tag:blogger.com,1999:blog-35753107527732738522024-03-14T16:36:26.432+13:00Le CADI et MoiKTDhttp://www.blogger.com/profile/10564552341896037366noreply@blogger.comBlogger13125tag:blogger.com,1999:blog-3575310752773273852.post-79653033749202697402011-09-01T19:21:00.000+12:002011-09-01T19:21:09.858+12:00Week 6- Anish Kapoor Sculpture<span style="font-family: "Calibri", "sans-serif"; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-NZ; mso-ascii-theme-font: minor-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ; mso-hansi-theme-font: minor-latin;"><strong>Celebrated for his gigantic, stainless steel <i>Cloud Gate </i>sculpture in Chicago’s Millennium Park, Anish Kapoor is changing the cultural environment with his public works. </strong></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-G3OnIYjOxWo/Tl8wc4ke_5I/AAAAAAAAAGM/Inw3_ao_7IY/s1600/anish-kapoor5.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="287" src="http://4.bp.blogspot.com/-G3OnIYjOxWo/Tl8wc4ke_5I/AAAAAAAAAGM/Inw3_ao_7IY/s320/anish-kapoor5.jpg" width="320" xaa="true" /></a></div><br />
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<span style="font-family: "Calibri", "sans-serif"; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-NZ; mso-ascii-theme-font: minor-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ; mso-hansi-theme-font: minor-latin;"><span style="font-family: "Calibri", "sans-serif"; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-NZ; mso-ascii-theme-font: minor-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ; mso-hansi-theme-font: minor-latin;"><em>Cloud Gate </em></span><span style="font-family: "Calibri", "sans-serif"; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-NZ; mso-ascii-theme-font: minor-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ; mso-hansi-theme-font: minor-latin;">(2004)<i>, </i>Millennium Park, Chicago</span></span><br />
<span style="font-family: "Calibri", "sans-serif"; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-NZ; mso-ascii-theme-font: minor-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ; mso-hansi-theme-font: minor-latin;"><span style="font-family: "Calibri", "sans-serif"; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-NZ; mso-ascii-theme-font: minor-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ; mso-hansi-theme-font: minor-latin;"><div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-outline-level: 3;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">Celebrated for his gigantic, stainless steel <i>Cloud Gate </i>sculpture in Chicago’s Millennium Park, Anish Kapoor is changing the cultural environment with his public works. <br />
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.</span></b></div><div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-outline-level: 3;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"><span style="mso-spacerun: yes;"> </span>“</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">’Conceptual Art’ is a contemporary form of artistic representation, in which a specific concept or idea, often personal, complex and inclusive, takes shape in an abstract, nonconforming manner, based upon a negation of aesthetic principles</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">” <span style="mso-spacerun: yes;"> </span>(‘Conceptual Art,’ 2011). Artists do not set out to paint or make a certain thing with a particular form but to use mediums to express a concept or idea. I have seen this work before when looking at out studio special brief and think that Kapoor’s work is conceptual sculpture art as well as playing on architecture and visual in the use of the reflective material.<span style="mso-spacerun: yes;"> </span>Its dramatic size draws attention to it and viewers can see it and be a part of it in the same instant by looking at their reflections in the shiny surface.<span style="mso-spacerun: yes;"> </span>I think it would look awesome from above in one of the Chicago office buildings seeing the mirror image of the sky and buildings around it from above.</span></div><div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;"><br />
</div><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Calibri", "sans-serif"; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-NZ; mso-ascii-theme-font: minor-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ; mso-hansi-theme-font: minor-latin;">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.</span></b><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-ePCKM_CKBu0/Tl8wkH5_r3I/AAAAAAAAAGk/jsF8FqehEKs/s1600/anish-kapoor-royal-academy.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-ePCKM_CKBu0/Tl8wkH5_r3I/AAAAAAAAAGk/jsF8FqehEKs/s320/anish-kapoor-royal-academy.jpg" width="237" xaa="true" /></a></div><br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Calibri", "sans-serif"; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-NZ; mso-ascii-theme-font: minor-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ; mso-hansi-theme-font: minor-latin;"></span></b><br />
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<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-outline-level: 3;"><em><span style="font-family: "Calibri", "sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Tall Tree & the Eye</span></em><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">, 2009, Stainless steel and carbon steel</span><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"></span></b></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">Tall Tree and The Eye is a sculpture made of 80 spheres around 3 axes. The polished mirror-like surfaces of “e</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">ach sphere simultaneously reflects itself, its neighbours and all the components that make up the tower</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">” (“Tall Tree and the Eye,” 2011). I really like the reflective qualities of Kapoor’s artworks and the scale of them. The idea of nature and how things appear is shown and how they have been arranged to reflect themselves, the viewer and their surroundings is amazing and thoroughly planned. It reminds me of science and chemistry particles and at the same time makes me think of balloons at a fair. “</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Though it is a very large piece of sculpture it comes across as somehow weightless and ephemeral” </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">(“Tall Tree and the Eye,” 2011).</span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></div> <br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-AyXBc5lKkBA/Tl8wo9T2Y7I/AAAAAAAAAGw/wLG4dy-rtPE/s1600/untitled.bmp" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="237" src="http://1.bp.blogspot.com/-AyXBc5lKkBA/Tl8wo9T2Y7I/AAAAAAAAAGw/wLG4dy-rtPE/s320/untitled.bmp" width="320" xaa="true" /></a></div><br />
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<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><em><span style="font-family: "Calibri", "sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Yellow</span></em><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">, 1999, Fibreglass and pigment</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Yellow is “a </span><span lang="EN" style="mso-ansi-language: EN; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">six-square-meter disc made from fiberglass and covered in 12 coats of yellow paint”</span><span lang="EN" style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">(“Anish Kapoor...Academy,” 2011).</span><span style="mso-ansi-language: EN; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"> <span lang="EN">It tricks the eye at first appearing to be a smooth surface that is actually in fact a concave void at the center. Kapoor says his work as an artist is to make discoveries (Youtube).His works are always different but have similar ideas and he often plays with color as not just the surface but as ‘stuff’ like a material in itself. To him Yellow is like a monochromatic painting. </span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Our entire field of vision is taken up with the singular experience of colour. As we look at this work the boundaries are blurred between what we know and what we perceive. It seems to go deeper and stretch beyond its sculptural confines (“Yellow,” 2011). I like the trick on the depth of this artwork and the use of such a bright colour as a material not just a substance applied and the varying tones he uses. <em><span style="font-family: "Calibri", "sans-serif"; font-style: normal; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></em></span></span></div> <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-e5B-prPxfzI/Tl8xt7rf5tI/AAAAAAAAAG0/MLaLH_GhGLg/s1600/Anish-Kapoor-at-the-Royal-002.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="239" src="http://2.bp.blogspot.com/-e5B-prPxfzI/Tl8xt7rf5tI/AAAAAAAAAG0/MLaLH_GhGLg/s320/Anish-Kapoor-at-the-Royal-002.jpg" width="320" xaa="true" /></a></div><br />
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<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">Greyman Cries, Shaman Dies, Billowing Smoke, Beauty Evoked. </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">This set of sculptures follow Kapoor’s ideas of art without the use of the human hand to make art the goes “beyond expression” (Luca, 2009). </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The works were made using CAD and never touched/moulded by the human hand meeting Kapoor’s idea for this series of artworks. They crowd the room almost completely forcing the viewer to slide beside them. <span style="mso-spacerun: yes;"> </span>They appear as coils of snakes, intestines, spaghetti and other piled up thin strings. I like that they have never been touched by the human hand and the contrast of the folds and creases in the material.</span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"></span></div><br />
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<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-outline-level: 3;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">3. Discuss the large scale 'site specific' work that has been installed on a private site in New Zealand.</span></span></b></div><div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-outline-level: 3;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">4. Where is the Kapoor's work in New Zealand? What are its form and materials? What are the ideas behind the work?</span></span></b></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-nuflQ95S6mg/Tl8wnDG31bI/AAAAAAAAAGs/Ohr7OEm7ZD0/s1600/full_0110_sk_3.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="132" src="http://1.bp.blogspot.com/-nuflQ95S6mg/Tl8wnDG31bI/AAAAAAAAAGs/Ohr7OEm7ZD0/s200/full_0110_sk_3.jpg" width="200" xaa="true" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-7fkGoUfI9Mc/Tl8wjpi9lpI/AAAAAAAAAGg/ySxRFyehtxE/s1600/Anish%252520Kapoor%252C%252520Untitled%2525202009%252C%252520photo%252520by%252520Rob%252520Garrett%252520P1130837.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-7fkGoUfI9Mc/Tl8wjpi9lpI/AAAAAAAAAGg/ySxRFyehtxE/s200/Anish%252520Kapoor%252C%252520Untitled%2525202009%252C%252520photo%252520by%252520Rob%252520Garrett%252520P1130837.jpg" width="150" xaa="true" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-o5USXnd1KAY/Tl8wjB_q8NI/AAAAAAAAAGc/quGDOvvLcmc/s1600/654691-anish-kapoor-039-s-untitled.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="133" src="http://3.bp.blogspot.com/-o5USXnd1KAY/Tl8wjB_q8NI/AAAAAAAAAGc/quGDOvvLcmc/s200/654691-anish-kapoor-039-s-untitled.jpg" width="200" xaa="true" /></a></div><br />
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<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">This work is an installation for “The Farm”, a private outdoor art gallery in Kaipara Bay, north of Auckland. Kapoor often creates outdoor sculptures as with the case with his first outdoor fabric sculpture. “it </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">is designed to withstand the high winds that blow inland from the Tasman Sea off the northwest coast of New Zealand’s North Island”</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"> (“Anish Kapoor...New Zealand,” 2011). <span style="mso-spacerun: yes;"> </span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">It is 85metres long and consists of two elliptical steel rings (one vertical, one horizontal), 27 metres across with 32 cables providing displacement and deflection resistance to the wind loads. </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">It is covered in a custom </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">deep red PVC-coated polyester fabric by Ferrari Textiles that weighs 7,200kg alone (Kapoor Sculpture,” 2009).</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"> It was created with the idea of enhancing views of the harbour to the west and mountains to the east channelling the forces of water, air and rock (Garrett, 2009). It reminds me of red blood cells and veins with a membrane like quality to it that Kapoor describes as being </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">“rather like flayed skin” (</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">Garrett, 2009). </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"><span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">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?</span></b><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">I am personally attracted to the aesthetic of Kapoor’s works, specifically the ones with reflective surfaces and shiny properties to the materials he uses. I think my favourite would have to be the sky mirrors. The scale of the 35-foot-diameter concave mirror of polished stainless steel is breathtaking. I like the idea of the concave side reflecting upwards and showing the sky and clouds and the convex side angled down showing people and viewers around it. The idea of it changing throughout the day and night is intriguing as the artwork will never look the same twice reflecting the changing environment from season to season. I love the fact that this sculpture isn’t permanent and can move around and be placed just about anywhere.</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><br />
</div><div class="MsoListParagraphCxSpFirst" style="line-height: normal; margin: 0cm 0cm 0pt 36pt; mso-add-space: auto; mso-list: l0 level1 lfo1; mso-outline-level: 3; text-indent: -18pt;"><span style="color: #666666; font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-fareast-language: EN-NZ;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><b style="mso-bidi-font-weight: normal;"><span style="color: #666666; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">Conceptual Art (retrieved 31August 2011). </span></span></b><a href="http://www.caroun.com/art/conceptualart/conceptualart.html"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">http://www.caroun.com/art/conceptualart/conceptualart.html</span></span></b></a><b style="mso-bidi-font-weight: normal;"><span style="color: #666666; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;"> </span></span></b></div><div class="MsoListParagraphCxSpMiddle" style="background: white; line-height: normal; margin: 0cm 0cm 0pt 36pt; mso-add-space: auto; mso-list: l0 level1 lfo1; mso-outline-level: 3; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">Tall Tree and the Eye. (</span></b><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">Retrieved<b style="mso-bidi-font-weight: normal;"> 31 August 2011). </b></span></span><a href="http://www.guggenheim-bilbao.es/microsites/anish_kapoor/secciones/galeria_imagenes/galeria_imagenes_detalle.php?idioma=en&id_imagen=29"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">http://www.guggenheim-bilbao.es/microsites/anish_kapoor/secciones/galeria_imagenes/galeria_imagenes_detalle.php?idioma=en&id_imagen=29</span></span></b></a><span style="font-family: Calibri;"> </span></div><div class="MsoListParagraphCxSpLast" style="background: white; line-height: normal; margin: 0cm 0cm 0pt 36pt; mso-add-space: auto; mso-list: l0 level1 lfo1; mso-outline-level: 3; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span lang="EN" style="color: #282828; font-family: "Georgia", "serif"; mso-ansi-language: EN;">Anish Kapoor retrospective at the Royal Academy. (retrieved 1 September 2011). </span><a href="http://www.telegraph.co.uk/culture/culturepicturegalleries/6218813/Anish-Kapoor-retrospective-at-the-Royal-Academy.html?image=2"><span style="font-family: Calibri;">http://www.telegraph.co.uk/culture/culturepicturegalleries/6218813/Anish-Kapoor-retrospective-at-the-Royal-Academy.html?image=2</span></a><span style="font-family: Calibri;"> </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span lang="EN" style="color: #262626; font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"><a href="http://www.youtube.com/watch?v=umVSGErfg8E">http://www.youtube.com/watch?v=umVSGErfg8E</a> </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span lang="EN" style="color: #262626; font-family: Symbol; font-size: 10pt; mso-ansi-language: EN; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-fareast-language: EN-NZ;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;">Yellow. (retrieved 1 Sep. 1) <span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"><a href="http://www.guggenheim-bilbao.es/microsites/anish_kapoor/secciones/galeria_imagenes/galeria_imagenes_detalle.php?idioma=en&id_imagen=27">http://www.guggenheim-bilbao.es/microsites/anish_kapoor/secciones/galeria_imagenes/galeria_imagenes_detalle.php?idioma=en&id_imagen=27</a></span> <span lang="EN" style="color: #262626; font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="color: #444444; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">Luca. 2009, 18 Novemeber. </span><a href="" name="3727663807164827949"></a><span style="mso-spacerun: yes;"><span style="font-family: Calibri;"> </span></span></span><span style="color: #0d0600; font-family: Courier;">Anish Kapoor – Royal Academy of Arts. </span><a href="http://barnmotskogen.blogspot.com/2009/11/anish-kapoor-royal-academy-of-arts_18.html"><span style="font-family: "Verdana", "sans-serif"; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">http://barnmotskogen.blogspot.com/2009/11/anish-kapoor-royal-academy-of-arts_18.html</span></a></div><div class="MsoListParagraphCxSpFirst" style="line-height: 16.8pt; margin: 0cm 0cm 0pt 36pt; mso-add-space: auto; mso-list: l0 level1 lfo1; mso-outline-level: 3; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;">Anish Kapoor sculpture blends fabric and steel in New Zealand. (retrieved 1 Sep. 11). <span style="color: #666666; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"><a href="http://www.structurflex.co.nz/index.asp?s1=news&s3=Anish%20Kapoor%20sculpture%20blends%20fabric%20and%20steel%20in%20New%20Zealand">http://www.structurflex.co.nz/index.asp?s1=news&s3=Anish%20Kapoor%20sculpture%20blends%20fabric%20and%20steel%20in%20New%20Zealand</a> </span><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"></span></span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 16.8pt; margin: 0cm 0cm 0pt 36pt; mso-add-space: auto; mso-list: l0 level1 lfo1; mso-outline-level: 3; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">Kapoor Sculpture, Kaipara Harbour, NZ. 2009. </span><span style="mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"><a href="http://www.compusoftengineering.com/projects/kapoor-sculpture-kaipara-harbour-nz"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">http://www.compusoftengineering.com/projects/kapoor-sculpture-kaipara-harbour-nz</span></a></span><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"></span></span></div><div class="MsoListParagraphCxSpLast" style="line-height: normal; margin: 0cm 0cm 0pt 36pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="color: #333333; font-family: Symbol; font-size: 8.5pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="color: #666666; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">Garret, R. 2009. </span></span><em><span style="color: #333333; font-family: "Arial Narrow", "sans-serif"; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">The Farm: Alan Gibbs – businessman, collector and artists’ accomplice. </span></em><span style="mso-fareast-language: EN-NZ;"><a href="http://www.robgarrettcfa.com/thefarm.htm"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><span style="font-family: Calibri;">http://www.robgarrettcfa.com/thefarm.htm</span></span></a></span><span style="color: #333333; font-family: "Verdana", "sans-serif"; font-size: 8.5pt;"> </span></div><div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt 18pt; mso-outline-level: 3;"><br />
