Researching Practitioner, Material and Process. I have used some pictures that I took from the books at CSM library. I found I took a lot more pictures for Paul Rand than the other categories as I found some of his designs humorous and each one was quirky and uniquely different. Some where shown as black and white others had lots of colour. Paul Rands books show a lot of his designs but not all of them have information on. If I wanted to find out more about a specific design I would have to do research on it or look online. Some of his designs remind me of the process we chose: repeat. Some of the letters or images are repeated several times in one design. In Paul Rands book it showed how he had thought about making the Logo. How starting off it was a circle but the circle was too thick so it was made thinner and thinner and then letters were added inside the circle and the size and shapes were changed. It was interesting to see how the designs had been played about with. I've included files and images of the files and videos, some sections I found of interest.
Paul Rand Designs
The design of a logo- Okasan
The design of a logo is often arbitrary- the product of a whim. If for example, in a given project letters are to be used, the effect depends almost entirely on the abstract quality of the design and the euphony of its expression, rather than on any substantive idea. It is rare that a logo will contain an idea that at the same time is part of the company name. Embodied in the name Okasan are the letters OK, which by chance are both full of meaning and univerally understood. Following the demonstration of the evolution of the new Okasan logo, beginning with the original logo. (Thoughts on Design Paul Rand)
Conversations with Paul Rand
Practitioner: Paul Rand
Practitioner: Paul Rand
Practitioner: Paul Rand
Viewing Repeat as Performance
Here I found books on performance and how in some of the pictures the performers had repeated some of their actions to make them more effective.
Eat, Sleep, Rave, REPEAT
Visiting the British Museum
After we used the CSM library as a group we decided to go to the British museum as we knew they had lots of stone sculptures and ornaments. It wasn't far to travel either from CSM.
Researching British Museum
The room that interested me the most was the Egyptian Sculpture Gallery. The exhibits include " stylised depictions of kings, deities and symbolic objects ranging from the time of the Old Kingdom to the middle of the Roman Period as well as architectural pieces from temples and tombs."
An imposing stone bust of the great pharaoh Ramesses II presides over the room, close to the world-famous Rosetta Stone with its three inscribed scripts which led to the decipherment of hieroglyphs – Egypt’s ancient form of pictographic writing.
The pieces were old but well preserved. They were exquisite and had lots of detail.
British Museum Shop
British Museum Shop
Chelsea College Books
Initial Ideas Presentation
Man and Woman stoned for Adultery
Notes from film: 2001 A Space Odyssey
Development Of Ideas
Research For Idea Development
Altered Spaces- Quote, inspiration
It is he who sits above the circle of the earth,
and its inhabitants are like grasshoppers;
who stretches out the heavens like a curtain,
and spreads them like a tent to dwell in;
Copyright material reproduced courtesy of Oxford University Press, New York
Article provided by Grove Art Online www.groveart.com
Victoria Miro Gallery- Yayoi Kusama
Victoria Miro Gallery- Artist Yayoi Kusama
One piece includes Bronze Pumpkins. The exhibition comprises a major new series of bronze sculptures on display in the gallery's unique water garden. The bronze pumpkins have been two years in the making and mark the first time the artist has worked with bronze on such a large scale.Since her earliest formative years, in a family who made their living cultivating plant seeds, Kusama has been fascinated by the natural world. She has always had an affinity with nature, particularly vegetal and floral life, but the pumpkin continues to occupy a special place in her iconography and is a motif she has returned to repeatedly throughout her career.
The plant appears in some of her paintings and works on paper as early as 1948. After her return from New York to Japan in the 1970s she rediscovered the theme, and began making serial works depicting the pumpkin in various media: paintings; prints; sculpture; installation; and environmental works. She has made tiny pumpkins no bigger than a key ring, and monumental pumpkins that dwarf the viewer with their scale. She has placed pumpkins in box structures and in mirror rooms, and used the distinctive knobbly patterning of their skins as inspiration for her unique dot-patterned paintings and textiles. In 1993 pumpkins formed part of her presentation in the Japanese Pavilion at the Venice Biennale. In 1994 her iconic exterior sculpture of a large yellow and black pumpkin was sited at the Benesse Art Site Naoshima, an island in Japan’s inland sea dedicated to displaying art within nature.
The artist has a strong personal identification with the pumpkin, and has described her images of them as a form of self-portraiture. She admires pumpkins for their hardiness and everyday quality, as well as for their unique and pleasing physical qualities. She has written:
“‘Pumpkin head’ was an epithet used to disparage ugly, ignorant men, and the phrase ‘Put eyes and a nose on a pumpkin’ evoked a pudgy and unattractive woman. It seems that pumpkins do not inspire much respect. But I was enchanted by their charming and winsome form. What appealed to me most was the pumpkin’s generous unpretentiousness. That and its solid spiritual base” (Yayoi Kusama, Infinity Net: The Autobiography of Yayoi Kusama, trans. Ralph McCarthy, London 2011, p.76).
Drawing inspiration from whats around me.
Frieze Art Fair
Going to Frieze Art Fair, I felt exciting and that it would be amazing, I went to the Fair last year with my sister, so I was able to go around speaking to her about the work and what I thought, whereas this time I went by myself I found it a very different experience, as I was not able to express to anyone else my thoughts or how I felt about a certain piece or was emotions were drawn from it. I felt I was able to walk around with a lot more ease than the previous time I had gone. I was by myself so I could control what I did when I did, and when to look at each piece and what to look at, I could control how quickly I moved on from a piece. I felt you can also appreciate things more when you are with another person, you have someone to enjoy it with which is what I felt I slightly missed this time. I took my time walking round, able to appreciate the things I liked and wander. I took my phone to take pictures with and a notebook, I wrote down artists work I particularly liked or found an aspect of their work intuitive. Later when I got home I searched these artists on the internet to further find out about their work and ideologies.
