Archive for the ‘Conceptual research’ Category

Agnes Denes
March 10, 2008

One of the early pioneers of both the environmental art movement and Conceptual art, Agnes Denes brings her wide ranging interests in the physical and social sciences, mathematics, philosophy, linguistics, poetry and music to her delicate drawings, books and monumental artworks around the globe.

 American Environmental Artist, born in 1931. Born in Budapest, Hungary, Agnes Denes was educated in Sweden and the United States. She began her career as a painter, but has since expanded her activities to encompass a wide range of media, including drawing, printmaking, photography, site-specific sculpture, and environmental art.

 Denes is perhaps best known for Wheatfield—A Confrontation, 1982, a four-month project on the future home of the World Trade Center. At the time of the project, the Battery Park site was worth 4.5 billion dollars. In 1982, Denes negotiated temporary rights to the two-acre area in lower Manhattan and transformed it into productive cropland. The site was cleared, planted, tended and then harvested. The ever changing natural site was an anomaly in the context of a crowded metropolis.

 The hay was fed to the horses of the New York City Police department. Denes’ intention with this project was to show the potential of the site, and the economic disparity between land use and its value in Manhattan. Those who witnessed the daily changes and growth of the seedlings experienced the natural beauty of the life cycle of plants not native to a thriving metropolis. This ecological performance piece was documented in a series of photographs, some taken by Agnes Denes, others featuring the artist on the site.

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Leaflet
March 5, 2008

This was my second attempt at the leaflet, I prefer this one. I took out the what you need part and put it in the actual box. 
 
 
 
 
 
 
 
 

    
 
I like the results from this, it looks more inviting that you would want to join it.
 
I couldn’t actually get slimming pills in bottles, they come in packets now which i didn’t like as much.

projected water
March 5, 2008

This is when i projected water onto the magazines, it’s pretty jumpy but i like the general effect. I need to re-film running water but have sound included in it as well. I also need to buy scales for the installation. I like this piece.  

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.

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.

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.

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.

Bulimia Kit
February 14, 2008

When looking at the Fluxus mvement I looked at George Maciunas’ work. I was intrigued by his Fluxus Boxes.

“FLUXKIT” 1964

So I decided to experiment using the idea of making a bulimia kit.

 I’m happy with the way it turned out, it’s given me other ideas to work on now and how to approve it. I wanted to have it in writing in the sense that it is someone with bulimia that is writing it and it is what she does to achieve the figure she wants. But looking at it I want to develope it more into a brochure or leaflet as such, make it look like something you would want to join.

Ideas
February 14, 2008

Ok for the conceptual project I started looking at eating disorders in celebrities and how it affects people who look up till them. I started of by taking photos of my flatmate being fake sick.

 I like the photos, more the ones without my flatmate in them, the sense that it could be someone just being sick or it could infact be someone making themselve sick. It’s not so obvious. I want to take photos of not so obvious eating disorders, as in not someone making themself sick, but say a toothbrush that could symbolise an eating disorder. Because its often portrayed that people use a toothbrush when making themself sick.