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</span></span>KTDhttp://www.blogger.com/profile/10564552341896037366noreply@blogger.com5tag:blogger.com,1999:blog-3575310752773273852.post-77536698416987935972011-08-25T22:56:00.000+12:002011-08-25T22:56:06.018+12:00Pluralism and the Treaty of Waitangi<div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="font-size: 11pt;"><span style="font-family: Cambria;">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;<br />
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1. Define the term 'pluralism' using APA referencing.</span></span></b></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><strong><span lang="EN-AU" style="font-family: "Cambria", "serif"; font-size: 11pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: minor-latin;">“</span></strong><span style="font-family: Cambria;"><span class="ssens"><span lang="EN-AU" style="font-size: 11pt; mso-bidi-font-family: Arial;">a state of society in which members of diverse ethnic, racial, religious, or social groups maintain an autonomous participation in and development of their traditional culture or special interest within the confines of a common civilization”</span></span><span lang="EN-AU" style="font-size: 11pt;"></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-AU" style="font-size: 11pt;"><span style="font-family: Cambria;">Pluralism (retrieved 24 August 2011). </span><a href="http://www.merriam-webster.com/dictionary/pluralism"><span style="font-family: Cambria;">http://www.merriam-webster.com/dictionary/pluralism</span></a></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-AU" style="color: black; font-size: 11pt;"><span style="font-family: Cambria;">“Inclusion of individuals of differing ethnicities, genders, ideologies, abilities, ages, religions, economic status and educational levels is valued. Pluralism honours differences within and between equitable groups while seeing their commonalities.”</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-AU" style="font-size: 11pt;"><span style="font-family: Cambria;">Cultural Context: Pluralism in Art (retrieved 24 August 11). </span><a href="http://www.design.iastate.edu/NAB/about/thinkingskills/cultural_context/pluralism.html"><span style="font-family: Cambria;">http://www.design.iastate.edu/NAB/about/thinkingskills/cultural_context/pluralism.html</span></a></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="font-size: 11pt;"><span style="font-family: Cambria;">2. How would you describe New Zealand's current dominant culture?</span></span></b></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-AU" style="font-size: 11pt;"><span style="font-family: Cambria;">I think New Zealand’s current dominant culture is varied though mainly considered to be white European/Pakeha. There are many immigrants in New Zealand from other countries in Asia, Europe and Africa. The Maori Tangata Whenua culture is used for tourism purposes and in advertising and promoting New Zealand to other countries but this does not really reflect the culture of New Zaealand today.</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="font-size: 11pt;"><br />
<span style="font-family: Cambria;">3. Before 1840, what was New Zealand's dominant culture?</span></span></b></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-AU" style="font-size: 11pt;"><span style="font-family: Cambria;">As we discussed in class, before 1840, Maoris were the dominant culture and people of New Zealand, with a population near 100,000 compared to the European settlers with around 200 people. Comparing this to today, the changes to the culture and way of life in New Zealand have been dramatic, greatly affected by the settlement of land and wars caused by new te4chnologies like the muskets that were introduced estimating to have killed 20000 Maoris due to the land disputes. </span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="font-size: 11pt;"><br />
<span style="font-family: Cambria;">4. How does the Treaty of Waitangi relate to us all as artists and designers working in New Zealand?</span></span></b></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-AU" style="font-size: 11pt;"><span style="font-family: Cambria;">It relates to us in what we call Kiwi or can associate with New Zealand and our works. We can relate to the treaty through the use of the New Zealand/Maori culture as a part of our reputation and creative process. The Maori culture is protected by the treaty yet it is used openly around the world without consideration from many. As designers and artists working in New Zealand we should be aware of what is right and wrong to use and produce in terms of abusing the Maori culture and traditions for the sake of art.<b style="mso-bidi-font-weight: normal;"></b></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="font-size: 11pt;"><br />
<span style="font-family: Cambria;">5. How can globalization be seen as having a negative effect on regional diversity in New Zealand in particular?</span></span></b></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span style="font-family: Cambria;"><span lang="EN-AU" style="font-size: 11pt;">Globalisation according to the Merriam-Webster dictionary is defined as “the</span><span class="ssens"><span lang="EN-AU" style="font-size: 11pt; mso-bidi-font-family: Arial;"> act or process of globalizing </span></span><strong><span lang="EN-AU" style="font-family: "Cambria", "serif"; font-size: 11pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: minor-latin;">:</span></strong><span class="ssens"><span lang="EN-AU" style="font-size: 11pt; mso-bidi-font-family: Arial;"> the state of being globalized; </span></span><em><span lang="EN-AU" style="font-family: "Cambria", "serif"; font-size: 11pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: minor-latin;">especially</span></em><span class="ssens"><span lang="EN-AU" style="font-size: 11pt; mso-bidi-font-family: Arial;"> </span></span><strong><span lang="EN-AU" style="font-family: "Cambria", "serif"; font-size: 11pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: minor-latin;">:</span></strong><span class="ssens"><span lang="EN-AU" style="font-size: 11pt; mso-bidi-font-family: Arial;"> the development of an increasingly integrated global economy marked especially by free trade, free flow of capital, and the tapping of cheaper foreign labour markets”.</span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span style="font-family: Cambria;"><span class="ssens"><span lang="EN-AU" style="font-size: 11pt; mso-bidi-font-family: Arial;">For regional diversity within New Zealand globalisation can have a negative effect in limiting regional cultures and traditions and altering them permanently, resulting in the loss of diversity. Art and design within in New Zealand differs due to available materials and inspirations in different environments but with globalisation any material wanted can be found and inspiration from environments via travel can affect ideas and works. This results in a loss of diversity and works that are identifiable with a region or area.</span></span><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="font-size: 11pt;"></span></b></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="font-size: 11pt;"><br />
<span style="font-family: Cambria;">6. Shane Cotton's paintings are said to examine the cultural landscape. Research Cotton's work 'Welcome'(2004) and 'Forked Tongue' (2011) to analyze what he is saying about colonialization and the Treaty of Waitangi. </span></span></b></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-HYb-mW4CqkY/TlYo4xq3RLI/AAAAAAAAAGI/vWL2SmSMycw/s1600/cotton-shane-welcome.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" qaa="true" src="http://1.bp.blogspot.com/-HYb-mW4CqkY/TlYo4xq3RLI/AAAAAAAAAGI/vWL2SmSMycw/s1600/cotton-shane-welcome.jpg" /></a></div><div style="text-align: center;"><span lang="EN-AU" style="font-family: "Cambria", "serif"; font-size: 11pt; mso-ansi-language: EN-AU; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">'Welcome' (2004) Shane Cotton </span></div><div style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-KKdEm17oc4E/TlYo3IUbQ0I/AAAAAAAAAGE/F-p3Q1IOwl8/s1600/Cotton_ForkedTongue1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" qaa="true" src="http://4.bp.blogspot.com/-KKdEm17oc4E/TlYo3IUbQ0I/AAAAAAAAAGE/F-p3Q1IOwl8/s1600/Cotton_ForkedTongue1.jpg" /></a></div><div style="text-align: center;"><span lang="EN-AU" style="font-family: "Cambria", "serif"; font-size: 11pt; mso-ansi-language: EN-AU; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">'Forked Tongue'(2011) Shane Cotton</span></div><div style="text-align: center;"><br />
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<div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span style="font-family: Cambria;"><span lang="EN-AU" style="font-size: 11pt;">With his works, Shane Cottons weaves and obvious enquiry into the nature of entwined Maori and Pakeha cultures (Daly, 2010). He tries to combine Maori and Pakeha sources to form a hybrid poetic painting that shows the shared experience of the two cultures within New Zealand. <span style="mso-spacerun: yes;"> </span>He questions the notion of cultural identity and the space between Maori and Pakeha perspectives. His work “has addressed historical contact” and “transitional cultural episodes” where the Maori culture has been introduced to the new settling European migrants (“Flight Paths,” 2007). Through his art Cotton reflects the changing times in New Zealand cultural landscape showing the “shift in the hierarchy of image” (“Flight Paths,” 2007) that was brought about through the colonisation. “Cotton's imagery usually carries heavy cultural weight, collapsing a lot of history into an image - a severed head means a great deal for a maoru artist whose work negotiates with colonial art and museum practices"</span><span lang="EN-US" style="color: #333333; font-size: 11pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"> (Mathews, 2005). </span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="font-size: 11pt;"><br />
<span style="font-family: Cambria;">7. Tony Albert's installation 'Sorry' (2008) reflects the effects of colonization 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. Define the term 'kitsch'.</span></span></b></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-8fgmY0a1lMQ/TlYo1-tKgaI/AAAAAAAAAGA/4WRjUh_yNIM/s1600/images.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" qaa="true" src="http://4.bp.blogspot.com/-8fgmY0a1lMQ/TlYo1-tKgaI/AAAAAAAAAGA/4WRjUh_yNIM/s1600/images.jpg" /></a></div><br />
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<div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span style="font-family: Cambria;"><span lang="EN-AU" style="font-size: 11pt;">Tony Albert’s installation ‘Sorry’ commemorates the apology on 13<sup>th</sup> February 2008 by the former Prime Minister of Australia, Kevin Rudd, to Indigenous Australians</span><span lang="EN-AU" style="font-size: 11pt; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"> </span><span lang="EN-US" style="font-size: 11pt; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">for the pain they have suffered as a result of ‘past mistreatment’ by the Government of Australia (“Sorry,” 2010). In this work Albert captures the emotion of the moment with a forest of faces from Australian history showing those who had stolen from them family, land and culture. the images that make up the word ‘sorry’ show aboriginals as the white society <span style="mso-spacerun: yes;"> </span>saw them; a part of the Australian outback and ‘landscape’ but they didn’t have to interact with. “</span><span lang="EN" style="font-size: 11pt; mso-ansi-language: EN;">Each represents a false identity, manufactured black faces made to fit white society</span><span lang="EN-US" style="font-size: 11pt; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">” (“Tony Albert Sorry,” 2011). The installation is simply a word though, a symbolic gesture, this word taken on “face value until real change is observed” (“Sorry,” 2010). Through the work Albert wished to give imagery life, to empower the aboriginals and in a way reverse racism turn it in a positive light to remain hopeful and strong for change and a better future.</span><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="font-size: 11pt;"></span></b></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="background: white; margin: 0cm 0cm 0pt;"><span lang="EN-AU" style="font-size: 11pt;"><span style="font-family: Cambria;">Kitsch is art (whether or not it is good art) that is deliberately designed to move us, by presenting a well-selected and perhaps much-edited version of some particularly and predictably moving aspect of our shared experience...." </span></span></div><div class="MsoNormal" style="background: white; margin: 0cm 0cm 0pt;"><span style="font-family: Cambria;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="color: black; font-size: 11pt;">Solomon, R. "On Kitsch and Sentimentality." <em><span style="font-family: "Cambria", "serif"; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Journal of Aesthetics and Art Criticism </span></em>49 (Winter 1991): 1-14. Retrieved from: </span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="color: #333333; font-size: 11pt; mso-bidi-font-family: Arial;"><a href="http://csmt.uchicago.edu/glossary2004/kitsch.htm">http://csmt.uchicago.edu/glossary2004/kitsch.htm</a></span></b></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="font-size: 11pt;"><br />
<span style="font-family: Cambria;">8. Explain how the work of both artists relates to pluralism.</span></span></b></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-AU" style="font-size: 11pt;"><span style="font-family: Cambria;">Both works relate to pluralism showing not just the dominant culture of their respective countries but the indigenous native peoples and some of their ways of life, traditions and culture. Both reflect on the past and history and how we can still see some of these elements in today’s society.</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-AU"><span style="font-family: Cambria;"><span style="mso-spacerun: yes;"> </span> </span></span></div><div class="MsoListParagraphCxSpFirst" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span lang="EN-AU" style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span lang="EN-AU"><span style="font-family: Cambria;">Flight Paths. (July 14, 2007). <i style="mso-bidi-font-style: normal;">The Listener, issue 3505. Retrieved from: </i></span><a href="http://www.listener.co.nz/culture/art/flight-paths/"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Cambria;">http://www.listener.co.nz/culture/art/flight-paths/</span></b></a></span></div><div class="MsoListParagraphCxSpMiddle" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span lang="EN-AU" style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span lang="EN-AU"><span style="font-family: Cambria;">Mathews, P. (August 6, 2005). Cover Story. <i style="mso-bidi-font-style: normal;">The Listener, issue 3404. </i>Retrieved from: </span><a href="http://www.listener.co.nz/culture/cover-story-5/"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Cambria;">http://www.listener.co.nz/culture/cover-story-5/</span></b></a></span></div><div class="MsoListParagraphCxSpMiddle" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span lang="EN-AU" style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Cambria;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU">Daly, J. (20 July 2010). </span></b><i style="mso-bidi-font-style: normal;"><span lang="EN-AU">Shane Cotton paintings examine the cultural landscape.</span></i><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU"></span></b></span></div><div class="MsoListParagraphCxSpMiddle" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span lang="EN-AU" style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span lang="EN-AU"><a href="http://www.nbr.co.nz/article/shane-cotton-paintings-examine-cultural-landscape-126412"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Cambria;">http://www.nbr.co.nz/article/shane-cotton-paintings-examine-cultural-landscape-126412</span></b></a></span></div><div class="MsoListParagraphCxSpMiddle" style="background: white; line-height: 12pt; margin: 0cm 0cm 4.5pt 36pt; mso-add-space: auto; mso-list: l0 level1 lfo1; mso-outline-level: 4; text-indent: -18pt;"><span lang="EN-US" style="color: black; font-family: Symbol; font-size: 10.5pt; mso-ansi-language: EN-US; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-fareast-language: EN-NZ; text-transform: uppercase;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Cambria;"><span lang="EN-AU" style="font-size: 11pt;">Sorry. (10<sup>th</sup> September 2010). </span><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU"><a href="http://21cblog.com/tony-albert-sorry-2008/">http://21cblog.com/tony-albert-sorry-2008/</a>, </span></b><span lang="EN-US" style="color: black; font-family: "Helvetica", "sans-serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ; text-transform: uppercase;"></span></span></div><div class="MsoListParagraphCxSpLast" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span lang="EN" style="font-family: Symbol; mso-ansi-language: EN; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Cambria;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU">Tony Albert Sorry. Retrieved 25/8/11. Retrieved from: </span></b><span lang="EN-AU"><a href="http://qag.qld.gov.au/collection/indigenous_australian_art/tony_albert"><b style="mso-bidi-font-weight: normal;">http://qag.qld.gov.au/collection/indigenous_australian_art/tony_albert</b></a>, </span></span><span lang="EN" style="mso-ansi-language: EN;"></span></div><br />