The Artists I found of interest:
-Rosa Barba (work I particularly enjoyed was called ‘Boundaries of Consumption’ I liked the title of the work it sounds structured and that she has thought deeply about the concept of her work, and has a story to it.
-Nathaniel Mary Quinn
( Researching online I found these interesting to search: ‘Arte Povera, Cecily Brown, Glenn Brown’)
-Eddie Martinez ( I saw his work previously at the Saatchi Gallery)
-Performance on Frieze Projects- Nick Mauss
-John & Koen Van Den Broek
-Pier Paolo Calzolari
-Diana Al- Hadid
-Gardar Eide Einarsson
-Jim Lambie( particular works of interest, included materials: Potato Bags, Acrylic Paint, Expanding Foam on Canvas)
-Cezary Bodzianowski ( comments- Some Species of Art which I like and eagerly master I prefer to keep locked.)
- Wilhelm Sasnal
I particularly like the works from New York as well as the Foksal Gallery Foundation in Warsaw
-Bjarne Melgaard ( I thought the textures of her piece were heavy and looked like icing meshed together to create a childish effect, she used bright colours and outlines, her work didn’t have great detail, but would be easy for children to relate to, I heard a young girl telling her mum she liked one of the paintings on the far left. Melgaard created thick layers which were profound and 3D, using interesting techniques with the material used- Acrylic Paint.
There is a fascination with art galleries and the perfection and precision that artists use. The ‘Do not Touch’ saying is illegitimate and onlookers want to touch the work that has been presented in a way that godlifies it. Pieces included vegetables strewn across the floor and hiding in crates but having a percific place and newly given purpose of becoming an idol, the significance and importance of that object immediately changes. I was humoured to witness a gentleman poke his fingers into a bath of running water which was part of an art performance, whether he wanted to check the temperature of the bath or whether the water was realistically water, I do not know. But as soon as normalities of life are represented in a new light it becomes a fascination, whatever it may be we as humans are curious and want to challenge the ideas of others or feel a significance that we too can become part of the piece. By touching the water, he for a few moments became one with the piece and took it out of context. He took it out of context from the initial logistics. Throughout the day I saw people from all ages touching the works.
-Haegue Young ( sculpture made from bells)
-Seth Price ( wood, layered over, a section of wood uncovered.)
Looking at the pieces rectifies the idea that paintings can be basic with drawings looking unfinished, exploring various styles.
- Jose Maria Sicilia ( The instant Chaleographic ink on Japenese Paper- may comment on origins)
- Raches Harrison
Sculpture amongst strings parading geometric shapes, words, patterns, sculptures, plaster sculptures stuck to board, presenting sculpture in an interesting format.
- John Kelsey
New York Galleries- Gavin Brown Enterprise
I saw various works on nudity or showing this ( Nudity of a woman sat on a toilet- appealing) A sleeping body.
I found the works from the London Galleries less interesting than works from other countries, possibly because they were similar to other London Works I had seen previously due to living in London.
- Julia Haller,
- Nikolas Gambaroff( ripped, reorganised comics)
- Paul Graham ( Photography of shops, simple but alluring)
Sculpture of Retro Astronaught
-Kudzanai Chiurai ( How could you)
The London Gallery that I liked the works on was the Laura Bartlett Gallery, I will have to look at it online and see if it is worth a visit.
- Lubaina Himid
- Adam Linder Live Performance, Berlin
- Jacin Giordano
- Olivier Millagou
- Slavs and Tatan
- Lisa Holzer
- Phillip Limschl
- Bjarne Melgaard
( Framed Pictures in metal and Brall)
-Karla Black( ‘what to ask of others’ thread, chalk, dust)
-Kaspar Muller ( 3D sticks out)
Hardened, glazed clothes, looks oily
-Wim Botha Motoyuki Daifu
Stuart Shave/ Modern Art London
- White wobbling piece.
Artist that I saw at Frieze: Rosa Barba
Information from: http://www.turnercontemporary.org/exhibitions/rosa-barba
Piece: Boundaries of Consumption
16-mm film, film cans, two metal globes, installation view Jeu de Paume, 2012
Exhibition: subject to constant change
The exhibition is a unique collaboration with Cornerhouse, Manchester that creates a multi-sensory, spatial experience showing the many dimensions of Barba’s practice, including recent film sculptures and a newly commissioned installation.
Barba playfully explores cinema’s material elements: the physical characteristics of film (light, projector, celluloid filmstrip, screen, and sound apparatus) and the structure of cinematic narrative.
Rosa Barba’s work pays homage to defunct celluloid, even though there’s only one film in her exhibition. The huge projector which hums in the background provides the gentle soundtrack to a silent film surveying the Kent and Margate coasts (pictured above: Subconscious Society, 2013 © Rosa Barba). Shabby, disused buildings and broken piers come into view, and a long aerial shot of the ribbed and undulating sand reminds us of the primordial nature of this stretch of land, before the invention of tourism.
But one can see that it’s the film projector, gleaming white in the shadows, that visitors are far more fascinated by than the moving image. Bisected to reveal its workings, the projector has become a lugubrious kinetic sculpture, a burnished object of admiration and wonder. In a second room, arranged like steadfast sentinels, stand a line of anatomised projectors. In jerkily hypnotic procession, loops of transparent film weave through delicate metal hinges. Whatever is on there, the projectors aren’t giving away their secrets.
My Highlights from Frieze London 2014
13 DAYS AGO
As Director of Turner Contemporary, a public gallery in Margate, UK, I’m interested in the production and presentation of work to very diverse audiences. I’ve had the opportunity to work with some of these artists over the years. Art fairs such as Frieze offer a chance to discover the work of both new and more established artists.
