Anish Kapoor & Conceptual Art.

Week 6- Anish Kapoor Sculpture

Anish Kapoor

Cloud Gate (2004), Millennium Park, Chicago

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

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

In Conceptual art, the idea or concept behind the work is seen as an alot more important aspect than the work itself. By this i mean that the idea in hand has been thought out and planned over and over again to defeat all problems that could appear in the process of making the work; the execution is a very simple and effortless process once all planning is complete. Anish intended on creating exactly what he has created, so i do consider this Conceptual Art. 

art in which the idea behind a particular work, and the means of producing it, are more important than the finished work" Conceptual Art Definition, from http://dictionary.reference.com/browse/conceptual+art, (2009)

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

'Cloud Gate' Kapoor (2004)

I consider this to be one of Kapoor's most successful works; 'Cloud Gate' (2004) is located in Chicago, costed $23 Million dollars and has to be washed twice a year to keep this visual effect at its peak. Cloud Gate is inspired by the form and shape of Liquid Mercury. 80% of the shape the Kapoor has created reflects only the sky, hence the name "Cloud Gate". It fits economically and does not interrupt the surroundings, and although its arch alone is 4 metres tall, it does not block off anything, yet gives a futuristic essence because of how distorted the reflection is. It enhances the area by reflecting everything that is within sight of the Cloud Gate, including the city skyline, as well as people who are to walk past. Kapoor has created a very powerful visual work, which also brings people together in ways because the size of it gives everyone the ability to interact with the reflection. 

'Tall Tree & the Eye' Kapoor (2009)

"Tall Tree & the Eye" (2009) is located in Bilbao, Spain. Like 'Cloud Gate', it consists of eighty spheres that are positioned on three different axis'. At first sight, this appears to be a whole heap of reflective spheres that defy gravity and give a visually interesting appearance. But what this actually is, is a constantly thought over, bulletproof illusion that brings alive the surroundings of the object and reflects them in a way that makes them appear to be constantly slipping, or pouring like 
water from a cup. Each sphere is positioned to create this effect, to a point in which if one sphere 
were to be moved, it could ruin the whole effect. Each reflection builds up and reflections transfer to  neighbours and different sections, until it reaches the top of the tower, being "the Eye" in the title. 

Anish Kapoor

Shooting into the Corner, 2008/2009

I chose this work because it is very unlike the other works that i have picked. "Shooting into the Corner" (2008, 2009) was a ongoing exhibition in which Anish fired  consists of a cannon developed by Kapoor together with a team of engineers. 11 kg balls of wax, into different corners across the room. In total, 20 tons of wax was fired throughout the exhibition. What powered the cannon, which was developed by Kapoor as well as a team of engineers, was a pneumatic compressor. What i like alot about this work is how Anish has simply fired wax at the wall, and has played no part in how the wax drips or appears, he merely fires wax at the wall. This is not only inspiring but very eye catching to, it is like giving the materials your hands, and the job of doing the work is given to the materials, rather than this concept depending on you applying the materials in a certain manner.

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

This large scale 'site specific' work was installed in an outdoor art gallery in the North Island called 'The Farm'. It was intended specifically for a 1000 ac farm owned by a man named Alan Gibbs.

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

As said in the previous answer, this work was done specifically for 'the Farm' which was a large outdoor art gallery on a 1000 acre farm, which is owned by Alan Gibbs. The title of the sculpture, came from the site it is in. The Farm, is located in Kaipara Bay, on the Kaipara Harbour; just north of Auckland, which makes it quite close to us. Because it was Kapoor's first outdoor sculpture in fabric, and on top of that the location was in direct route of high speed winds coming from the Tasman Sea, it needed to be suitable for the environment it was situated in and be able to withstand the high powered winds, as well as weather conditions that were to come. 

The work was fabricated in a dark red PVC coated custom polyester which was supplied by a Textile company that worked with Ferrari. What supports this work is two identical structural steel circular shapes that weigh over fourty tones each. Like many of Kapoor's other works, the intentions of Kapoor with this work were to play with the viewers mind.