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KTDhttp://www.blogger.com/profile/10564552341896037366noreply@blogger.com9tag:blogger.com,1999:blog-3575310752773273852.post-61457053741971871392011-08-19T20:35:00.001+12:002011-08-19T20:37:22.062+12:00Kehinde Wiley's Intertextuality<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://1.bp.blogspot.com/_YrFxsvrOFhM/THHvF2TKl4I/AAAAAAAAAHc/n6Ndw61CgDQ/s1600/114_001.jpeg"><b style="mso-bidi-font-weight: normal;"><span style="color: windowtext; text-decoration: none; text-underline: none;"><span style="font-family: Calibri;">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.</span></span></b></a><span style="font-family: Calibri;"> </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">This week’s ALVC class focuses on the postmodern theme "INTERTEXTUALITY", re-read Extract 1 the death of the author on page 39 of your ALVC books and respond to the oil paintings of Kehinde Wiley.<br />
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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. </span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Intertextuality is ‘a mosaic of quotations; any text is the absorption and transformation of another” </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Kristeva. (1969). <i style="mso-bidi-font-style: normal;">Word, Dialogue, Novel.</i><span style="mso-spacerun: yes;"> </span>Chapter 4: Semeiotike. Paris: France.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-spacerun: yes;"> </span>Sourced from: Orr, M. (2003). <i style="mso-bidi-font-style: normal;">Intertextuality: Debates and contexts</i>. Cambridge, UK: Wiley-Blackwell. </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">“The fundamental and inescapable interdependence of all textual meaning upon the structures of meaning proposed by other texts” </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">Gray, J. (2006).<i style="mso-bidi-font-style: normal;">Watching the Simpsons: television, parody and intertextuality</i>. NY, USA: </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Taylor & Francis</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Intertextuality is the idea that everything is made up of and given meaning from what has been before regardless of real influence. Nothing is completely new and alone as everything is made up and shaped by previous texts. Meaning is derived from the reader’s referencing of texts seen before in reading a new text. Intertextuality credits the audience with the necessary experience/knowledge to make sense of the allusions in a text to other texts, offering them the pleasure of recognition. Regardless of the text having been influenced by something specific, texts or things seen or experienced by the viewer beforehand will influence them towards the new text, its meaning and their response.<span style="mso-spacerun: yes;"> </span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br />
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri;">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. </span></b></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Kehinde Wiley creates large, colourful, ornate paintings of young African-American men in theatrical poses based on well-known images of powerful figures from European portraiture. Through his work, Wiley addresses the image and status of African-American men in contemporary culture. <span style="mso-spacerun: yes;"> </span>He mixes techniques of renaissance paintings with hip hop subject matters, “lifting his subjects straight from the street and rendering them-complete with sneakers, track pants, tank tops, and team caps-in the visual language of classic European portraiture” (M.I.A, 2011). Pictorially, Wiley gives the authority of the historical sitters to his 21<sup>st</sup> century subjects collating modern culture with the influence of Old Masters. His large scale figurative paintings are often adorned with ornate gilded frames and illuminated with a barrage of baroque or rococo decorative patterns intermingling with the figures (“Painting: Kehinde Wiley,” 2011) . He also plays around with the traditional ideas of portraying masculinity and physicality whilst blurring the boundaries between traditional and contemporary modes of representation (“Kehinde Wiley,” 2011).</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">His work shows intertextuality through its similarities to Renaissance portraiture. In the Renaissance, portraits were done to show the power and wealth a person had and we get this sense of power through Wiley’s works. The flag in the red and black work references old Latin script at the same time as graffiti in the situation it is in. </span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-vB1OMffMjo8/Tk4fe6MiTjI/AAAAAAAAAF4/LWFY0TFGa2w/s1600/kehinde-41.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" qaa="true" src="http://2.bp.blogspot.com/-vB1OMffMjo8/Tk4fe6MiTjI/AAAAAAAAAF4/LWFY0TFGa2w/s320/kehinde-41.jpg" width="268" /></a></div><br />
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<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The casual clothing we see on the figures makes us picture them on the street not in a painting. Some aspects appear older renaissance influenced as in the </span><i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">Count Potocki</span></i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"> piece where the horse especially around its head and mane appear very 2D and flat compared to the rider who seems more 3D. This shows the influence of the old style of painting technique in Wiley’s works. </span></span></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-RZWn1wQbNrw/Tk4f0W_mDiI/AAAAAAAAAF8/gaFGBN3UI9U/s1600/artwork_images_424078385_428826_kehinde-wiley.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" qaa="true" src="http://2.bp.blogspot.com/-RZWn1wQbNrw/Tk4f0W_mDiI/AAAAAAAAAF8/gaFGBN3UI9U/s320/artwork_images_424078385_428826_kehinde-wiley.jpg" width="318" /></a></div><br />
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<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">I personally can see intertextuality in very clearly and for me specifically in the portrait of Ice T which reminds me of many of the portraits of Cosimo de Medici. It also reminds me of parodies of this painting I have seen before so I recognised the influence when I saw Wiley’s version of <i style="mso-bidi-font-style: normal;">Napoleon</i> by Ingres.</span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-fk-FArhiO1U/Tk4fOxLp7KI/AAAAAAAAAFw/cmkqquEG2aQ/s1600/Untitled.png" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="145" qaa="true" src="http://4.bp.blogspot.com/-fk-FArhiO1U/Tk4fOxLp7KI/AAAAAAAAAFw/cmkqquEG2aQ/s400/Untitled.png" width="400" /></a></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
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<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-spacerun: yes;"> </span>I also get a feeling of modernity from Wiley’s work especially after I read that he likes to “</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">throw away the old rules. This is something that, as artists, we constantly deal with-throwing away the past, slaying the father, and creating the new” </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">(M.I.A, 2011). </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">Intertextuality is also seen in his works Colonel Platoff on his charger (2008) in its allusion to the romantic portraiture of James Ward and </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Jacque-Louis David’s Napoleon on Horseback (1801. The work Sleep (2008) also alludes to Caravaggio’s Entombment of Christ (1602-03) through its use of the renaissance artist’s legendary chiarscuro lighting. Noticeably connections can also be drawn between rococo ornamentation and the hip hop industry’s flare for colour, ornamentation, theatrics and excess (New Museum, 2011). The intertextuality is easily identified in Wiley’s works and shows how the audience relies on previous knowledge and experience to read a work and give it meaning for themselves as well as the idea of pleasure in recognising ideas they have been exposed to before.</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">3. Wiley's work relates to next week’s postmodern theme "PLURALISM". Read page 46 and discuss how the work relates to this theme.</span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Through his work Wiley shows pluralism by not showing the ‘dominant’ culture of the white middle class citizen, instead portraying black males in their place. He has put the African American men into the place of their white counterparts showing them posed and regal instead of the expected tough dangerous exterior usually portrayed by artists depicting black men. </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Wiley’s work contrasts the grandiose past of the 18<sup>th</sup> century European leisure class with the excess found in hip hop culture where the iced out platinum chain reigns as the royal crest and the luxury SUV is the horse and carriage (Jackson, 2003). He has made his work depicting a different ethnicity than the norm and of subjects with different economic and educational backgrounds. He has made his work pluralist overlapping cultures - that of the European poses and backgrounds, combined with the African American figures - making his works able to communicate multiple identities in the one work. Wiley talks about walking into the LACMA to see Kerry James Marshall’s barbershop painting and how he noticed the absence of other black images in the Museum; he said there was something absolutely heroic and fascinating about being able to feel a certain relationship to the institution through the fact that these people happen to look like him on some level (Williams, 2011). Through his works Wiley has done this, his work connecting to people and as he says “that’s partly the success of my work – the ability to have a young black girl walk into the Brooklyn Museum and see paintings she recognizes not because of their art or historical influence but because of their inflection” (M.I.A, 2011). </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">4. Comment on how Wiley's work raises questions around social/cultural hierarchies, colonisation, globalisation, stereotypes and the politics which govern a western worldview. </span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Renaissance portraits were done to show someone’s wealth and power in society and Wiley has used his portraits in a similar way to make a statement about African American people in contemporary society. He is a rarity in the fine-art world portraying black figures over the usual white ones. He challenges the public perception of black males and strong American views on being overly fixated towards racial identity and identity in general (M.I.A, 2011). <span class="author6"><span style="color: windowtext; mso-ansi-font-size: 11.0pt; mso-bidi-font-size: 11.0pt; text-transform: none;">As an artist Wiley has always remained </span></span>committed to showcasing thorny issues of how gender and identity is presented against the backdrop of art history he interrogates the notions of race, privilege and class through his works commenting on the absence of the black figure not only from art history but also from a white patriarchal society (New Museum, 2011). “The absence of young black urban men in paintings says something about our society” (Jackson, 2003). Wiley says that there is a constant state for people of colour working in the fine arts, that regardless of what you do with the subject matter it always comes down to something so essential about skin colour, but the dream of the artist is always to go beyond that. To transcend expectations, to transcend class, race, gender, sexuality, class (Indrisek, 2008). <span style="mso-spacerun: yes;"> </span>“The portraits [Wiley creates] examine not only how African American males are viewed by others, but also how they see themselves. Wiley hones in on their desire to pose, to be seen, to keep it real, to be faux, but above all, to represent” (Jackson, 2003). </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">He addressed the issue of colonisation by using decorative patterning as a mode of inscribing African American figures into histories of art (Galt, 2011). His works show multicultural identities challenging the preconceived ideas of social hierarchy and racial stereotypes. He also challenges previous African American art, much having been a political type of art, “very didactic and based on the ‘60’s” and makes his art not constrained by the expectations that his work should be solely political (M.I.A, 2003)<span class="author6"><span style="color: windowtext; mso-ansi-font-size: 11.0pt; mso-bidi-font-size: 11.0pt; text-transform: none;"></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br />
5. Add some reflective comments of your own, which may add more information that you have read during your research.</span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">I love Kehinde Wiley’s works and the overlapping he does of the background decoration with his figures and subject matter. I like that he has challenged the social status of African American men putting them into poses and referencing European art making a statement but in a beautiful aesthetically pleasing not jus blatant ‘here is my point’ way. I love his painting technique and its similarities to Renaissance works as I think that time period has some of the most beautifully painted works. </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
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</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">M.I.A. (retrieved 18<sup>th</sup> August 2011). <span class="italname1"><em>Kehinde </em></span>Wiley. <a href="http://www.interviewmagazine.com/art/kehinde-wiley/"><i><span style="color: windowtext;">http://www.interviewmagazine.com/art/kehinde-wiley/</span></i></a> </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Painting: Kehinde Wiley (retrieved 18<sup>th</sup> August 2011). <a href="http://www.npg.si.edu/exhibit/recognize/paintings.html"><span style="color: windowtext; mso-fareast-language: EN-NZ;">http://www.npg.si.edu/exhibit/recognize/paintings.html</span></a></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">, </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; tab-stops: 169.95pt; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Kehinde Wiley (retrieved 17<sup>th</sup> August 2011). <a href="http://www.skny.com/artists/kehinde-wiley/"><span style="color: windowtext; mso-fareast-language: EN-NZ;">http://www.skny.com/artists/kehinde-wiley/</span></a></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">New Museum. (2011). Rethinking Contemporary Art and Multicultural Education. New York, USA: Routledge.</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Jackson, B. K. (2003, August). Visualise: B-Boy Stance. <i style="mso-bidi-font-style: normal;">Vibe Magazine</i>, 117</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Williams, M. (retrieved 17<sup>th</sup> August 2011). <i style="mso-bidi-font-style: normal;">The Transcontinental Breadth of a Contemporary Master. </i><a href="http://flaunt.com/features/114/kehinde-wiley"><span style="color: windowtext;">http://flaunt.com/features/114/kehinde-wiley</span></a>, </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://anthemmagazine.com/node/127"><span style="color: windowtext;">Indrisek</span></a>, S. <span style="mso-spacerun: yes;"> </span>(12/10/08). <i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-weight: bold; text-transform: uppercase;">Q&A with Kehinde WileY. </span></i><span style="mso-spacerun: yes;"> </span><a href="http://anthemmagazine.com/story/Q-A-with-Kehinde-Wiley"><span style="color: windowtext;">http://anthemmagazine.com/story/Q-A-with-Kehinde-Wiley</span></a></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Galt, R. (2011). <i style="mso-bidi-font-style: normal;">Pretty: Film and the Decorative Image. </i>New York, USA : Columbia University.</span></div>KTDhttp://www.blogger.com/profile/10564552341896037366noreply@blogger.com2tag:blogger.com,1999:blog-3575310752773273852.post-52272575441453153662011-08-07T21:42:00.000+12:002011-08-07T21:42:20.712+12:00Chalayan Art<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span lang="EN-GB" style="color: black; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;">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.</span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: black; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;">1. Chalayan’s works in clothing, like <i>Afterwords</i> (2000) and <i>Burka </i>(1996) are often challenging to both the viewer and the wearer. What are your personal responses to these works? Are <i>Afterwords</i> and <i>Burka</i> fashion, or are they art? What is the difference? </span></span></span></b></div><div class="MsoNoSpacing" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; margin: 0cm 0cm 0pt;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: black; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">Not all clothing is fashion, so what makes fashion fashion?</span></b><b style="mso-bidi-font-weight: normal;"><span style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"></span></b></span></span></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-VRtDKbOt7f8/Tj5WQPbS_OI/AAAAAAAAAFQ/Szg_1x9LOuk/s1600/12.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black; font-family: Georgia, "Times New Roman", serif;"><img border="0" height="248" src="http://4.bp.blogspot.com/-VRtDKbOt7f8/Tj5WQPbS_OI/AAAAAAAAAFQ/Szg_1x9LOuk/s320/12.jpg" t$="true" width="320" /></span></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-JOqYjzMIncE/Tj5W6UFQByI/AAAAAAAAAFY/rhQH-Va_fU4/s1600/hussein_chalayan_burka.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black; font-family: Georgia, "Times New Roman", serif;"><img border="0" height="206" src="http://1.bp.blogspot.com/-JOqYjzMIncE/Tj5W6UFQByI/AAAAAAAAAFY/rhQH-Va_fU4/s320/hussein_chalayan_burka.jpg" t$="true" width="320" /></span></a></div><br />