This is a rather poignant painting and I hope it isn’t a reflection on museum visits generally but, like all of Paul’s work, it expresses so much. It is great to see Paul’s work at an art fair such as Frieze. A self portrait by Paul will feature in Turner Contemporary’s January exhibition.
Barba is an amazing artist who creates breathtaking works. Her fascination with the material qualities of film and minimalism are brought together in this piece. We showed her work here at Turner Contemporary last year.
This stood out particularly as I am looking forward to seeing her major exhibition at Ikon Gallery in Birmingham. I still recall the impact that one of her works had on me many years ago.
I love the freshness of Himid’s work. I’ve not seen any of her paintings for some time so this feels like a welcome surprise.
It looks as though there is a strong body of work to see from José Bento. His work caught my eye as I am thinking a lot about architectural structures with choreographer Jasmin Vardimon. While Bento’s sculptures at first appear highly structured, they seem to have a delightfully crafted element to them, at variance with the minimalist aesthetic they embrace.
There is always so much depth to Riddy’s photographs. He slows the viewer down demanding proper looking.
I'm fascinated by artists who work with clay. Stair’s work has energy and his simplified forms are elegant and yet still retain a very strong sense of their production.
Exhibiting was: Francis Bacon, Damien Hirst, Pablo Picasso, Jeff Koons.
Picture taking in this gallery was not allowed, I drew pictures of the works which are shown below. It was interesting to see how by drawing the works you noticed aspects of the work that I had previously missed, like when I drew out the simple outlines that Bacon had used his self image looked very similar to a monkey.
"What is a face really? Its own photo? Its make-up? Or is it a face as painted by such or such painter? That which is fin front? Inside? Behind? And the rest? Doesn't everyone look at himself in his own particular way? Deformations simply do not exist." Pablo Picasso.
"I loathe my own face, but I go on painting it only because I haven't got any other people to do. Its true to say... One of the nicest things that Cocteau said was 'Each day in the mirror I watch death at work' That is what one does oneself". Francis Bacon
"I have no perception of Jeff Koons, absolutely not. Your perception of Jeff Koons is probably much more than mine because to me I am nonexistent" Jeff Koons
"That image of me with the severed head was taken at a point when I was first trying to comprehend death. I'm in the anatomy museum where I spent hours as a teenager, drawing the bodies and I'm laughing but I'm completely terrified. For me that smile just sums up the absurdity to come to terms with the weight of our morality" Damien Hirst.
Exploring the way in which self-portraiture has been used in the modern era as a vehicle for communication and celebration as well as for the 20th century. By looking at the self portraits we can see highly different strategies being used t examine the entire nature of self-portraiture, while also celebrating and commemorating the larger than life personas of the artists themselves.
Drawings of work from Self Gallery
Drawings of work from Self Gallery
White Cube Gallery
Exhibiting: Tracey Emin and Etel Adnan
Works of Tracey Emin included:
- Roman Standard, 2013, Bronze and Silver nitrate patina, Sculpture 4in. x 7in.
- The Last Great Adventure is you, 2014 Neon, 450 x 172 cm
-Hands Open, 2014, Gouache on paper, 66.5 x 76.5 x 3.5 cm
Emin's Worked Featured bronze sculptures, gouaches, paintings, large-scale embroideries and neon works, the exhibition chronicles the contemplative nature of work by an artist who has consistently examined her life with excoriating candour. Reflective in tone, the works, in the exhibition are the result of many years' development from the bronze sculptures - the most significant body she has made to date- to the works on canvas. There is a complexity in the sculptural form of the bronzes, simultaneously robust yet tender, that points to a consummate understanding of material, composition and subject matter. While the paintings at first appear simple and immediate many of them are the result of application, obliteration and layering over a period of several years. Emin repeatedly returns to the canvases as a means of reviewing, revising and reconsidering her own position in relation to painting through temporal passages.
Works of Etel Adnan included:
-The Bay on the Bay, 1986, Ink and water colour on paper, 16.5x207cm
- Untitled, 2014, Oil on canvas, 24.5 x 30.2cm
New paintings by Lebanese- born artist, as a poet and novelist Adnan is one of the leading voices in contemporary Arab American literature. She has produced a series of 26 abstract landscape paintings- bold, colourful and expressive works that are intimate in scale. Painted from memory, landscaped are distilled into the definitive features: mountain, horizon and sky are represented as square masses or triangular, pyramidal shapes in thick, bright colours. A floating circular shape rendered in yellow, orange or green suggests a sun; bands of pure colour suggest sea or sand. Adnan works on a table using a palette knife to apply oil paint onto the canvas- often directly from the tube- in firm swipes across the picture's surface. These elemental colour field compositions exude an intense energy, recalling the block like slabs of colour in the late French landscapes of Russian painter Nicolas de Stael. Adnan says, 'Images are not still. They are moving things. They come, they go, they disappear, they approach, they recede and they are not even visual- ultimately they are pure feeling. Her work relates to places that have a deep resonance for Adnan: the mountains near her home in Sausalito, California, where the artist has lived for some 50 years. For her 'vision is multidimensional and simultaneous' and these new paintings are the meeting place for many images coalesced into one sensorial experience.
In the White cube gallery I watched a video of Tracey Emin speaking about her work. I made notes of this. She spoke of seeing ourselves for how we are, she needs to know who she is, and she is constantly drawing herself. Speaking about her work she said most paintings have 4-5 layers, she tries to leave them feeling unfinished, she's ruined some works by overdoing them and how paintings have a journey. She started a big painting in 2007 and she's only just finished it, she enjoyed the aggressive embroideries. She thought they had a sense of intimacy and strength without being overpowering. She has an interest in mountains how they have a peak but never can get to the peak but be on the ledge like a twilight zone with love, how your last adventure is with yourself. She learnt about bronzing and artwork in her new pieces, it was like going back to school again. She spoke of her sculptures how she invokes a really passionate expression, as you can see the marks where her hands have been showing her personality and touch. She has a desire for people to understand her involvement in the work. Some drawings are her, coming of age, relating to herself and for how you are in your mind to see yourself physically.