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

Anish Kapoor

Shooting into the Corner, 2008/2009

As explained in Question 2, the ongoing exhibition "Shoot into the Corner" (2008, 2009) is my favourite work done by Kapoor. the reason for my interest in this is purely because of how the work is treated. Making sculptures takes time and care, and alot of thinking and development on ideas. The way Kapoor has worked in this exhibition however, is quite beautiful. The way the wax hits the wall with such anger, is such an expressive way of showing emotions. Painting a picture of a beautiful women requires skill and focus, but it is still beautiful. This on the other hand requires near no effort, but it is still beautiful. The concept of throwing your material at the canvas, and letting the materials take over from then on; there is an essence of pure beauty in this concept, which is why I chose this, I feel that this type of work is expressive in a whole different manner, and doesn't have a larger, but involves a more messy way of thinking.

Dismemberment of Jeanne d’Arc- 

Old Municipal Market Building Brighton

http://dictionary.reference.com/browse/conceptual+art

http://www.e-flux.com/announcements/anish-kapoor-shooting-into-the-corner-exhibition-lecture-new-publication/

http://www.anishkapoor.com/

http://gibbsfarm.org.nz/kapoor.php

http://gibbsfarm.org.nz/kapoorvideo.php
http://www.gladstonegallery.com/kapoor.asp
http://www.guardian.co.uk/artanddesign/kapoor

Blog 5 - Pluralism and the Treaty of Waitangi

Week 5 - Pluralism and the Treat of Waitangi

Pluralism and the Treaty of Waitangi

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

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

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

2. How would you describe New Zealand's current dominant culture?

New Zealand's culture is largely inherited from European and British Custom, combined with Maori and Polynesian tradition, amongst these we also have Chinese, and Indian so there isn't really a majorly dominant culture. The Maori, are known as the indigenous people of Aotearoa and first arrived here from their homeland of Hawaiki, over 1000 years ago on voyaging canoes (waka hourua). Today Maori people live all over New Zealand and are always involved in keeping their culture and language alive. Since the beginning of the Maori culture, the Marae has been used as a meeting place, as well as a cultural and spiritual place to seek guidance, just like other religions go to church. ( I'm not saying Maori do not attend churches).

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

Native Maori culture was the dominant culture of New Zealand, this was before the Treaty Of Waitangi was signed.

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

Just for people to live in New Zealand, is why it relates to us as artists and designers. New Zealand has a large background, the Treaty of Waitangi is obviously part of it so for us to uphold the meaning behind it is very important for us as New Zealanders. What us as artists & designers produce should be and represent what is respectful and what isn't in terms of being disrespectful or offending our New Zealand Culture.

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

'Globalization is the tendency of business, technologies, or philosophies to spread throughout the world, or the process of making this happen.' (A.L.V.C2 2012) 

Maori Culture being very unique to New Zealand is something that hasn't been seen by anyone before, which allows it to be presented to the world, as one would be put in the limelight. Although, Maori Culture can be used as marketing and tourism, because of its uniqueness. Which makes the Cultural Importance seem less.. important. This is why Globalisation can have a negative effect on 'regional diversity' that leads to a 'homogenized world culture'.

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

Shane Cotton's work have a more modern sense/interpretation to tradition Maori art in the works Welcome (2004) and Three Quarter View (2005). "Welcome" (2005) was part of Shane's second series of Lithographic prints, Gow Langsford Gallery said "delicately delineates images that have become synonymous with his work"/ His works involve what is known as "the conversational motif" that surrounds 'Marked Heads' or 'Upoko Tuhituhi'. When i look at Shanes work i can see references to after-life, death and heaven, this all can be seen as Cotton's attempt to keep the memory and identity of these ancestors from the Maori Culture alive. 