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<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;"><span style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">I think the nudity of Chalayan’s work <i style="mso-bidi-font-style: normal;">Burka</i> could offend some due to the cultural issues it challenges. The idea of a burka is to cover and conceal as a religious view and in what Chalayan has done, he has almost mocked it, reversing the concept and instead revealing more and more of the models in succession as they are seen. I personally love burkas and their cultural meanings and fabrics and how dedicated people are to their religious views in that they will even in other countries where wearing one is not required, they will still wear a burka as a sign of the morals and religious views. I like the idea of the <i style="mso-bidi-font-style: normal;">Afterwords</i> collection and the ideas around turning architecture into fashion. I think it is unique to create metamorphosing objects/garments that have multiple functions. Chalayan explores the “</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">concept of portable architecture, and was inspired by the necessity for people displaced by war and invasion to carry their homes when fleeing a country and becoming nomadic” (Fogg, 2007). </span><span style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">I think it shows many of the aspects we have discussed about post modernism and playing with art and crossing the line between many different genres of art – architecture, fashion, product, etc. However, I also think it employs many aspects of modernism in that his works in fashion are futuristic and consider what is to become of fashion not just in the here and now though his works address issues in the here and now – e.g. taking household items with you whilst you wear them for those moving around constantly i.e. during war. <span style="mso-spacerun: yes;"> </span>I think that the works are both fashion and art. They make statements in the way that fashion does through what someone wears and how they wear it as well as a having a meaning in an artistic sense that they question our previous methods of thinking about art and fashion.</span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;">We talked about earlier in the year how art is any creative process with development and ideas behind it and fashion meets this ‘definition’. The difference between fashion and art is minimal as fashion often has an artistic meaning behind it, whether it is the print from a t-shirt that is art in fashion or a patterned fabric that has art (print design)built literally into the fabric. </span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;">Not all clothing is fashion in a sense is an odd statement as all clothing is made with a purpose and people will have their own taste in fashion and choose one thing over another according to their fashion taste, making it a fashion decision and therefore of fashion.<span style="mso-spacerun: yes;"> </span>Pyjamas, for example, are not thought of as fashion to some but are still designed in a fashionable way that are functional and practical at the same time look good and so people wouldn’t be horrified to be seen in them. In this sense even pj’s make a fashion statement about that person though they may not generally considered fashion. </span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: black; font-family: Georgia, "Times New Roman", serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: black; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">2. Chalayan has strong links to industry. Pieces like <i>The Level Tunnel</i> (2006) and <i>Repose</i> (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?</span></b></span></div><span style="color: black;"></span><br />
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<span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;"><span style="color: black; font-family: "Calibri", "sans-serif"; line-height: 115%; mso-ansi-language: EN-NZ; mso-ascii-theme-font: minor-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-language: EN-NZ; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Chalayan’s work ‘<i style="mso-bidi-font-style: normal;">The Level Tunnel’</i> is a collaboration with Level Vodka which resulted in “</span><span style="color: black; font-family: "Calibri", "sans-serif"; line-height: 115%; mso-ansi-language: EN-NZ; mso-ascii-theme-font: minor-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">a 15m long, 5m high installation that can be experienced from the exterior or [from being] blindfolded on the inside” (“level tunnel installation,” 5/12/08). In the piece he plays with the experience of the sense. “The viewer is blindfolded and led into the installation, where they are confronted with sound created by a flute made from a vodka bottle...</span></span></span><br />
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<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;">“Further on, a breeze carries the scent of lemon and cedar as the visitors moves along the leather coated railings. A heart monitor is fitted onto the visitor and a display on the outside projects their heartbeat to external viewers” (“level tunnel installation,” 5/12/08). In the work people can directly experience it inside and others can indirectly experience it from the outside which adds a new dimension to the way in which people experience his art and through it Level Vodka. </span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;">I don’t think it impacted his work in too many ways other than that he had to incorporate the vodka bottle which he did as a flute and include the smell of one of the vodka flavours as he bumped it at the viewer. In a way the company has been incorporated into the artwork but it is still Chalayan’s. The patterns of the floor, ceiling and railings, remind me of the flow of liquid out of say a vodka bottle and is another way he has incorporated the company into his work. I think it is still art as advertising does include aspects of art and design which <i style="mso-bidi-font-style: normal;">The Level Tunnel</i> does do. </span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;"><i style="mso-bidi-font-style: normal;"><span style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">Repose</span></i><span style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">, again, is a work in collaboration with a company, this time being Swarovski. The work was about chandelier design as the company makes these products and Chalayan was told to “push the boundaries of traditional chandelier design... [to] celebrate the theme of light...[to] reinterpret the chandelier aesthetic” (“Swarovski,” 2011). Chalayan has worked with Swarovski on many occasions and together<span style="mso-spacerun: yes;"> </span>“have tried to create a new language which combines fashion, performance and design so that [they] can create something unique every time” (Aboutaleb, 2011). The piece created, <i style="mso-bidi-font-style: normal;">Repose</i>, comprised of 2 separate pieces in communication with each other.</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> “The first being an aeroplane wing which balanced against a wall, the large flap of the wing moving slowly up and down to reveal a long strip of Swarovski Elements lit by LEDs...</span></span></span></div><br />
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<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span style="color: black;"></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: black; font-family: Georgia, "Times New Roman", serif;"></span></div><span style="color: black;"></span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">“..This graceful movement was linked to the second piece in the installation – a digital clock set on a timed loop, indicating speed with the movement of the wing flap. The installation simultaneously encompassed the feeling of movement and stillness” </span><span style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">(“Swarovski,” 2011).</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> Chalayan has merged his aesthetic of architecture and technology with that of the Swarovski Crystals of jewels and chandeliers to create a piece that is distinctly him but also meeting the needs of the company. It is still his work and true to him again in my opinion only creating a piece that is influenced by the company’s product and not totally all about them. It changes the meaning slightly into advertising for the company too but is more of a material to be used as part of in this work to end up with a chandelier piece which isn’t only a chandelier with the inclusion of a digital clock. In my opinion Chalayan already challenges the concepts of art and design using architecture, technology and other areas in his works and so why not push further to change the meaning of his work to include advertising as well as all the other elements of his usual work. It is still a beautiful piece of art.</span><span style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: black; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">3. Chalayan’s film <i>Absent Presence</i> 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?</span></b><span style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"></span></span></span></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
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</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span lang="EN-GB" style="color: black; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;">Hussein Chalayan, still from <i>Absent Presence</i>, 2005 (motion picture) </span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;"><span style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">“The Absent Presence is an enigmatic story based on identity, geography, genetics, biology and anthropology” (“Hussein Chalayan,” 2011). “</span><span style="color: #333333; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">The film questions whether the extent to which identities can adapt to new environments” (“the absent Presence,” 2005).</span><span lang="EN-GB" style="color: black; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">The film and work, Absent Presence, by Chalayan could have been influenced by the enlightenment through the use of science and technology that makes up the ‘story’ in the film. Chalayan says that he’s been making films for the last few years that have added a new dimension to his work (“Hussein Chalayan,” 2006). The idea of taking the DNA and analysing it is very scientific and technological and the process in doing so could be seen as humanistic in the understanding of the world through scientific methods in this case to learn more about the wearer. The use of film alone is an influence from this movement in that it without it Chalayan could not make and produce his work in the media it is in without the technological advances made. This all links to the period of the scientific revolution as well with the technology and science aspects of the film and the media used as with Pipilotti Rist’s work ‘Ever is All Over’ that we looked at earlier in the year. I guess that Chalayan could also have been influenced by the industrialist movement in the way our clothes are machine made and we discard them once worn and people retrieve them for DNA extraction.<span style="mso-spacerun: yes;"> </span>He could be pointing out how our machines that make us things are making things that don’t last long but somehow we leave an everlasting impression on them in this case our DNA being left behind. With this impressionism could also have been an influence as with the DNA traces of our uses for the clothes and what we did in them are left on the garment giving an impression to the scientist about our lives in that moment at that time. </span><span style="color: #333333; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: black; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="color: black; font-family: Georgia, "Times New Roman", serif;">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 <i>Echoform</i> (1999) and <i>Before Minus Now</i> (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?</span></span></b><span style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><br />
<span style="color: black; font-family: Georgia, "Times New Roman", serif;">“Chalayan is </span></span><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">an internationally regarded fashion designer who is renowned for his innovative use of materials, meticulous pattern cutting and progressive attitude to new technology” (“Hussein Chalayan,” 2006). </span><span style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">His designs being HIS designs are the important thing in my opinion. They are his unique and original designs and art and though he may not be the one to complete them they are still his thought, concepts and ideas. Many famous paintings were not completed by the artist they are acclaimed to. Verrocchio had his pupils and apprentices finish some of his works and sometimes more was done by them than him but they are still an artwork credited under his name and of his design. For the ideas Chalayan has behind his works like many artists and designers he cannot always pull off what he wants done and the final product to look like. This is when it is right for a artist to pull in another to do some work for them to create a final work that is the best possible and correct to the idea rather than subpar due to the artist lacking skills in an area unfamiliar to them in which they wanna work with. The parts of Chalayan’s work that implements fashion, it is usual to offhand some work to others and this idea has in the last few decades become more common in art practices. Some paintings have a specific technique and way to create a painting as with Jackson Pollock which requires only the artist to be involved to get it right. The medium used also makes certain things needing to be done by one person and others by many as with silk screen prints of Andy Warhol. He does not have the equipment or time to do all of his himself as they can be on larger scales and need precise application of paint that others more experience can handle better. Areas in which artists and designers need others assistance in to help create their works is personally fine in my opinion e.g. I’m not immune to asking others on how to do something to apply to my own work. </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman"; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span>Fogg, M. (2007).Couture interiors living with fashion. Laurence King. London: UK</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;"><span style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman"; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span style="color: black;"><span style="background-color: white;">“Level Tunnel installation by Hussein Chalayan”. (5/12/08)</span> </span></span></span><a href="http://www.designboom.com/weblog/read.php?CATEGORY_PK=&TOPIC_PK=2858"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="color: black; font-family: Georgia, "Times New Roman", serif;">http://www.designboom.com/weblog/read.php?CATEGORY_PK=&TOPIC_PK=2858</span></span></a><span style="color: black;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;"> </span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman"; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span style="mso-fareast-language: EN-NZ;">Aboutaleb, B. (2001, 30<sup>th</sup> June). Hussein Chalayan’s First Retrospective. </span></span></span><a href="http://fashion.elle.com/fashion/2011/06/30/swarovski-and-hussein-chalayan-retrospective/"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="color: black; font-family: Georgia, "Times New Roman", serif;">http://fashion.elle.com/fashion/2011/06/30/swarovski-and-hussein-chalayan-retrospective/</span></span></a></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman"; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span style="color: black; mso-fareast-language: EN-NZ;">Swarovski. (27 June 2011) </span></span></span><a href="http://brand.swarovski.com/Content.Node/ourinitiatives/fashion/hussein/Swarovski-Hussein-Chalayan-FINAL-Release.pdf"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="color: black; font-family: Georgia, "Times New Roman", serif;">http://brand.swarovski.com/Content.Node/ourinitiatives/fashion/hussein/Swarovski-Hussein-Chalayan-FINAL-Release.pdf</span></span></a></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;"><span lang="EN-GB" style="color: black; font-family: Symbol; mso-ansi-language: EN-GB; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-fareast-language: EN-NZ;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman"; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span style="color: black;"><span style="background-color: white;">Hussein Chalayan. (2011).