.

Kerry Roper
February 26, 2008

Kerry Roper studied Graphic Design and Advertising at Buckinghamshire College. His work combines traditional illustration, photography and typography.

 

‘LoveDrug’

‘Fake’

I looked at Kerry Roper’s work when thinking of ideas for celebrities. I like how it looks like a picture of a glamorous woman but her eyes are blocked out, its like her identity is not there. The beautiful fake is interesting in the sense its a beautiful woman but it is all fake.

Duane Hanson
February 26, 2008

A sculptor associated with photorealism.

 

 ‘Tourists II’ 1988

Duane Hanson, was an American artist based in South Florida, a sculptor known for his life cast realistic works of people, cast in various materials, including polyester resin, fiberglass, bondo and bronze.

 He was born January 17th 1925 in Alexandria Minnesota. He received his Bachelor of Arts from Macalester College in 1946 and his MFA from the Cranbrook Academy of Art in Bloomfield Hills, Michigan in 1951. From 1953 to 1960, Hanson taught art in Munich and Bremerhaven, Germany From 1962-1965 Hanson was a professor of art at Oglethorpe University in Atlanta, Georgia. 

Starting in the mid-1980s, his works were cast in bronze. His works are exact down to every detail; made via lifecasting, the pieces created from epoxy resin or bronze, and the whole sculpture painted to resemble a living person. This combined with hand-picked wigs, clothing and accessories means that Hanson’s works are perfect simulacra, often fooling gallery visitors with their ordinary appearance and casual posture. He uses a complex process of casting from life models.

‘Flea Market Vendor’ 1990

I like how Hanson uses working class citizens, not well known people, just the average person to use for his castings. He gave these average overlooked people an identity, highlighting there activities and societal roles.

Hanson casts his figures from live models in his studio, he then adorned them with every attribute of life-likeness from tiny body hairs, varicose veins, bruises, and hangnails. He hand picked their clothes from second hand shops, and accessorised them accordingly.

Mel Bochner
February 19, 2008

As Richard Kalina wrote in Art in America in 1996, Bochner was one of the earliest proponents, along with Joseph Kosuth and Bruce Nauman, of photo-documentation work in which the artist “created not so much a sculpture as a two-dimensional work about sculpture.”

 

Mel Bochner is an American born conceptual artist. Bochner was born in Pittsburgh in 1940. He studied art at Carnegie Mellon University and graduated in 1962 with his BFA. After leaving Pittsburgh, he studied philosophy at Northwestern University near Chicago. He moved to New York in 1964, and in 1966 he was recruited by the influential art critic Dore Ashton to teach art history at the School of Visual Arts in New York. He currently lives in New York City and is and Adjunct Professor School of Art at Yale University in New Haven, Conneticut.“Working Drawings And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As Art”, (1966) The exhibiton above is regarded as a seminal show in the conceptual art movement. Bochner photocopied his friends’ working drawings, including a $3,051.16 fabricator’s bill from Donald Jude. He collected the copies in four black binders and displayed them on four pedestals. The show was remade at the Drawing Center, New York, in 1998.

Bochner began making paintings in the late 1970s, and his paintings range from extremely colorful works containing words to works more clearly connected to the conceptual art he pioneered.

“Aggravate” (2004) monoprint with engraving and embossment on handmade Twinrocker paper.

I find his pieces of work with language fascinating. I like how he uses alternative words, phrases or sayings to say the title of the piece. The text becomes the painting. At first glance the colours and composition don’t seem to have much to do with the painting as the text does, but in fact it is the aesthetics of the works that promote the message within.

In 1995 Yale University Art Gallery, organized a retrospective, Mel Bochner: Thought Made Visible 1966-1973. The exhibit travelled to Brussels and Munich and was accompanied by the publication of a catalogue. For his solo show at Sonnabend Gallery in New York in 2000, Bochner layered German and English versions of a text from Wittgenstein. In her review of the show for Art in America, Eleanor Heartney wrote: “In Bochner’s work, perception constantly trumps idea, reaffirming the artist’s belief that the sensuous is an essential element in even the most conceptual art.”