Library Book Research
"Mobile, The art of portable Architecture" Foreword by Andrei Cordrescu, Edited by Jennifer Seigal
"Portable Architecture - and unpredictable surroundings" Pilar Echavarria M
"The magic of tents transforming space" Alejandro Bahamon
Sculpture Tutor: Karen Tang. Synapsid, 2014.
Sculpture Tutor: Karen Tang. Synapsid, 2014.
The piece was fun as you were allowed to play on it. I felt I became part of the sculpture and like it had transformed into part of a performance piece. It was enjoyable to interact with and view the sculpture and its detail up close. It transmitted energy and excitement.
Start of the gallery : Volumes Project, Conceived by Frank Bock, Nicola Canibere and Martin Hargreaves with performances devised by invited artists Neil Callaghan and Simone Kenyon, Katye Coe, Nicola Canibere, Charlie Morrissey, Florence Peake and Rachel Vonmoos. In an era when most of us spend so much of our time in the virtual and digital worlds, Volumes Project focuses on the physical body as a means of exploring actual space. In investigating the displacing effect of dance and choreography, Volumes Project ask what other kinds of staging are possible and what other places can be proposed where bodies might meet each other. Normally only one performance will have a presence at any one time.
Works displayed in Mirrorcity
Works displayed in Mirrorcity
Walter Benjamin- The Arcades
I read the text on Moodle. It was well written and inspiring to read. It was interesting to imagine that a space can have such profound meaning, that an experience can be imbedded. I thought the opening sentence was very powerful : "Streets are the dwelling place of the collective." It makes me think that we can linger soaking up the meaning, prosperity and the intelligence of a place. It makes us begin to think about not the making of the work but the concept and importance of the space that we exhibit in.
Thomas Demand is primarily a sculptor. His works are 1:1 prints of highly realistic, life-sized models and sets painstakingly crafted in the studio out of paper and cardboard, which he photographs and then destroys. His interest focuses on the scenes of events that have never been entirely clarified and retain an aura of mystery in the collective memory. Embassy (2007), for example, is a series devoted to the embassy of Niger in Rome, from which official stamps and notepaper were stolen and used to fabricate documents providing the George W. Bush administration with supposed evidence that Saddam Hussein was in possession of weapons of mass destruction. Tunnel (1999) instead features the Pont de l’Alma underpass in Paris where Lady Diana and her companion lost their lives.
Presidency was commissioned by the New York Times Magazine, which published the frontal image of the desk in the Oval Office on its cover in November 2008, immediately after the presidential elections. The image created by the artist does not, however, offer any clue as to the identity of the president. Is the leather armchair still occupied by George W. Bush or does Barack Obama sit there now? Even though we do not know, however, the empty room constitutes a symbol of political and ideological decisions of the utmost importance. The question is thus raised of the connection between the Oval Office and the power it embodies. Thomas Demand addresses not only the illusion of power but also the illusory authenticity of photography in a society of communication. The fact that it was a weekly news magazine that commissioned the work from an artist like Demand adds a further significant element. Demand plays with representation as simulation that comes to replace the reality represented.
In actual fact, he works almost exclusively on images of places he has never visited in person. These are supplied by the mass media, of which he himself is a consumer, and firmly imprinted in the collective memory. At the same time, however, he eliminates every trace of the events and the figures involved. The scenes are represented in a deliberately neutral way, stripped of any detail that might gratify the voyeuristic appetites of the public. These images possess symbolic value due to events that the artist does not, however, show us. It is the viewer that must be aware of the facts in order to give the images their narrative dimension. Demand thus undertakes a reflection on individual moments in our recent history through reiteration, representation at two removes.
Presidency II, 2009
Presidency II, 2008
210 x 300 cm
Courtesy Hamburger Kunsthalle, Dauerleihgabe der Stiftung zur Förderung der Hamburgischen Kunstsammlungen und der Montblanc Kulturstiftung
© Thomas Demand, VG Bild-Kunst, Bonn/SIAE, Roma
Dispicable Me (Inspiration)
Despicable Me Plot
The Great Pyramid of Giza is a significant landmark of Egypt that was stolen by Vector.
Vector, sometime in 2012, managed to quietly remove the Great Pyramid from its foundations. To make sure no one noticed, he replaced it with an inflatable replica. Vector then managed to put the Pyramid in his backyard.
Eventually, a young boy named Justin accidentally fell into the replica, showcasing the villain's deed. This theft would cause another villain, Felonius Gru, to put into action his long-time plans to steal the Moon.
Stolen Fragments of Great Pyramid Return to Egypt
Stolen fragments of the Great Pyramid of Giza (also known as Pyramid of Cheops) have been returned to Egypt, Art Daily has reported. The fragments were allegedly taken by German archaeologists last year.
German authorities returned the missing parts to the Egyptian foreign ministry last August, at the Egyptian embassy in Berlin. This week, according to the state news agency MENA, the Egyptian foreign ministry handed over the "samples stolen in the Cheops pyramid" to the antiquities ministry.
The former Egyptian antiquities minister, Mohamed Ibrahim, claimed last December that “German researchers, helped by an Egyptian guide, had taken samples of the stone, as well as fragments of a tablet bearing the name the Pharaoh of Cheops" from the pyramid, The Local reports.
The two accused researchers insist that they had been granted permission to visit the pyramid and take the fragments to Germany, where they were supposed to be analysized at a laboratory in Dresden to prove the theory that the pyramid was constructed over 15,000 years ago.