</span> </span></span></span><a href="http://art100.wikispaces.com/Hussein+Chalayan"><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="color: black; font-family: Georgia, "Times New Roman", serif;">http://art100.wikispaces.com/Hussein+Chalayan</span></span></a><span lang="EN-GB" style="color: black; mso-ansi-language: EN-GB; mso-fareast-language: EN-NZ;"></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman"; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span>Hussein Chalayan. (2006, 6<sup>th</sup> April). </span></span><a href="http://www.designboom.com/eng/interview/chalayan.html"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="color: black; font-family: Georgia, "Times New Roman", serif;">http://www.designboom.com/<span style="color: black;">eng/interview/chalayan.html</span></span></span></a><span style="color: black; font-family: Georgia, "Times New Roman", serif;">, </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;"><span style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman"; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span style="color: #333333; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">Absent Presence. (2005). <span style="mso-spacerun: yes;"> </span></span></span></span><a href="http://www.imdb.com/title/tt0768786/"><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="color: black; font-family: Georgia, "Times New Roman", serif;">http://www.imdb.com/title/tt0768786/</span></span></a></div>KTDhttp://www.blogger.com/profile/10564552341896037366noreply@blogger.com2tag:blogger.com,1999:blog-3575310752773273852.post-89538671341898531632011-08-01T22:43:00.000+12:002011-08-01T22:43:15.775+12:00Post-Modernism, Ai Weiwei and Banksy<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 7.1pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;"></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 25.1pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">1.</span><span style="font: 7pt "Times New Roman";"> </span></span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">Define Post-Modernism using 8-10 bullet points that include short quotes</span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 25.1pt; mso-list: l1 level1 lfo2; text-indent: -18pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">1.</span><span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">“The period in which we now live is often called “postmodernism”.<span style="mso-spacerun: yes;"> </span>(Saugstad, 2001)</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 25.1pt; mso-list: l1 level1 lfo2; text-indent: -18pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">2.</span><span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Postmodernism can be broken down into the terms post and modernism meaning after the modern period. (Saugstad, 2001)</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 25.1pt; mso-list: l1 level1 lfo2; text-indent: -18pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">3.</span><span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">It is a “rejection of the tenets of modernism; that is to say, a rejection of the doctrine of the supremacy of reason, the notion of truth, the belief in the perfectibility of man and the idea that he could be better, if not perfect in society.” (Witcombe, 2000)</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 25.1pt; mso-list: l1 level1 lfo2; text-indent: -18pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">4.</span><span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Postmodernism “seeks to revise [modernism’s] premises and traditional concepts”. (Witcombe, 2001)</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 25.1pt; mso-list: l1 level1 lfo2; text-indent: -18pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">5.</span><span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">“Postmodernists do not attempt to refine their thoughts about what is right or wrong, true or false, good or evil. They believe that there isn’t such a thing as absolute truth” (‘Postmodernism –What is Truth?” 2002-11). </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 25.1pt; mso-list: l1 level1 lfo2; text-indent: -18pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">6.</span><span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">The basic premise behind Postmodernism is that all forms of novelty have already been explored, and that even if that wasn't true the particular emphasis on rejection of that which is old or already done only limits artist’s self-expression.</span><a href="http://www.moodbook.com/history/postmodernism/index.html"><span style="font-family: Calibri;">http://www.moodbook.com/history/postmodernism/index.html</span></a><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 25.1pt; mso-list: l1 level1 lfo2; text-indent: -18pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">7.</span><span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Postmodernism “attempts to erase all boundaries, to undermine legitimacy, and to dislodge the logic of the modernist state.” (Witcombe, 2000)</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 25.1pt; mso-list: l1 level1 lfo2; text-indent: -18pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">8.</span><span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">“Postmodernism partakes of uncertainty, insecurity, doubt, and accepts ambiguity.” (Witcombe, 2000)</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 25.1pt; mso-list: l1 level1 lfo2; text-indent: -18pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">9.</span><span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">“[It] is open, unbound, and concerned with process and ‘becoming’.” (Witcombe, 2000). </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 25.1pt; mso-list: l1 level1 lfo2; text-indent: -18pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">10.</span><span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">“Postmodernism is a style and concept characterised by distrust of theories and ideologies, and of drawing attention to conventions.” (Eichberger, 2011)</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt; tab-stops: 222.75pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;"><span style="mso-tab-count: 1;"> </span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 25.1pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">2.</span><span style="font: 7pt "Times New Roman";"> </span></span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">Use a quote by Witcombe (2000) to define the Post-Modern artist.</span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 7.1pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">“the post-modern artist is ‘reflective ‘ in that he/she is self-aware and consciously involved in a process of thinking about him/herself and society in a deconstructive manner, ‘damasking’ pretensions, becoming aware of his/her cultural self in history, and accelerating the process of self-consciousness.”</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 25.1pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 25.1pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">3.</span><span style="font: 7pt "Times New Roman";"> </span></span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">Use the grid on pages 42 and 43 to summarize the list of the features of Post-Modernity</span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 7.1pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">From my understandings of the grid, post modernity has many possibilities and no one absolute. There are many beliefs and theories widely spread. Artists pay attention to the surface of works and images they are of. They took advantage of new technologies and mediums society has accepted and gotten used to and used in their art. Post modern works include advertising which was powerful to audiences in the newly technological world and hyper-reality making things more than life. Art is freer and more open, with limitless boundaries and many things that can be considered art.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 25.1pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">4.</span><span style="font: 7pt "Times New Roman";"> </span></span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">Use this summary to answer the next two questions.</span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 25.1pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">5.</span><span style="font: 7pt "Times New Roman";"> </span></span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">Research Chinese artist Ai Weiwei's 'Han Dynasty Urn with Coca-Cola logo'(1994) in order to say what features of the work are Post-Modern.</span></span></b></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-zW6_JUw991A/TjaCMg5-98I/AAAAAAAAAE8/mtoEa7h49kg/s1600/1228887293_OyuN.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-zW6_JUw991A/TjaCMg5-98I/AAAAAAAAAE8/mtoEa7h49kg/s200/1228887293_OyuN.jpg" t$="true" width="195" /></a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-i0SWq5VVJsM/TjaCPosYKaI/AAAAAAAAAFA/meR9ztpyWyI/s1600/4008868135_39a59cb715.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-i0SWq5VVJsM/TjaCPosYKaI/AAAAAAAAAFA/meR9ztpyWyI/s320/4008868135_39a59cb715.jpg" t$="true" width="320" /></a></div><br />
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<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">Ai Weiwei is an “</span><span lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">international contemporary artist engaged in a deep dialog with Chinese culture, art history, ceramics and craft” (Gilsdorf, 2010). </span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The two works, smashing the Han Dynasty urn and decorating one with the coca cola logo, show the ideas of postmodernism through the questioning of previous theories and ideals such as the importance and value of the urns he is destroying from their natural forms. “</span><span lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Urns of this vintage are usually cherished for their anthropological importance. By employing them as ready-mades, Ai strips them of their aura of preciousness only to reapply it according to a different system of valuation” (Gilsdorf, 2010).</span><span lang="EN-US" style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span><span lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">By literally dropping precious things he is getting rid of and questioning the old to prepare for the new open ways of thinking where anything goes...</span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">This challenges and changes the previous ideas towards historical artefacts and what can be done with them and the value and importance placed upon them. His works are also post modern as they are “playful, inventive and often absurd” (“Ai Weiwei”, 2008). As Xiaowen Chen associate professor of art at Cornell says “[his] work is both statement and playful event. He's a troublemaker, but he never gets caught. His work shows us anything goes, anything is possible" (Aloi, 2006). He also includes advertising in his work and commonly known and recognised icons such as the coca cola logo incorporating the new media driven world we live in with things seen every day from this decade on things seen rarely from many decades ago. He plays with cultures mixing and questioning ethics and values.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">This truly shows post modern ideals and aspects towards his work. </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 7.1pt;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">6. Research British artist Banksy's street art, and analyze the following two works by the artist to discuss how each work can be defined at Post-Modern. (Use your list from point 6.)</span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 7.1pt;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-vg0UGYXsdyk/TjaCwed4JwI/AAAAAAAAAFI/1sLvwHcCODk/s1600/banksy-flower-riot.png" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="190" src="http://1.bp.blogspot.com/-vg0UGYXsdyk/TjaCwed4JwI/AAAAAAAAAFI/1sLvwHcCODk/s200/banksy-flower-riot.png" t$="true" width="200" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-mJ4EEw6rmLw/TjaCxljGYaI/AAAAAAAAAFM/sKC07N6UxSc/s1600/banksy-la-2008.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-mJ4EEw6rmLw/TjaCxljGYaI/AAAAAAAAAFM/sKC07N6UxSc/s200/banksy-la-2008.jpg" t$="true" width="133" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div style="text-align: left;"></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><strong><span style="font-family: "Calibri", "sans-serif"; font-size: 12pt; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">“</span></strong><strong><span style="font-family: "Calibri", "sans-serif"; font-size: 12pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Banksy </span></strong><span style="font-family: Calibri;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">is a pseudo-anonymous English <strong><span style="font-family: "Calibri", "sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">graffiti artist</span></strong>... His artworks are often satirical pieces of art on topics such as politics, culture, and ethics” (“Banksy Street art,” 2010) </span><span lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Banksy is a household name in the UK, perhaps best known for his compelling stencil graffiti. </span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">He embodies post modern ideas in his works and explains that in art “there aren’t supposed to be any rules”</span><span style="color: #333333; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"> <span lang="EN-US">(Jonathan, 2011). </span></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">This means his graffiti art can count as art rather than vandalism and which his two works show. <span style="mso-spacerun: yes;"> </span>His stencils make statements about war, politics, government oppression and environmental concerns. His work flower riot is interesting in that it portrays a person who seems violent and as if they are going to cause harm when in fact they are holding flowers rather than a Molotov cocktail as would usually be seen in a rioting image of someone such as this. Using stencils Banksy takes advantage of the new technologies available in the post modern society we live in as well as focusing on the surface and structure of his works as post modernity does. His work “Los Angeles”, Banksy mixes historical time periods saying that it is possible for a caveman to exist in the 21<sup>st</sup> century not being limited to the modernist views. He is also using advertising of fast food restaurants that are typically seen every day in our contemporary society. Banksy says that </span><strong><span lang="EN-US" style="color: black; font-family: "Calibri", "sans-serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast; mso-hansi-theme-font: minor-latin;">“being sure of anything is totally ridiculous” (Jonathan. 2011). </span></strong><span lang="EN-US" style="color: black; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-spacerun: yes;"> </span><strong><span style="font-family: "Calibri", "sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></strong></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 7.1pt; tab-stops: 473.25pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;"><span style="mso-tab-count: 1;"> </span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 7.1pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">Reference</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 43.1pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; font-size: 12pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-fareast-language: EN-NZ;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">Saugstad, A. (2001). <i style="mso-bidi-font-style: normal;">Postmodernism: What is it, and What is Wrong With It? </i></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 43.1pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">Retrieved 9 October, 2007, from: http://goinside.com/01/1/postmod.html</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 43.1pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; font-size: 12pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-fareast-language: EN-NZ;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">Witcombe, C. (2000). <i style="mso-bidi-font-style: normal;">Modernism and Postmodernism</i>. Retrieved 29 January, 2004 from </span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://witcombe.sbc.edu/modernism/modpostmod/html"><span style="mso-fareast-language: EN-NZ;"><span style="color: blue;">http://witcombe.sbc.edu/modernism/modpostmod/html</span></span></a></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 43.1pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; font-size: 12pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-fareast-language: EN-NZ;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">“Postmodernism – What is Truth?” (2002-11). </span><a href="http://www.allaboutphilosophy.org/postmodernism.htm"><span style="mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">http://www.allaboutphilosophy.org/postmodernism.htm</span></span></a></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 43.1pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; font-size: 12pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-fareast-language: EN-NZ;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Eichberger, C. (2011), </span><a href="http://www.onextrapixel.com/2011/04/11/postmodernism-po-mo-in-graphic-design/" title="Permanent Link to Postmodernism (‘Po Mo’) in Graphic Design"><span style="font-family: Calibri;">Postmodernism (‘Po Mo’) in Graphic Design</span></a><span style="font-family: Calibri;">. </span></span><span style="font-family: Calibri;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="mso-spacerun: yes;"> </span></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.onextrapixel.com/2011/04/11/postmodernism-po-mo-in-graphic-design/"><span style="mso-fareast-language: EN-NZ;">http://www.onextrapixel.com/2011/04/11/postmodernism-po-mo-in-graphic-design/</span></a></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"> </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 43.1pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span lang="EN-US" style="font-family: Symbol; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><span lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Gilsdorf, B. (2010). Ai Weiwei: Dropping the Urn. </span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://dailyserving.com/2010/07/ai-weiwei-dropping-the-urn/"><span style="mso-fareast-language: EN-NZ;">http://dailyserving.com/2010/07/ai-weiwei-dropping-the-urn/</span></a></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">, </span><span lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 43.1pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; font-size: 12pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Ai Weiwei. 