'Three Quarter View' features a 'Moko' which is a facial tattoo. The work is a artistic representation of the British flax trader Barnet Burns, and the decision that he made - to live amongst the Maori during the 1830's. What inspired Cotton to do this piece, was a 19th century etching that was done.Cotton has used 'Avian Imagery', we know this because of the Sparrow and the Golffinch being present in this work. 'The avian motif has particular importance in Maori cosmology and the goldfinch symbolises the passion of Christ in western religious art'. (Ron Radford, 2008).

His depiction greatly differs, however, Cotton removed anything that would show Burns' British Culture. To show this, he has only shown the silhouette of Barnet's face, with the skin and moko covering it in two different shades of blue.

 

'Welcome' (2004) Shane Cotton 

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

  

'Three Quarter view'(2005) Shane Cotton

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

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

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

Tony Albert's 'Sorry' (2008) represents a very important day in Australian History, this day marked the event of Kevin Rudd offering a formal apology to the Indigenous people of Australia; 13th February, 2008. He has made this work and achieved a visual expression of the emotion that was felt on the very day. In the work, features a range of different objects and facial expressions - these all represent the elements stolen from the Indigenous people. How ironic is that though, the most significant and joyous event in Australian history, was merely an apology. 

8. Define the term 'kitsch'.

'Something of tawdry design, appearance, or content created to appeal to popular or undiscriminating taste.' (kitsch, n.d.) Collins English Dictionary - Complete & Unabridged 10th Edition. Retrieved August 24, 2012, from Dictionary.com website:http://dictionary.reference.com/browse/kitsch

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

Both of these artists stand by in what they believe in. They both are making an attempt to make people around them see how important our Cultures are. They both are clearly proud of where they are from, and have full respect for all ethnicities, and see how different Cultures are important to different people. They have pointed out important, yet not well known events that have occured in History - These events, whether they occured in Australia, or New Zealand, or Europe. They all are important and should be respected. 

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

                                               Found kitsch objects applied  to vinyl letters | 99 objects :    

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

                                               Purchased 2008 with funds from James C Sourris through the 

                                               Queensland Art Gallery Foundation | Collection: Queensland Art Gallery

http://www.tourism.net.nz/new-zealand/about-new-zealand/maori-culture.html 

http://artsearch.nga.gov.au/Detail.cfm?IRN=142200 

http://cs.nga.gov.au/Detail.cfm?IRN=149998 

http://www.merriam-webster.com/dictionary/pluralism

http://artforum.com/picks/id=21935&view=print 

http://dictionary.reference.com/browse/kitsch 

http://21cblog.com/tony-albert-sorry-2008/ 

                              

Week 4 - Kehinde Wiley and inter-textuality

Week 4 - Kehinde Wiley and inter-textuality

Kehinde Wiley

1. Untitled (2009)

  

2. Untitled(2009)

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

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

Kehinde Wiley is a Gay American based painter born in Los Angeles, who has an international reputation. Wiley lives and practices between Beijing and Brooklyn.
This weeks ALVC class focuses on the Postmodern theme "INTERTEXTUALITY", re-read Extract 1 The death of the author on page 44 of your ALVC books and respond to the oil paintings of Kehinde Wiley. 


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

Kilbride (2011) explained, “at its most basic level intertextuality acknowledges the fact that no text is an island. All texts are intertexts in so far as they refer to, recycle and draw from other pre-existing texts”. 

Which basically mean's that every idea we see, everyday, whether it be in a Film, or it be in advertising, there are always those ideas that are seen as "Cliche" or have been done before. Intertextuality is the independent text/scene that represents or backs an idea up. So the viewer will see something and say "Hey, that must actually be true because that same idea was produced in another movie" not in those exact words, but if something is seen enough we become familiar with it so our only way to really be able to see intertextuality is simply by watching as many movies as possible, because everything these days are generally copies/re-do's of something that has been already made/ though of. 