Despite pleading their innocence the pair were charged with removing pyramid samples in April 2013. The Germans were meant to appear alongside six Egyptians in a Cairo court on Sunday, but the trial was adjourned to November 8. One of the archaeologists, named Dominique Görlitz, labelled the case on social media as “unacceptable".
The 146 meter (480 ft) pyramid of Cheops, popularly known as the Great Pyramid and built approximately 4,500 years ago, is considered one of the Seven Wonders of the Ancient World.
" I can't even afford Paint"
Cheeta JamesGoogle pay 97$ per hour my last pay check was $8500 working 1o hours a week online. My younger brother friend has been averaging 12k for months now and he works about 22 hours a week. I cant believe how easy it was once I tried it out. This is wha I do......
Please Don't Select ONLY
I can't afford to be an artist
theartedge: During a recent gallery hop I overheard someone say "I can't afford to be an artist!". The statement was directed at the cost of oil paints. That public declaration -- along with a recent debate on FineArtViews -- made me think about how the average American uses money. I did some digging online... and discovered the following:
According to TIME - Moneyland...
The average costs related to using an iPhone in the US can easily top $1,900 per year. (Think of how many people use an iPhone today)
The average US household spends approx. $850 per year on soft drinks. (That does not include soft drinks purchased while on the road)
The average US worker spends more than $1000 per year on coffee. (That data did not include coffee made at home)
The average woman in the US will own over 469 pairs of shoes in the course of her lifetime. TIME, based on info from Glamour, estimates that the average women spends $25,000 on shoes over a lifetime. The average male sports fan spends nearly as much on pay-per-view events... boxing, wrestling, you name it.
With the above in mind... I would suggest that the average American CAN afford to explore art if he or she is willing to make a few sacrifices. One could easily afford art supplies -- and perhaps an art workshop or two (not to suggest that you need to take art workshops in order to be an artist) -- with a few deductions from the above. Sacrificing a few trivial pleasures in order to pursue something that will likely bring you more joy is a good investment.
If you happen to be an active artists... my guess is that you could go further with your work if you cut back on trivial spending -- make coffee at home instead of buying a daily cup at a fast-food joint... try a generic brand of soda instead of buying Pepsi... chip in with a few other people if you must watch a pay-per-view event. Food for thought.
Let's change the world for art students in 2014
The number of students applying to study creative arts at university is on the decline. According to the latest available data from Ucas, the number of applications fell 17% from 2011 to 2012.
In 2011, 303,204 applied, and 53,258 were accepted. In 2012, those numbers fell to 253,140 and 47,736, little surprise in a context of huge cuts to the Arts Council, high tuition fees and a cost of living crisis.
Unless they come from privileged backgrounds, art students battle to make ends meet. Viana Gaudino, a foundation student at Central Saint Martins, says: "Many of us are struggling with living costs. We are expected to pay for our own materials and many students cannot afford to use the best. This directly affects the standard of work being produced."
Gaudino stresses the urgent need for the government to provide grants to arts students. "Students from ordinary backgrounds simply cannot afford the cost of directly paying for their education. It would be great to see students from different backgrounds getting involved in design. For this to happen, we'd need to introduce a grant that covers the expenses of being at art school."
The national campaigns for fair pay in colleges and universities are being fought in art schools, too. With teaching budgets having taken a big hit in art and design, the national pay offer is highlighting a battle between staff and senior management. While art technicians and lecturers have been subject to 13% real terms pay cuts, vice-chancellors are still awarding themselves above-inflation pay rises.
Gaudino supported staff at her university who went on strike recently over pay cuts: "I hope students and staff continue to strike for fair pay and issues surrounding funding, so that 2014 will be a year of positive change in both further and higher education."
Kyran Joughin, a senior lecturer at University of the Arts London (UAL), shares these hopes: "I am forecasting unity among teachers and students. I really feel the momentum is there, as never before in the last 10 years."
I watched the protest live online, it was a weird experience to witness it as I was sitting down at home whilst it was happening elsewhere in London, I could see what was happening but no one could see me watching them, when their was action happening and the person with the camera started to run, I felt as though I was running, I felt I wanted to control the camera to look at sections for longer before moving on filming other sections. When there was confrontation happening amongst a crowd, the cameraman tried to film it and I felt as though I wanted him to rush through so I wouldn't miss anything and see the action.
Tacita Dean – Fatigues (2012)
Tacita Dean’s newest series of blackboard drawings, ‘Fatigues’ (2012), presents a discourse on the fragility of the human gesture. This vulnerability stands in the face of many things: it manifests in her delicate lines that describe the majesty of nature, in the almost insufficient marks that describe the epic troughs and crests of historical narrative. In this series of six multi-panel black boards, the Berlin-based British artist traverses the length of the Kabul River from its origins in the Hindu Kush down to Afghanistan’s capital. (Dean began on a filmic treatment of the subject matter, but her attempt to direct a local Afghan cameraman from afar did not work out.)
Tacita Dean – Fatigues (2012)
Nicholas Nixon, The Brown Sisters, 1975
The Brown Sisters, New Canaan, Connecticut
Oscar Muñoz, Línea del destino (Line of destiny). 2006, Single screen projection
Programmed alongside the 17th edition of ¡Viva! Spanish and Latin American Film Festival, this solo show from leading Colombian artist Oscar Muñoz features video installationBiografías (2002) and single screen projection Línea del destino (Line of Destiny) (2006).
Muñoz’ work explores universal themes of memory and human loss within the challenging socio-political situation in his native Colombia, and his evocative pieces trace the impact of years of conflict on his fellow Colombians.
Working across a variety of media that include: photography, printmaking, drawing, installation and moving image, Muñoz employs a range of unusual image-making techniques and materials to reflect the transient nature of memories.
For Biografías, Muñoz uses a screen-printing process and sprinkles coal dust on water to create portraits which, when filmed, produce images that slowly distort and wash away as the water is drained. These shifting and mutating images have hypnotic qualities that encourage viewers to question the permanence and immutability of the photographic image.