2008.</span><span style="color: #517f93; font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"> </span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.artzinechina.com/display_vol_aid109_en.html"><span style="mso-fareast-language: EN-NZ;">http://www.artzinechina.com/display_vol_aid109_en.html</span></a>. </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 43.1pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; font-size: 12pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Aloi, D. (2006) Ai Weiwei literally smashes China’s traditions in art and architecture. <span style="mso-spacerun: yes;"> </span></span><a href="http://www.news.cornell.edu/stories/Nov06/Chinese.artist.dea.html"><span style="mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;">http://www.news.cornell.edu/stories/Nov06/Chinese.artist.dea.html</span></span></a><span style="font-family: Calibri;"> </span></span></div><div class="MsoNoSpacing" style="background: white; margin: 0cm 0cm 0pt 43.1pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span lang="EN-US" style="font-family: Symbol; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><span lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">“Banksy Street Art – Art Finds New Inspirations”. 2010. </span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.chilloutpoint.com/art_and_design/banksy-street-art-art-finds-new-inspirations.html"><span style="mso-fareast-language: EN-NZ;">http://www.chilloutpoint.com/art_and_design/banksy-street-art-art-finds-new-inspirations.html</span></a> </span><span lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></span></div><div class="MsoNoSpacing" style="background: white; margin: 0cm 0cm 0pt 43.1pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span lang="EN-US" style="font-family: Symbol; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><span lang="EN-US" style="color: black; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Jonathan. (2011). Banksy – The Street Art King of the World. </span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://enlightenyourday.com/2011/05/13/banksy-the-street-art-king-of-the-world/"><span style="mso-fareast-language: EN-NZ;">http://enlightenyourday.com/2011/05/13/banksy-the-street-art-king-of-the-world/</span></a></span></span><span lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></div><div style="text-align: left;"></div><div style="text-align: left;"><br />
</div><div align="left" style="text-align: left;"></div>KTDhttp://www.blogger.com/profile/10564552341896037366noreply@blogger.com3tag:blogger.com,1999:blog-3575310752773273852.post-31965450662529139852011-07-20T23:04:00.000+12:002011-07-20T23:04:17.056+12:00WEEK 1- Nathalie Djurberg's 'Claymations'.<span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;"><span style="color: black;">Swedish artist Nathalie Djurberg's intricately constructed claymation films are both terrifyingly disturbing and artlessly sweet. The new works created for the Venice Biennale explore a surrealistic Garden of Eden in which all that is natural goes awry. </span></span></span><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;"><span style="color: black;">She exposes the innate fear of what is not understood and confronts viewers with the complexity of emotions. Nathalie Djurberg was awarded the silver lion for a promising young artist at the Venice Art Biennale 09. </span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;"><a href="http://www.blogger.com/(http://www.designboom.com/weblog/cat/10/view/6886/nathalie-djurberg)"><span style="color: black;">(http://www.designboom.com/weblog/cat/10/view/6886/nathalie-djurberg)</span></a></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;"><span style="color: black;">Research Djurberg's work in order to answer the following questions;</span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;"><span style="color: black;">1. What do you understand by the word 'claymation'?</span></span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="color: black;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">Claymation to me is Tim Burton’s A Nightmare Before Christmas and The Corpse Bride. These are what I think of when I hear the term. “</span><em><span style="font-family: "Calibri", "sans-serif"; font-size: 12pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Claymation</span></em><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> is the generalized term for <em><span style="font-family: "Calibri", "sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">clay animation</span></em>, a form of stop animation using clay”</span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"> (“What is Claymation,” 03-11). Claymation is when clay sculpted models/figurines/objects are manipulated to produce animated movie results, often using freeze frame filming techniques to create stop motion animation. Kids TV shows often have claymation e.g. Pingu and Bob the Builder.</span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;"><span style="color: black;">2. What is meant by the term 'surrealistic Garden of Eden' and 'all that is natural goes awry'?</span></span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="color: black;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">In Djurberg’s work, it is a dreamlike setting that is surreal and not of this world. A perfect place as the Garden of Eden but gone wrong and turned dark and dangerous. It is a dystopian Eden; the direct opposite of what is pictured as the peaceful, heavenly Garden of Eden. <span style="color: black;">"[It] is an installation recreating a Garden of Eden from hell. It's a garden covered with creepy flowers. They are so big they dwarf visitors; their colous and shape are nauseating. Sun never lights up the garden, [that is] set in a perpetual crepuscule, in the Basement of the Padiglione delle Esposizioni" (Regine, 2009</span></span></span></span><span style="font-family: Calibri;"><span style="color: black;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="color: black;">).</span> The garden is in shadows and darkness, that appears haunted almost as if the plants are trapped, not quite alive, not quite dead. It gives a scary eerie feeling to the display of her works creating mixed opinions being either truly weird or inventive and fascinating.</span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-_aepCn5AIoc/TiazoIdgL9I/AAAAAAAAAE0/p8VXPVW3U0k/s1600/0atumatoutdonnedjurberg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: black;"><img border="0" height="184" src="http://4.bp.blogspot.com/-_aepCn5AIoc/TiazoIdgL9I/AAAAAAAAAE0/p8VXPVW3U0k/s320/0atumatoutdonnedjurberg.jpg" t$="true" width="320" /></span></a></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
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</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;"><span style="color: black;">3. What are the 'complexity of emotions' that Djurberg confronts us with?</span></span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="color: black;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">The emotions she confronts us with are varied and differ between person to person. While i may find them creepy and dark, slightly sick, others might find them interesting and love the dark qualities to them. "Djurberg toys with society;s perceptions of right and wrong, exposing our own innate fears of what we do no tunderstand and illustrating the complexity that arises when we are confronted with these emotions" (Regine 2009). "Her animatinos show human beings at their most crass, phychopath, sadistic and often disarming behavious. The videos address a fair amount of intense issues such as violence, sexuality, sadism, cruelty, death adn brutality" (Regine, 2008). </span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">The reaction her films cause in the viewer makes us question whether we do or do not like the clay models and what they are doing in the video or think it’s right/wrong. The opinions towards the disturbing characters in her films could be taken as well crafted or twisted, malformed and not natural. <span style="mso-spacerun: yes;"> </span>Djurberg says she does art “for the stuff you don’t dare talk about”</span><span style="color: black; font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> (Yablonsky, 2010). I</span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">t is an outlet for emotions and opinions that could not be otherwise expressed. <span style="color: black;"></span></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;"><span style="color: black;">4. How does Djurberg play with the ideas of children's stories, and innocence in some of her work?</span></span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="color: black;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">Djurberg’s work’s play with ideas from children’s stories sharing similar archetypical themes and traditional roles such as good , bad, and the kind helper (Ryberg, 2005). H</span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">owever there comes a point when her work heads away from serene child like stories and turn towards “</span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">scary x-rated fantas[ies] without any moral[s]</span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">” <span style="mso-spacerun: yes;"> </span>(</span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">Ryberg, 2005).</span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">The characters in her work may be innocent and vulnerable being small, thin and naked but this is turned against them making them easy prey for the sexual elements forced upon them by other larger more solid looking characters. The characters have big wide eyes as children’s story characters do which adds to their sad qualities with the associations as innocent, naive characters are turned into disturbing creatures corrupted.</span></span></span></div><div align="right" class="MsoNoSpacing" style="margin: 0cm 0cm 0pt; text-align: right;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;"><span style="color: black;">5. There is a current fascination by some designers with turning the innocent and sweet into something disturbing. Why do you think this has come about?</span></span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="color: black;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">Using the brightly coloured, seemingly innocent stop-action claymation animation medium enables Djurberg to show the vast change suddenly to the main characters whom are usually girls or young women who become “</span><span style="color: black; font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">engaged in various kinds of vileness: from mild deception, friendly torture and oddly benign bestiality to murder and mayhem” (Smith, 2006). </span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">I think people remember the weird, disturbing and controversial better and the artist can get more attention and acknowledgement this way. Djurberg says her ideas in the works “</span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">demand attention” and do not easily bore her which can be said for her audience as well (Yarblonsky, 2010). <span style="mso-spacerun: yes;"> </span></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">As humans we always worry about the worst possible situations and outcomes that could occur which Djurberg shows. Pushing the boundaries transforming the good into the bad makes a statement about the artists and with the controversy surrounding reception of it makes them stand out from other artist of the animation field. </span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-_UElp4pJf5M/TiazpY2LAvI/AAAAAAAAAE4/5OjUIwP7apk/s1600/0ateouslesecran8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: black;"><img border="0" height="240" src="http://1.bp.blogspot.com/-_UElp4pJf5M/TiazpY2LAvI/AAAAAAAAAE4/5OjUIwP7apk/s320/0ateouslesecran8.jpg" t$="true" width="320" /></span></a></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
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</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;"><span style="color: black;">6. In your opinion, why do you think Djurberg's work is so interesting that it was chosen for the Venice Biennale?</span></span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="color: black; font-family: Calibri;">It is controversial and people have strong opinions towards it. It is bizarre which creates interest as it is not the usual art seen. It is shocking as animation as such i used often in children’s shows like bob the builder which are happy and cheerful whereas Djurberg’s works are dark and creepy, confronting what needs to be confronted.</span><b style="mso-bidi-font-weight: normal;"><br />
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<span style="font-family: Calibri;"><span style="color: black;">7. Add some of your own personal comments on her work.</span></span></b></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;"><span style="color: black;">I think Djurberg’s work is a little creepy. They appear like Tim Burton’s characters but have a different sense to them which comes from the situations they are in and events that occur to them. However, <span style="mso-spacerun: yes;"> </span>I love the use of claymation and attention to individual movements as I would not have the dedication or knowledge to make a stop motion movie myself.</span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
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</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="color: black;"><span style="font-family: Symbol; font-size: 12pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><span style="color: #333333; font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Regine. (2008, April 25th). </span><i style="mso-bidi-font-style: normal;"><span style="color: black; font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin;">Nathalie Djurberg solo show at the Fondazione Prada</span></i><span style="color: black; font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin;">. </span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.we-make-money-not-art.com/archives/2008/04/there-are-very-very-few.php">http://www.we-make-money-not-art.com/archives/2008/04/there-are-very-very-few.php</a></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="color: black;"><span style="font-family: Symbol; font-size: 12pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><span style="color: #333333; font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Regine. (2009, October 26). <i style="mso-bidi-font-style: normal;">Venice Biennale: Nathalie Djurberg</i>. </span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://we-make-money-not-art.com/archives/2009/10/nathalie-djurberg-who-won-the.php">http://we-make-money-not-art.com/archives/2009/10/nathalie-djurberg-who-won-the.php</a></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="color: black;"><span style="font-family: Symbol; font-size: 12pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">Ryberg, H. (2005). </span><i style="mso-bidi-font-style: normal;"><span style="color: black; font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Distributing clay animation:Films by Nathalie Djurberg.</span></i><span style="color: black; font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://artnews.org/artist.php?i=1211">http://artnews.org/artist.php?i=1211</a></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 6.75pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="color: black;"><span style="font-family: Symbol; font-size: 12pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><span style="color: black; font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Smith, R. (2006, May 19th). </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin;">Art in Review: Nathalie Djurberg. </span></i><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://query.nytimes.com/gst/fullpage.html?res=9D04E6DE133EF93AA25756C0A9609C8B63">http://query.nytimes.com/gst/fullpage.html?res=9D04E6DE133EF93AA25756C0A9609C8B63</a></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="color: black;"><span style="font-family: Symbol; font-size: 12pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-fareast-language: EN-NZ;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">What is Claymation? (2003-2011). </span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.wisegeek.com/what-is-claymation.htm"><span style="mso-fareast-language: EN-NZ;">http://www.wisegeek.com/what-is-claymation.htm</span></a></span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 6.75pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="color: black;"><span style="font-family: Symbol; font-size: 12pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><span style="color: black; font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Yablonsky, L. (2010, August 19th). <i style="mso-bidi-font-style: normal;">Clay Mates</i>. </span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.nytimes.com/2010/08/22/t-magazine/22talk-yablonsky-t.html?scp=3&sq=nathalie%20djurberg&st=cse">http://www.nytimes.com/2010/08/22/t-magazine/22talk-yablonsky-t.html?scp=3&sq=nathalie%20djurberg&st=cse</a></span></span></span></div>KTDhttp://www.blogger.com/profile/10564552341896037366noreply@blogger.com3tag:blogger.com,1999:blog-3575310752773273852.post-48674436981509816682011-05-29T12:37:00.000+12:002011-05-29T12:37:58.865+12:00Modernism, Monet and 'Maggie'<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Both Claude Monet and Chuck Close were exploring paint, colour and human perception. </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