If you build something up,an idea or design for instance. If it is done in different types of ways throughout years, it becomes more known and therefore stands in relation to these previous ways of showng these ideas. For instance holding eyes open is known as something generally quite scary but this is only because a Movie called "A Clockward Orange" (1971) featured somewhat dangerous therapy for inmates, involving their eyes being held open. It has now been seen in family shows for entertainment like The Simpsons, and Thriller Movies such as Final Destination 5 (2011)

2. Research Wiley's work and write a paragraph that analyzes how we might make sense of his work. Identify intertextuality in Wiley's work. 
Kehinde Wiley's portraits are based on photographs of Men who Kehinde has seen on the street. He has painted people from places such as Harlems 125th Street, and also from the South Central neighbourhood in which he was born. Kehinde takes these African-Americans, and has them pose as one would from the Renaissance. The reason for this is because in the Renaissance, Portrait's were generally only for very wealthy, classy people. so Wiley is giving this sense of wealth and importance, and giving it to ordinary, African-Americans (which I mean in no form of Racism). But as sad as it is, it's very unexpected to see African-Americans being painted in this way so when you see the painting it can be a mixture of humour, shock and confusion. 


We can make the connection between Wiley's ideas and Renaissance painters and say that this is Intertextuality, because he has taken ideas from something very famous, that made an impact on the world, and that also occured many years ago, and used this ideas of Importance in Portrait Painting to produce his own works, that feature people that do not seem to be seen as relevant or wealthy. But then we can only say that this is Intertextuality, if we all know the connections. If one were to come along and not have a clue about the Renaissance, then to the person it would not be Intertextuality until the connections are seen. Once the ideas can be seen, the connections can be made. 

Another Intertextuality, is that these Men in the paintings have not only been painted in a way that gives an essence of Importance and Wealth, but also in a way that says that these Men are actually Heroes. As if these men, should be looked up to because they are going to help us if something bad happens. There is a movie called Black Knight (2001), that has Martin Lawrence, a black American who was originally born in Germany, playing as the Knight. As cliche as it sounds, i'm sure you can picture what the movie would involve. But even though it is a comedy movie, the connection of a Heroic black American can be seen once it is addressed. 


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

Wiley has taken something that we have all seen at one point, in this case it is Portrait Painting's of wealthy, important white people, and replaced them with ordinary African Americans in the Painting. In my opinion this increases the Post Modernist ideas of Pluralism. This is because in a way the work is questioning the social issues which are around the White upper class. If this white man is important, why can't this African-American be important?

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

The way Wiley has positioned the Men over the Floral background gives a sense of confusion to the viewer. This is because we have never seen Portraits done in such a way; a floral background generally represents a higher class, classiness and importance because of the floral background being used in Renaissance Paintings. Now when we look at these works, we instantly see something different because of the colour contrast and the stance of the person, it confuses us because nobody has ever tried to show African Americans in such a professional manner,while in baggy clothing. 

It seems to be that Wiley has almost literally just swapped the President or something out of the Painting, and put in an African American because when we look at this, it doesn't seem right and that is what his purpose was, to show that our society is used to seeing people like this in the streets, not in a gallery. Which is sad, because that's racist beyond any possibility. But its true because of steriotyping, etc. These paintings generally look amazing. But because of Steriotypes, this Painting looks out of place, like there is something wrong with it.

5. Add some reflective comments of your own, which may add more information that
you have read during your research.

I think the way Wiley is producing these paintings is amazing. I think that him trying to raise questions about the world, and racism and stereotypes is great because one steriotype, is that all African Americans are gangsters, which is clearly wrong because Wiley is a Gay, African American Artist. I personally wouldn't put him into that catagory of being a Gangster.

Kilbride, L (2011). Byatt: Intertextuality. http://www.english.cam.ac.uk/cambridgeauthors/byatt-intertextuali
http://www.youtube.com/watch?v=N3vpFGbudpw&feature=related
http://www.npg.si.edu/exhibit/recognize/paintings.html
http://www.skny.com/artists/kehinde-wiley/

Week Three Blog, Hussein Chalayan and Post-Modern Fashion.