Oscar Muñoz, Línea del destino (Line of destiny). 2006, Single screen projection
Piero Manzoni Artist’s Shit 1961
In May 1961, while he was living in Milan, Piero Manzoni produced ninety cans of Artist's Shit. Each was numbered on the lid 001 to 090. Tate's work is number 004. A label on each can, printed in Italian, English, French and German, identified the contents as '"Artist's Shit", contents 30gr net freshly preserved, produced and tinned in May 1961.' In December 1961 Manzoni wrote in a letter to the artist Ben Vautier: 'I should like all artists to sell their fingerprints, or else stage competitions to see who can draw the longest line or sell their shit in tins. The fingerprint is the only sign of the personality that can be accepted: if collectors want something intimate, really personal to the artist, there's the artist's own shit, that is really his.' (Letter reprinted in Battino and Palazzoli p.144.)
It is not known exactly how many cans of Artist's Shit were sold within Manzoni's lifetime, but a receipt dated 23 August 1962 certifies that Manzoni sold one to Alberto Lùcia for 30 grams of 18-carat gold (reproduced in Battino and Palazzoli p.154). Manzoni's decision to value his excrement on a par with the price of gold made clear reference to the tradition of the artist as alchemist already forged by Marcel Duchamp and Yves Klein among others. As the artist and critic Jon Thompson has written:
Manzoni's critical and metaphorical reification of the artist's body, its processes and products, pointed the way towards an understanding of the persona of the artist and the product of the artist's body as a consumable object. The Merda d'artista, the artist's shit, dried naturally and canned 'with no added preservatives', was the perfect metaphor for the bodied and disembodied nature of artistic labour: the work of art as fully incorporated raw material, and its violent expulsion as commodity. Manzoni understood the creative act as part of the cycle of consumption: as a constant reprocessing, packaging, marketing, consuming, reprocessing, packaging, ad infinitum. (Piero Manzoni, 1998, p.45)
Artist's Shit was made at a time when Manzoni was producing a variety of works involving the fetishisation and commodification of his own body substances. These included marking eggs with his thumbprints before eating them, and selling balloons filled with his own breath (see TateT07589). Of these works, the cans of Artist's Shit have become the most notorious, in part because of a lingering uncertainty about whether they do indeed contain Manzoni's faeces. At times when Manzoni's reputation has seen the market value of these works increase, such uncertainties have imbued them with an additional level of irony.
Rubbish Seat. An eco-friendly seat, looks like a lot of rubbish to me?
What struck me about the people who sold me their signs was their willingness to let go of them. It was as if they had little attachment to them even though some signs had been with them for a long time. Of course, they needed the money. Many people would tell me they had made nothing that day. But I also think that those who possess little have less attachment to material things. They know what it's like to live with less.
Sign of the Times - Andres Serrano
Take a ticket stub or plane ticket or whatever to kinkos, have them blow it up, print it on that fabric transfer stuff and make this pillow
One of Katy Perry stalker
Meet Art Students, Les Coleman ( texts from book):
First Appearance of the week* what are we supposed to be doing?*Just before lunch Friday
Pot Noodle, Poisoning- I don't feel very well
Confronting the problem- I'm thinking of taking a year out
Art Rage- I can't wait for this course to end
Sunday Painter * My work won't be ready for the unit. Can I bring it in on Monday?
Life class- I can't get the proportions right
Nil by brush. I'm thinking of leaving the course.
Another book called : 'KILLING'
Red covered book, kept safe in a book case, easy to hold, feels fairly delicate. It has real leopard fur in it, that was taken from garments, so no animals were killed in the process for the intention of the book. It was very peculiar to touch the leopard fur, I didn't know what to think it was a very weird circumstance, I hadn't felt anything like it before. It reminded me slightly of my cats fur, but then they are related in the animal kingdom. each page was covered in leopard skins, there were only a few pages in the book. It's interesting as the book looks so boring from the outside you aren't expecting what is inside.
Book: Lars Arrhenius A Z by Geoff Ryman and essay by Andrew Wilson
*homeless man sleeps in sleeping bag doing 'ZZZ's'
*homeless man hungry
*homeless man gets dressed
*He needs money and is thinking about how hungry he is
*He sleeps as a number of people look at him and walk by
*He gets called names as he sleeps like 'rat'
Man in office, gets out gun to play with and have fun pretending he's a 'big man'
An old woman fell asleep with the TV on oblivious to the fact that Hard Core Porn has come on late at night and she is sleeping through it but her brain cells could be working and her unconscious mind taking in what's happening.
There was another book called: The Holy Bible. Every aspect of the book looked like the bible even the material of the pages that were used, but when you open it I saw that it was the complete works of Marcel Duchamp and showed many pictures of his art pieces over the years also written communication about his life and other aspects. It was worth £2,000 and there were only 3 copies, some were belonging to art galleries.
We weren't allowed to take photos, only use pencil, and we all had to leave our bags, for the safety of the books, but doing this created a nice viewing experience, it seemed more exclusive and exciting.
I like in his work how theres lots of colour, its messy, and theres lots to look at and focus on, there isn't one main focus point, but lots of interest. I like how he's created an environment and displayed objects in it how he wants, when the audience will step in the space and view it they will feel transported to a different climax and world.
Richard Jackson Beer Lamp
I love Jackson's work it's very humorous, and the simplicity in his style but the aesthetic appeal of being complex at the same time. The way he has a naked woman on the toilet but with the horses head is creative, and could be interoperated in various ways.
Art Review of Richard Jackson
Richard Jackson breaks a 20-year fast from solo gallery exhibitions in Los Angeles with an invigorating, over-the-top painting installation. Painting is asserted as delirious madness, as worthwhile for its irrational folly as for any more ostensibly sober reason.