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<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Maggie, (1996), Oil on canvas, © Chuck Close </span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-O__udfXqRJc/TeGU793a8CI/AAAAAAAAAEw/ccfnP_BZjR4/s1600/loki.bmp" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-O__udfXqRJc/TeGU793a8CI/AAAAAAAAAEw/ccfnP_BZjR4/s1600/loki.bmp" t8="true" /></a></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
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</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;"><span style="font-family: "Calibri", "sans-serif"; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-NZ; mso-ascii-theme-font: minor-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Water Lilies (1920) Claude Monet</span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
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</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">1. Outline the intentions of each artist and 2. Describe the techniques of each artist </span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Claude Monet was one of the early impressionists (“Claude Monet, (1840-1926),” 2011). Impressionists placed “emphasis on landscape painting... [and aimed] to break up light into its basic components and to reduce shapes and forms to an ‘impression of the scene” (French painting 1830-1930,” 2011). The term impressionism originated from art critic Louis Leroy from Monet’s painting ‘Impression: Soleil Levant’ when he said it was just an impression and that the work could not be considered finished (“What is Impressionism,” 2011). The term was picked up by artists as a way of describing their works instead of a negative critique and created works in this style using similar techniques. They are characterised by “short, ‘broken’ brush strokes of pure, untinted and unmixed colours give the appearance of spontaneity and vitality” (“What is Impressionism,” 2011). The paintings surfaces were often highly textured with thick paint and were compositionally simplified and innovative with an emphasis on the overall effect not just on detail (“What is Impressionism,” 2011). Up until the Impressionists, history had been the accepted source of subject matter for paintings, but Impressionists looked instead to the many subjects in life around them (“What is Impressionism,” 2011). In Monet’s water lily paintings all these characteristics are clear especially in his view point that rather than giving a view from afar of an entire scene on a canvas, instead Monet has placed the viewer right up near, almost in the subject matter of the pond and the floating water lilies. With his water lily paintings he “wished for the paintings to encompass the viewer” (“Water Lilie, Claude Monet,” 2010), so as you were immersed in the subject matter. The aim of his large Water Lilies paintings, Monet said was to “supply "the illusion of an endless whole, of water without horizon or bank" (“Water Lilie, Claude Monet,” 2010). He wished to capture “</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">the effects of light at different times of the day and seasons on the pond” (“Love, Not Light...Lilies,” 2011), </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">in an attempt to capture the constantly changing quantities of natural light and colour along with the “shimmering reflections of clouds overhead” (“Water Lilie, Claude Monet,” 2010). </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Chuck Close “has been a leading figure in contemporary art since the early 1970s” (“Chuck Close,” 1998). His works have been “associated with the style of painting called Photorealism or Superrealism” (“Chuck Close,” 2011). <em><span style="font-family: "Calibri", "sans-serif"; font-style: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Photorealists</span></em> frequently used a grid technique to enlarge a photograph and reduce each square to formal elements of design (“Chuck Close,” 2011). Thousands of tiny airbrush strokes, thumbprints or looping multi-colour brushstrokes (“Chuck Close,” 1998), make up his paintings turning them into mosaic like prints that reflect Close’s “keen </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">interest in ancient floor mosaics” (Chuck Close,” 2000-2001). </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Most of his works are very large portraits based on photographs (“Chuck Close,” 2006), of personal images of family and friends, as well as self portraits. <span style="mso-spacerun: yes;"> </span>His works form a link between representational systems of <em><span style="font-family: "Calibri", "sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">painting</span></em> and photography (“Chuck Close,” 2011). </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">3. Find 2 quotes about each artists work, and reference them correctly. </span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo2; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-style: italic; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-latin;">"The motif's essential is the mirror of water whose aspect is constantly being modified by the changing sky reflected in it, and which imbues it with life and movement."</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-spacerun: yes;"> </span>- <span style="mso-bidi-font-style: italic;">Claude Monet (“Chuck Oscar Monet,”2006)</span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo2; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-latin;">"These landscapes of water and reflections have become my obsession. They are far beyond my old man powers and despite everything I want to succeed in conveying what I feel."</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-spacerun: yes;"> </span>- <span style="mso-bidi-font-style: italic;">Claude Monet (“Chuck Oscar Monet,”2006)</span> </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 18pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo2; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-font-style: italic; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">"Artists...see both the device that makes the illusion and the illusion<br />
itself. I'm as interested in the distribution of marks on a flat surface...as I am with the thing that ultimately gets depicted... [It's] shifting from one to the other that really interests me." </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">Chuck Close (Chuck Close,” 2000-2001). </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo2; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">“Some people wonder whether what I do is inspired by a computer and whether or not that kind of imaging is a part of what makes this work contemporary. I absolutely hate technology, and I'm computer illiterate, and I never use any labour-saving devices although I'm not convinced that a computer is a labour-saving device" (“Chuck Close,” 2011). </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">4. Note 3 similarities of the work of both artists.</span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l1 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Both artists use small quick brush strokes to create their art. Close “[uses] the techniques of grisaille and <em><span style="font-family: "Calibri", "sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">pointillism</span></em> within the grids. This is similar to technique used by the Impressionists” (“Chuck Close,” 2011), of which Monet was a part of.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l1 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Monet was interested in portraying “blurry evocations of nature” (“Water Lilie, Claude Monet,” 2010), with Close finding a similar interest “in how a <em><span style="font-family: "Calibri", "sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">photograph</span></em> shows some parts of the image in focus, or sharp, and some out-of-focus, or blurry” (“Chuck Close,” 2011). </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l1 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-fareast-language: EN-NZ;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The two men both focused on a single subject for many years. Close worked solely on his art of the human figure </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">(Chuck Close,” 2000-2001), </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">whilst Monet had “</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">years of tedious focus upon his pond and the water lilies at Giverny (“Love, Not Light...Lilies,” 2011). </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l1 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Also the artworks created are in relation to the visual elements that they are made up of. Close was concerned with the shapes, textures, volume, shadows, and highlights of the <em><span style="font-family: "Calibri", "sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">photograph</span></em> itself (“Chuck Close,” 2011), and transferring these into a painting. Monet similarly concerned with the light as it hit the surface of the water at different times of the day and the reflections it caused.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l1 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Both artists have works that are clearly of their subject matter whilst others take time to see. Closes self portrait to me seems to be possibly of his eye and partial face which took some observation for me to see. Some of Monet’s water lilies appear very cloud like or as if they were world maps drawn blurry where as others are more clearly flowers resting on the surface of water in ponds.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">5. What are some differences between the artist's works. (At least 3)</span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l2 level1 lfo3; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Closes works have an almost even square or rectangular form, whereas Monet’s works tend to be long and drawn out across a large space.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l2 level1 lfo3; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Closes works are influenced by technology with the use of his photographs to capture the image before he makes his artworks. Monet’s water lilies are entirely observational and done empirically at the pond itself.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l2 level1 lfo3; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Monet’s works have a fuzzy, blurry effect from his brushstrokes compared to Close’s more chopped up and sectioned, squared off grids.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l2 level1 lfo3; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Both artists use colour differently to create a whole. Close uses colours next to each other to trick the eye into blending them to see an image, whilst Monet colours blend and mix as they were applied to define or merge shapes.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">6. Describe your response to the work of both artists and 7. Other comments </span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">For me I prefer Monet’s works. I appreciate Close’s works as they remind me of looking at things from an obscured view like looking through a window whilst it’s raining. To me they seem too technology influenced and mathematical with the grids and block/shapes or colour compared to Monet’s more painterly technique in applying media to create and define subject. I think the culture i was brought up in of painted works being done in a certain way affects my opinion towards these works and biases me towards preferring Monet’s for it more painterly feel over Close’s more contemporary approach to art. </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Claude Monet, (1840-1926) (retrieved 25th May, 2011). </span><a href="http://www.abcgallery.com/M/monet/monet.html"><span style="color: windowtext;"><span style="font-family: Calibri;">http://www.abcgallery.com/M/monet/monet.html</span></span></a></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">French painting 1830-1930</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ; mso-no-proof: yes;"> (retrieved 27<sup>th</sup> May, 2011) </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://mushecht.haifa.ac.il/hecht/art/frenchart_eng.aspx"><span style="color: windowtext;">http://mushecht.haifa.ac.il/hecht/art/frenchart_eng.aspx</span></a> </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">What is Impressionism (2011). </span><a href="http://www.artinthepicture.com/styles/Impressionism/"><b style="mso-bidi-font-weight: normal;"><span style="color: windowtext;"><span style="font-family: Calibri;">http://www.artinthepicture.com/styles/Impressionism/</span></span></b></a><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span lang="EN" style="mso-ansi-language: EN; mso-bidi-font-family: Calibri; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-latin;">Water Lilie, </span><span lang="EN" style="mso-ansi-language: EN; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.moma.org/collection/artist.php?artist_id=4058"><span style="color: windowtext;">Claude Monet</span></a> (French, 1840-1926) (2010). </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.moma.org/collection/object.php?object_id=80220"><span style="color: windowtext;">http://www.moma.org/collection/object.php?object_id=80220</span></a></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Love, Not Light, Reflected in the Pond of Monet’s Water Lilies (retrieved 27<sup>th</sup> May, 2011) </span><a href="http://blogs.princeton.edu/wri152-3/kgoss/"><span style="color: windowtext;"><span style="font-family: Calibri;">http://blogs.princeton.edu/wri152-3/kgoss/</span></span></a><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ; mso-no-proof: yes;">Chuck Close (1998). </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.moma.org/interactives/exhibitions/1998/close/"><span style="color: windowtext;">http://www.moma.org/interactives/exhibitions/1998/close/</span></a></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Chuck Close (2011). </span><a href="http://metroartwork.com/chuck-close-biography-artwork-m-59.html"><span style="color: windowtext;"><span style="font-family: Calibri;">http://metroartwork.com/chuck-close-biography-artwork-m-59.html</span></span></a></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span lang="EN" style="mso-ansi-language: EN; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ; mso-font-kerning: 18.0pt;">Chuck Close (2000-2001)</span><span lang="EN" style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.worcesterart.org/Exhibitions/Past/close.html"><span style="color: windowtext;">http://www.worcesterart.org/Exhibitions/Past/close.html</span></a></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Chuck Close (December 31, 2006) </span><a href="http://chuckclosegallery.blogspot.com/"><span style="color: windowtext;"><span style="font-family: Calibri;">http://chuckclosegallery.blogspot.com/</span></span></a></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-latin;">Claude Oscar Monet (30 Sept, 2006. </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.intermonet.com/oeuvre/nymphea1.htm"><span style="color: windowtext;">http://www.intermonet.com/oeuvre/nymphea1.htm</span></a></span></span></div><div align="left"></div>KTDhttp://www.blogger.com/profile/10564552341896037366noreply@blogger.com5tag:blogger.com,1999:blog-3575310752773273852.post-85438653445484385702011-05-07T19:38:00.000+12:002011-05-07T19:38:06.479+12:00Industrialisation and Art<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Industrialisation in the late 1800s, and today. The artists of the late 1800's and early 1900's, in Europe, were influenced by the Industrial revolution.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br />
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri;">1. What and when was the Industrial Revolution?</span></b></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">‘The industrial revolution may be defined as the application of power-driven machinery to manufacturing. In the eighteenth century all of Western Europe began to industrialise rapidly, but in England the process was most highly accelerated (Rempel, n.d.)’. <span style="mso-spacerun: yes;"> </span>‘Fundamental changes occurred in agriculture, textile and metal manufacture, transportation, economic policies and the social structure in England... </span><a href="" name="a"><span style="font-family: Calibri;">The year 1760 is generally accepted as the “eve” of the Industrial Revolution. In reality, this eve began more than two centuries before this date. The late 18th century and the early l9th century brought to fruition the ideas and discoveries of those who had long passed on, such as, Galileo, Bacon, Descartes and others</span></a><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>(Montagna, 2011’). The industrial revolution seems to have been a sequence of changes to the way in which we do things to make them faster, easier and quicker to increase productivity and make life better.</span></span></div><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;">2. Research both Modernist paintings in order to comment on the subject matter, form and style used to celebrate the machine and motion in each painting. Answer the question in 2 parts for each painting.</b> Both paintings featured on this blog that are from the early 1900s were painted by Modernist painters from the group called 'Futurists'. The Futurists celebrated the machine, and objects in motion. Their primary objective was to depict movement, which they saw as symbolic of their commitment to the dynamic forward thrust of the 20th century</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