 

“Obscene Money”

This piece reminds me of our Celebrity Project. I like the idea of using several different words to explain one word, like drugs or bulimic.

the cold
February 15, 2008

i dislike being ill very much, my throats all sore……was supposed to be doing things for valentines this weekend……dunno if we will now :[

the cold is my enemy

SOL LEWITT
February 14, 2008

 “The idea of the artist as a thinker and originator of ideas rather than as a craftsman”.Sol LeWitt was born September 9th, 1928 in Hartford, Connecticut to a Jewish family who were had immigrated from Russia. After receiving a BFA from Syracuse University 1949, he travelled around Europe where he was exposed to the Old Master paintings. He served in the Korean War before moving to New York City in the 1950’s where he studied at the Visual School of Arts. He also pursued his interest in design at Seventeen Magazine, where he did paste-ups, mechanicals, and Photostats. He then worked as a graphic designer in the office of the architect IM Pei. Around that time he discovered the work of the late 19th century photographer Eadweard Muybridge who’s studies in sequence and locomotion were an early influence. These experiences, combined with an entry-level job he took in 1960 at the Museum of Modern art, would influence his later work.He has been the subject of hundreds of solo exhibitions in museums and galleries around the world since 1965. LeWitt began exhibiting in New York in the early 1960s and since then has had many exhibitions in galleries and museums around the world, including the Gemeentemuseum, The Hague, Holland; the Kunsthalle, Berne, Switzerland; the Rijksmuseum Kroller-Muller, the Netherlands; the Wadsworth Atheneum, Hartford, CT; and the Museum of Contemporary Art, Chicago.LeWitt was linked to various movements including Conceptual Art and Minimalism. His media were mainly painting, drawing, and structures (a term he preferred in opposition to sculpture).LeWitt’s most distinctive sculpture works are based on connected open cubes and have titles like “Modular Wall Structure” and “Double Modular Cube.” Because he works with modules and systems, and his early wall drawings are based on grids, he is sometimes described as a Minimal artist. When I look at LeWitt’s work despite it being simply geometric shapes it is very complex. I also find his work to be beautiful, yet it is so simpleHis creative two and three-dimensional work ranges from Wall Drawings, over 1200 of which have been executed, to photographs and hundreds of works on paper and extends to structures in the form of towers, pyramids geometric forms, and progressions. These works range in size from maquettes to monumental outdoor pieces. I really like LeWitt’s pieces of work, I find them fascinating they’re such perfect geometric forms. They’re simple yet, beautiful. But although they are simply geometric shapes they are some how unexpectictly complex. They are so perfect.

Marlene Dumas
February 14, 2008

 

Malene Dumas was born August 3rd, 1953 in Cape Town, South Africa. She is an Amsterdam based artist and one of Holland’s most internationally admired artists. She combines elements of expressionism with conceptual art into ink and watercolour pieces and oil paint on canvas. She studied at the university of Cape Town after which she emigrated to the Netherlands. She has produced drawings, paintings, prints, collages and installations also. The sources she uses for her imagery are diverse and include newspaper and magazine cuttings, personal memorabilia, flemish paintings, and polaroid photos. The aim of her work is to show the relationships between art, female models and even pornography. Her works are portraits but not in the usual sense of the word, they represent an emotion or state of mind instead of an actual portrait.  

Jule-die Vrou, oil on canvas (1985)

I’m fascinated by this piece, only the eyes and lips are fully rendered giving the idea of seduction and sexuality. The rest of the painting is consumed by a red fleshy colour suggestive of womanhood, sin, femininity and violence. For only the eyes and mouth being rendered there is a lot of emotion in this painting. 

 

The Cover Up, oil on canvas 1994

I like how this painting shows a corruption of innocence. The painting gives way to very dark thoughts of sexuality and exploitation. I find it actually quite disturbing the thoughts that this painting implies, it’s not necessarily the painting that is causing the controversy its the knowingness about the reality that goes with it.

For the part of the protection project with Jenni I wanted to look at the idea of childhood and the innocence you always think goes with it, but the fact there’s often more darkness behind it. I like how Dumas does this with her paintings. After looking at Louise Hopkins work I would like to use materials to work on from my childhood, such as books and boards games. Painting ontop of them or monoprint even.