At David Kordansky Gallery, Jackson built a large room from stretched canvas and painted the interior perimeter with a pastiche of Frank Stella's über-rational, late-1960s and early-1970s Minimalist "protactor" paintings. In the room's center, a life-size pink unicorn -- stock symbol of purity and grace -- is balanced upside down on its horn. Steadied by a doll-like sculpture of a little girl sporting a yellow smiley face and a Dutch worker's wooden clogs, they twirl on a mirrored turntable like some silent, diabolical music box.
Red, yellow and blue paint has sprayed from the unicorn's nether regions to splatter everything in sight. That includes an oversize jack-in-the-box, a clown sprawled inside an open closet, a rocking horse and a big, stunned baby. These elements, which recall sculptures by Mike Kelley and Paul McCarthy, elaborate themes of supposed childhood innocence that Jackson lampoons. A fury of raucous play lurks inside the claims of artlessness, just bursting to be unleashed.
The most divine spherical creation the gods created, let’s call it the head, was quickly given the body as a vehicle to facilitate his travel and participate in all possible movements, provided the most divine part governed all others.
The profile, let’s call it numisma, is, these days, a currency exchange, a symbol of wealth, power, social status or simply identity assertion. We know what the profile costs but do not know what it is worth.
Francisco Rangel- Bird Woman
Francisco Rangel- Caché
This description on her website was written in a different language unlike the previous description.
C’est au cours de mon adolescence que je découvris « l’Ange Bleu » (Der Blaue Engel,1930) à l’occasion d’un cycle de cinéma allemand organisé par le ciné-club de Quérétaro. Je me reconnus dans la salle de classe du professeur Unrath et de ses étudiants de lycée dessinant une caricature au tableau et regardant des cartes postales érotiques en cachette. Prenant le risque d’être découverts et jugés, ils regardent l’image glamoureuse et immobile d’une Marlène Dietrich qui espère récompenser la pulsion scopique du voyeur lorsqu’il décide de souffler pour écarter les fines plumes morales qui recouvrent le corps nu de la Diva « Lola », publicité du bordel « l’Ange Bleu ».
C’est un projet en interaction avec le spectateur, qui prend une décision de répondre à une pulsion, et choisit d’être lui-même.
Une série de Divas, une pudeur dépassée, une intimité partagée
Technique : huile sur table et sur toile, plumes de boas et aimant.
It was in my teens I discovered the "Blue Angel" (Der Blaue Engel, 1930) on the occasion of a German film series organized by the film club of Queretaro. I recognized in the classroom of the teacher Unrath and its high school students drawing a caricature on the blackboard and looking at erotic postcards secretly. Taking the risk of being discovered and prosecuted, they look glamorous and motionless image of Marlene Dietrich, who hopes to reward the scopic drive voyeur when he decided to blow away the fine for moral feathers that cover the naked body of the Diva "Lola", advertising the brothel "Blue Angel".
This is a project in interaction with the viewer, making a decision to answer a drive, and chose to be himself.
A series of Divas, an outdated modesty, shared intimacy
Technique: oil on table and canvas, feather boas and loving.
Katsura Funakoshi was born in Morioka City, Iwate Prefecture, Japan and lives and works in Tokyo. Known for his marble and camphor wood figurative carvings, Funakoshi’s work engages the past, fantasy and reality, and invites a loaded dialogue between East and West. His work expresses a mystery and spirituality rarely seen in contemporary sculpture. His subtly painted and polished figures are contemplative and contemporary, grounded by history while at the same time forging towards an imaginary future. Funakoshi has exhibited internationally for over forty years and has been included in prestigious exhibitions such as Documenta, The Venice Biennale, and the Sao Paolo Biennale. His work is included in numerous public collections including the Aichi Prefectural Museum of Art, Nagoya, Hiroshima City Museum of Contemporary Art, Museum of Contemporary Art, Tokyo, The Metropolitan Museum of Art, New York, and the Stadtische Museen Heilbronn, Germany.
Katsura Funakoshi- New Sculpture
Bound Women, Sacred Temples, Chiseled Males: 57th Street Art
April 29, 2008
New Sculpture April 3 - May 3, 2008
Greenberg Van Doren Gallery is pleased to announce a solo exhibition of recent work by Japanese artist Katsura Funakoshi. The exhibition Katsura Funakoshi: New Sculpture is on view from April 3 through May 3, 2008 and is accompanied by a fully illustrated color catalogue with an in-depth essay by art critic Phyllis Tuchman. Known for his marble and camphor wood figurative carvings, Funakoshi has exhibited internationally for over forty years and has been included in prestigious exhibitions such as Documenta, The Venice Biennale, and the Sao Paolo Biennale. This is the artist’s first exhibition in North America in 14 years and his first with Greenberg Van Doren Gallery.
The exhibition will feature seven carved sculptures and related drawings. Funakoshi’s recent output includes half-length busts and figures – both male and female – which carry disproportionately sized heads and/or limbs. To great poetic effect, the artist lengthens necks or displaces hands, arms, or ears so that they appear as wings or horns. With their lips closed and their eyes gazing straight ahead, these subtly painted and polished figures are contemplative and contemporary, grounded by history while at the same time forging towards an imaginary future. Funakoshi’s work engages the past, fantasy and reality, and invites a loaded dialogue between East and West. His work expresses a mystery and spirituality rarely seen in contemporary sculpture.
Katsura Funakoshi was born 1951 in Morioka City and currently lives and works in Tokyo, Japan. He was educated at Tokyo Zokei University and the Tokyo National University of Fine Arts and Music. Funakoshi has exhibited in galleries and museums in his over forty year career and his work is included in major museum collections such as the Metropolitan Museum of Art, New York, Museum Ludwig, Cologne, and the Museum of Contemporary Art, Tokyo.