Week 3- Hussein Chalayan and Post-Modern Fashion

Hussein Chalayan

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

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

In my opinion, both "Afterwords" and "Burka" can be seen as an artistic design, and a design based for fashion purposes. Both are clearly wearable, but not to an extent where people would wear them out on a regular occasion. I think however that these two pieces are more so art, because they aren't made in a particular manner to be appropriate for daily use, they aren't very appealing in a fashion sense. I see these works more as art because Chalayan is taking one concept of design, and using it in a different way to create and reflect ideas from the work. Although fashion is considerably an Art, it has guidelines to stay in that catagory, once you use the concept of fashion to produce Art, I see it as more than fashion. There is more meaning behind it than a simple clothing outfit. The term fashion, is generally "for a popular style or practice, especially in clothing, footwear, accessories, makeup, or furniture" I guess the only thing that seperates Fashion & Art with these pieces, is the fact that with Fashion your creating something for a group of people purely because you want to design clothes, but with Art your taking that idea of clothing, and expanding the capabilities of your materials and ideas. But then again, Artists can really call art anything, why cant a Fashion Designer call anything Fashion?

Hussein Chalayan, Burka (1996) (99

6

                                                                 Hussein Chalayan, Afterwords, 2000

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

Using Art to sell product's is done not only by Chalayan, but by many artist's all around the world. Sarah Findlay, for example, worked with Becks, a type of beer company, to produce artworks on the beer bottles, but still incorporated the Becks logo on the bottle. Using art as a way of attracting attention to products is a very good way of selling products, aswell as gain the status of the Artist. The actual meaning to the works will not change for the Artist, depending on why it was made in the first place. If the Artist planned on creating a piece, and then was confronted by a company asking for the artwork to help sell their products, the product would have to reflect on the Artwork for it to make sense to the Artist. But if an Artist is asked to create an Artwork, purely for a product sale, then the Artworks meaning is probably already in the product. So it really depends on the Artist in the end. Even if you can see that the meaning has been taken away, you would have to speak with the Artist to clarify whether it is there or not. 

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

It's quite hard to distinguish some art movements in this piece "Absent Presence" but one movement that is clear and easy to see is Post Modernism. The reason for me thinking this, is because Chalayan's film show's a Biologist helping to examine the DNA, which shows an interest in modern technology, post modern ideas in social change can be also seen in this work. 

by m

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

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

In my opinion i think that an Artwork holds alot more value when it is done only by the Artist him/herself, rather than having a group of workers helping to produce it. I feel this way because when your creating a piece of art, you have a vivid image in your head that you can only portait as an exact idea. So when you go to tell others to make this image in your head, they will have different interpretations of it, as well as different skill levels. Personally i would never have others helping me make my Art, but I think that if it were to be important to have people help yo at any time, it would be at a time where you are making a mass-production of the same work, for instance a t-shirt print. 

http://library.thinkquest.org/J002932/What%20is%20Fashion.html

http://fashion.about.com/cs/historycostumes/a/whatisfashion_2.htm

www.google.co.nz/url?sa=t&rct=j&q=&esrc=s&source=web&cd=3&sqi=2&ved=0CHYQFjAC&url=http://www.vogue.co.uk/fashion/autumn-winter-2012/ready-to-wear/hussein-chalayan&ei=wdgqUOHwH-iciAe1wIDoAg&usg=AFQjCNF8CfjHgTuT2w6UWv1IXCzzFXSSIw&sig2=EV5RY1-NX2ENl93wSu1xyQ
http://dictionary.reference.com/browse/fashion
http://definefashion.tumblr.com/
http://www.interviewmagazine.com/art/hussein-chalayan-beyond-limitations
http://www.imdb.com/title/tt0768786/
http://www.galerist.com.tr/artist/huseyin-caglayan/biography/