Pascale Marthine Tayou- “Les Genies Bamileke” at D’Amelio Terras
Pascale Marthine Tayou- “Les Genies Bamileke” at D’Amelio Terras
Pascale Marthine Tayou
Born in Yaoundé, Cameroon in 1967, Tayou began his career in the 90's, when after abandoning his studies in law, he changed his birth name, Jean Apollinaire Tayou, taking a double name in the female form: Pascal(e) Marthin(e) and went abroad to begin his art career. His first exhibition was in 1994 in Cameroon, it was followed quickly by international recognition. Tayou refers to himself as "a lawyer not an artist" saying "I never intended to be an artist, but I'm curious." Currently living with his wife and children in Ghent, with trips to Africa, he says of leaving Africa "I never left my country, I am a traveler now." The work, like his name, is fluid, easily transitioning between sculpture, drawing, video, and installation ..... purposely mobile .... reflecting his double-life, traversing two diverse worlds. In addition to the theme of movement between cultures, Tayou's work also explores the issues of the "global village." Thought sold individually, the installation at the Armory features a "family" of four crystal figurative objects; individuals or twins ....... each different, but having a relationships to each other ..... a "community." The "birth" of the pieces began with Pascale drawing the "figures," followed by him supervising master glass artisans in San Gimignano, who blew the forms, and then he "dressed" them. They have strong connections to Tayou's "double-life;" the wrappings inspired by the earthy African elements of his childhood, and the figures made of glass, a European material, not part of the African culture. The combination of materials, shapes, colors, and textures; the use of worn bits of textiles, yarn, string, beads, wood, etc- are in direct opposition to the new, icey cold, flat, bright, clear, almost soulless crystal "bodies." But, when all the parts join together, the pieces come to life, ........ they are joyful, elegant, and humorous creatures. The last pieces of the "puzzle" are the pedestals, tree stumps that reference Tayou's African roots, where nature is a part of life. According to him, "Les Siamois, Fraternal Twins A&B, Twins & Co, is a plastic reflection on the magic that binds human beings to nature." - See more at: http://accessorator.com/2010/03/mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm/#sthash.1jQFGAnO.dpuf
Tony Oursler “Squish” and “Soot” at Lehmann Maupin
Always rooted in the medium of film, Tony Oursler conjures sculptural and immersive experiences using technologies that hark back to magic lanterns, Victorian light shows, camera obscura and auratic parlour tricks, but that also look forward to the fully networked, digitally assisted future of image and identity production. As a pioneer of video art in early 1980s New York, Oursler specialised in hallucinogenic dramaturgy and radical formal experimentation, employing animation, montage and live action: “My early idea of what could be art for my generation was an exploded TV.” From performative and low-fi beginnings, Oursler has developed an ever-evolving multimedia and audio-visual practice utilising projections, video screens, sculptures and optical devices, which might take form as figurative puppets, ethereal talking automatons or immersive, cacophonous environments. His enduring fascination for the conjunctions between the diametrically opposed worlds of science and spiritualism have allowed him to explore all kinds of occult and mystical phenomena, employing not just smoke and mirrors, but playing the role of circus showman and extricating the sham from the shaman. Oursler’s aesthetic and interactive technomancy reveals not only the ghosts in the machine, but the psychological impact of humanity’s headlong dive into cyberspace.
Tony Oursler lives and works in New York. Born in 1957, he graduated from the California Institute of the Arts and collaborated on early works with artists such as Mike Kelley. His museum exhibitions include Stedelijk Museum, Amsterdam (2014); Pinchuk Art Centre, Kiev (2013); ARoS Aarhus Kunstmuseum, Denmark (2012); Helsinki City Art Museum, Finland, Metropolitan Museum of Art, New York (2005); Kunsthaus Bregenz (2001); Whitney Museum, New York (2000) and Kunstverein Hannover, Germany (1998). In addition to participating in prestigious group exhibitions such as Documenta VIII and IX, Oursler’s work is included in many public collections worldwide, including the Hirshhorn Museum and Sculpture Garden, Washington, DC; Centre Georges Pompidou, Paris; Museum of Modern Art, New York; National Museum of Osaka, Japan; Tate Gallery, London; Van Abbemuseum, Eindhoven and ZMK/Center for Art & Media, Karlsruhe, Germany.
Joyceland in London 1981-2014
Studio accumulation from 1981 to present day
Joyce Pensato paints exuberant, explosive large-scale likenesses of cartoon characters and comic-book heroes. Her seemingly frenzied technique – actually involving the deliberate accretion of successive layers of bold linear gestures, rapid spattering and frequent erasures – results in alternately humorous and sinister imagery. While her prima facie subject matter ranges from Batman, The Simpsons and Mickey Mouse to Felix the Cat and Elmo from Sesame Street, her artistic progenitors include Alberto Giacometti, Andy Warhol, Jean-Michel Basquiat and Abstract Expressionists such as Jackson Pollock, Franz Kline and Philip Guston.
As well as excising her floating heads from the contexts of Gotham, Disneyland, Springfield or South Park, Pensato situates her figures in troubling psychological states and indeterminate spaces. The true source of their meaning is concealed, not only by successive sweeps of paint, but beneath the guileless grin of Donald Duck or the Caped Crusader’s eye-less mask. Taking much of her material from her surroundings in her hometown of Brooklyn, New York – from graffitoed walls to hand-scrawled shop signs – Pensato paints almost exclusively in shop-bought black and white enamel, while also employing charcoal and pastel for smaller-scale drawings. Recently Pensato has begun painting oversized murals, often taking weeks to complete, while there are also occasional leaps away from the monochrome world she generally inhabits into sporadic bursts of colour, especially silver and gold. Her first major exhibition in London is scheduled for March 2014 and Lisson Gallery is representing Joyce Pensato in collaboration with Petzel Gallery, New York.