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</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>Umberto Boccioni - The City Rises </span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">‘Boccioni was perhaps the most significant artist associated with the first wave of Futurist art (The Times, 2009)’. The futurist artists were obsessed with portraying speed and movement in art. It was a movement concerned with the modern world and ‘</span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">the idea of a complete renewal of human sensibility brought about by modern science (</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Willette, 2011)’. </span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">‘The Futurists preached violence and believed in the virtue of destruction for the purpose of sweeping away the old and the worn out and the useless, with the hope of bringing industrialization about, dragging Italy into the modern world (</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Willette, 2011)’. ‘<a href="http://www.huntfor.com/absoluteig/custom/index.htm"></a>Like other Futurists, Boccioni's work centered on the portrayal of movement (dynamism), speed, and technology (</span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">“</span><b><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Umberto Boccioni: 1882-1916,” 1999-2007)’. ‘</span></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Futurist art is optical and not intellectual, always related to things that move, that are directional and dynamic, colorful and fragmented (</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Willette, 2011)’. In his painting <i style="mso-bidi-font-style: normal;">The City Rises</i> he depicts ‘the construction of an electric power plant (“The City Rises: Umberto Boccioni (Italian, 1882-1916)”, 2011)’. It clearly shows the influence of the industrial revolution with the building of a machine plant for the new discovery of electricity to power the civilised and urban world. The workers portrayed in it appear hot, busy and hard at work. They appear surrounded by what could be dirt and steam mixed with sweat, shown with their ‘powerful bodies lean[ing] at impossible angles as they exert themselves in service to the task at hand (“The City Rises: Umberto Boccioni (Italian, 1882-1916)”, 2011)’. It looks powerful and constantly moving like the sea, reflecting the busy and bustling movement of a construction site by those of the lower working class. The horse represents strength to me and the power of the working class who control, build and shape the world and lives of those of the upper classes in society. The contrasting bright colours of red and blue define different objects making it appear crowded and chaotic. It is a futurist artwork in which is concerned with ‘the technological process and the energy of the urban environment (“The City Rises: Umberto Boccioni (Italian, 1882-1916)”, 2011)’. </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
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</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Dynamism of a dog on a Leash (1912) Giacomo Balla<b style="mso-bidi-font-weight: normal;"></b></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Giacomo Balla was influenced by the futurist movement and strongly appealed to the idea of showing movement in painting. <span style="mso-spacerun: yes;"> </span>Previously in ‘classical European painting there were rules about how the figure [was] to be depicted. No part of a figure may be duplicated, multiplied. If a figure is shown with two right arms, that's because it literally has two right arms. It's a mythical creature. On the other hand, if a figure is in motion, waving its right arm say, this is never to be conveyed by giving it two right arms (to indicate two stages of the action) (Lubbock, 2009)’. But with the futurist movement brought about by the industrial revolution with increased scientific knowledge and accelerated advances in technologies, artists wanted to show and portray this idea of the fast pace of life. Giacomo Balla's <i style="mso-bidi-font-style: normal;">Dynamism of a Dog on a Leash</i> shows a lady speeding along walking her dog. ‘The lady has roughly 15 feet, variably solid and see-through. The dog has eight countable tails, while its legs are lost in flurry of blurry overlays. Four swinging leads go between them... The dog, meanwhile, gives the impression of frantic scampering. Its legs thrash beneath a body that makes no progress at all (Lubbock, 2009)’. Balla has done this to try and show the motion of movement in a static 2-dimensional artwork. ‘Multiplications, echoes, flurries, blurs: these motion effects, supposedly capturing the action of the walking legs, become a way of creating new sensations and new phenomena (Lubbock, 2009)’. Not only does it show movement it, also shows a rather close-up image of the movement of an everyday street occurrence. This is a unique feature of futurist works of the industrial revolution showing everyday lower class images of everyday life and happenings. The close up focuses on the feet and represents the fast movement of the industrial revolution. </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-jI2IaWBZoOY/TcT19XSSUhI/AAAAAAAAAEk/HSmOHcijc_E/s1600/cao_fei_rmb1.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" j8="true" src="http://2.bp.blogspot.com/-jI2IaWBZoOY/TcT19XSSUhI/AAAAAAAAAEk/HSmOHcijc_E/s320/cao_fei_rmb1.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Cao Fei's RMB City (2007-9) refers to China's recent rapid industialisation and urbanization.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">RMB City</span></i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> <i>(2007-9) </i> Cao Fei</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">3. Research Cao Fei's RMB City (2007-9) in order to comment on this work in more depth. i.e what images has she used in her digital collage that refer to China's present and history, and why has she used these.</span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Cao Fei is an accomplished <em><span style="font-family: "Calibri", "sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Beijing-based</span></em></span><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> <span lang="EN-US">multimedia artist. </span></span><em><span style="font-family: "Calibri", "sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">She is one of the ‘new genertion of Chinese artist </span></em><em><span style="font-family: "Calibri", "sans-serif"; font-style: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">(“Cao-Fei – Utopia,” (2009)</span></em><em><span style="font-family: "Calibri", "sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">’.</span></em><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> Her project RMB City is a work built in Second Life,’ a vast 3D online world that has operated since 2003 <em><span style="font-family: "Calibri", "sans-serif"; font-style: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">(“Cao-Fei – Utopia,” (2009)’</span></em><i style="mso-bidi-font-style: normal;">.</i> It is a world in which registers can purchase real estate, set up businesses, and engage in all manner of virtual interactions. It enables users to act out what u can’t do in this world and accomplish things they otherwise could not. Fei was first introduced to Second Life by Zhang Anding (aka Zafka Ziemia), her composer for the Siemens Project (Artkush, 2008)’. Being interested in new technology she was curious if she could ‘use this as a platform for a project (Artkush, 2008)’. Using her online identity – China Tracy – she built RMB City in Second Life on the Creative Commons Island of Kula. The city is ‘named after Chinesse money <em><span style="font-family: "Calibri", "sans-serif"; font-style: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">(“Cao-Fei – Utopia,” (2009’),</span></em> and ‘refers to “renminbi” or “people’s money,” China’s official currency (Artkush, 2008)’. The city shows a perverse view of Beijing - a blend of communism, socialism and capitalism <em><span style="font-family: "Calibri", "sans-serif"; font-style: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">(“Cao-Fei – Utopia,” (2009)’.</span></em><em><span style="font-family: "Calibri", "sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span></em><em><span style="font-family: "Calibri", "sans-serif"; font-style: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">T</span></em>he online city is constantly under construction replicating the real world Beijing. Fei has filled her urban world with ‘</span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">overabundant symbols of Chinese reality with cursory imaginings of the country’s future (Michael, 2008)’. </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">In it are also skyscrapers and religious monuments which show ‘Chinas current obsession with land development </span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">(Michael, 2008)’</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> and urbanisation. ‘Candy-striped smoke stacks suggest continuous industrial production and ships move goods swiftly in and out of port <em><span style="font-family: "Calibri", "sans-serif"; font-style: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">(“Cao-Fei – Utopia,” (2009)</span></em>’ reflecting China’s current industrial status and place as the centre of manufacturing and trade in today’s society </span><span lang="EN" style="mso-ansi-language: EN; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">From looking at the work I can see what appears to be a floating slightly abstract Chinese flag in which the stars suspend it in the air; a giant flying panda looming over the city; a wheel similar to London’s Eye; rising water over and between buildings; a statue of Mao – a former leader of the nation and the Beijing Summer Olympics <span style="mso-spacerun: yes;"> </span>Stadium. All of these images/icons reflect China’s past and some of its future. It shows the current and urgent need to protect the endangered Panda; it’s amazing possible future technological advancements in architecture and transport; as well as remembering the past and how far China has come. In a way China is influenced by the idea of futurism and getting rid of the old and replacing it with the new scientific advancements and technologies but still clinging to its past and seeing how far they have come.</span><em><span style="font-family: "Calibri", "sans-serif"; font-style: normal; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></em></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">4. RMB City is described as a utopia/dystopia. Comment on what these terms mean, and how they can be applied to the work.</span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Dystopia is described as<b style="mso-bidi-font-weight: normal;"> ‘</b></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">a society characterized by human misery, as squalor, oppression, disease, and overcrowding’ by Dictionary.reference.com. Many think that the world we live in is dystopian as in the real world we live in misery and human tragedy occurs all around us. </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Utopia is an ideally perfect place, according to thefreedictionary.com, especially in its social, political, and moral aspects. It is an ideal place or state. </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">For Fei, RMB City was an ‘</span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">experimental utopian world for the 3D online virtual community of Second Life...ideal futuristic city in three dimensions (Michael, 2008)’. ‘</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">It is a Second Life version of her vision of the Chinese city today’ (Artkush, 2008) for users it is a perfect world in which they can create for themselves a new identity and appear as they choose. For younger users it is just a part of everyday life in the technological environment that is the 21<sup>st</sup> century having another life online. </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br />
<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;">5. Although the Modernist paintings and the contemporary digital work have emerged from<br />
different contexts, there are also many similarities. Comment on the similarities that you can see in the work. Look at the moving digital image at vimeo.com/4272260, if you have not<br />
already researched it.</b><br />
Both types of works are similar in that they work with what is current at the times and what is advancing in a futuristic approach. For the industrial revolution time period, they looked at new industrial settings and developments at the time portraying these in paintings and using new methods to portray subjects in them such as the many legs of Balla’s dog showing movement. For the digital world in the 21<sup>st</sup> century, using Second Life, an online medium shows the futuristic approach incorporated into artwork using current technologies that would not have been possible without the scientific and industrial revolutions that began in the 1800’s. <span style="mso-spacerun: yes;"> </span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><a href="" name="top"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Rempel, G. (n.d.). The Industrail Revolution. Retrieved 29 May, 2006 from </span></span></b></a><a href="http://www.ecology.com/archieved-links/industrial-revolution/index.html"><span style="color: #cc3300;"><span style="font-family: Calibri;"><span style="mso-bookmark: top;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">http://www.ecology.com/archieved-links/industrial-revolution/index.html</span></b></span><span style="mso-bookmark: top;"></span></span></span></a><span style="mso-bookmark: top;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;"> </span></span></b></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="mso-bookmark: top;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">The Industrial Revolution by Joseph A. Montagna, (2011) </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.yale.edu/ynhti/curriculum/units/1981/2/81.02.06.x.html"><span style="font-family: Calibri;">http://www.yale.edu/ynhti/curriculum/units/1981/2/81.02.06.x.html</span></a><span style="font-family: Calibri;"> </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">The Times Online. (January 12, 2009). Study for The City Rises by Umberto Boccioni (1910). </span><a href="http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article5502771.ece"><span style="color: windowtext;"><span style="font-family: Calibri;">http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article5502771.ece</span></span></a><span style="font-family: Calibri;"> </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Dr. Willette, J. S. M. (8.4.2011). </span><a href="http://www.arthistoryunstuffed.com/defining-futurism/" title="Permanent Link to Defining Futurism"><span lang="EN-US" style="color: windowtext; mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Defining Futurism</span></span></a><span style="font-family: Calibri;"> </span></span><strong><span lang="EN-US" style="font-family: "Calibri", "sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">FUTURISM AS THE AVANT-GARDE. </span></strong><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.arthistoryunstuffed.com/tag/umberto-boccioni/"><span style="color: windowtext;"><span style="font-family: Calibri;">http://www.arthistoryunstuffed.com/tag/umberto-boccioni/</span></span></a></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><b><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Umberto Boccioni: 1882-1916 (1999-2007)</span></b><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> <a href="http://www.huntfor.com/absoluteig/boccioni.htm"><span style="color: windowtext;">http://www.huntfor.com/absoluteig/boccioni.htm</span></a></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><em><span style="font-family: "Calibri", "sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">“The City Rises:</span></em><span style="font-family: Calibri;"><span class="captionarrow"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></span><span class="captionartist"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Umberto Boccioni (Italian, 1882–1916)” (2011)</span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> <a href="http://www.learner.org/courses/globalart/work/173/index.html"><span style="color: windowtext;">http://www.learner.org/courses/globalart/work/173/index.html</span></a></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN" style="mso-ansi-language: EN; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Lubbock, T. (2009, Spetember 4). Great Works: Dynamism of A Dog on a Leash (1912) Giacomo Balla </span></b><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.independent.co.uk/arts-entertainment/art/great-works/great-works-dynamism-of-a-dog-on-a-leash-1912-giacomo-balla-1781174.html"><span style="color: windowtext;">http://www.independent.co.uk/arts-entertainment/art/great-works/great-works-dynamism-of-a-dog-on-a-leash-1912-giacomo-balla-1781174.html</span></a><b style="mso-bidi-font-weight: normal;"></b></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Cao Fei – Utopia, (2009, June 18). </span><a href="http://www.scoop.co.nz/stories/CU0906/S00212.htm"><span style="color: windowtext;"><span style="font-family: Calibri;">http://www.scoop.co.nz/stories/CU0906/S00212.htm</span></span></a></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Artkush. (2008, Feb). </span><a href="http://samanthaculp.com/2008/02/interview-cao-fei-artkrush-feb-2008/"><span style="color: windowtext; text-transform: uppercase;"><span style="font-family: Calibri;">Interview: Cao Fei</span></span></a><span style="font-family: Calibri;">. </span><a href="http://samanthaculp.com/2008/02/interview-cao-fei-artkrush-feb-2008/"><span style="color: windowtext;"><span style="font-family: Calibri;">http://samanthaculp.com/2008/02/interview-cao-fei-artkrush-feb-2008/</span></span></a></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span lang="EN-US" style="font-family: Symbol; mso-ansi-language: EN-US; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Michael. (2008, February 27) </span><a href="http://www.asomatic.net/2008/02/live-stage-cao-fei%e2%80%99s-%e2%80%9crmb-city%e2%80%9d-nyc/" title="Permanent Link to Live Stage: Cao Fei’s “RMB City†[NYC]"><span style="color: windowtext;"><span style="font-family: Calibri;">Live Stage: Cao Fei’s “RMB Cityâ€</span></span><span style="color: windowtext; font-family: "Cambria", "serif"; mso-bidi-font-family: Cambria;"></span><span style="color: windowtext;"><span style="font-family: Calibri;"> [NYC]</span></span></a></span><span style="font-family: Calibri;"><span lang="EN-US" style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.asomatic.net/tag/architecture/"><span style="color: windowtext;">http://www.asomatic.net/tag/architecture/</span></a></span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://dictionary.reference.com/browse/dystopia"><span style="color: windowtext;"><span style="font-family: Calibri;">http://dictionary.reference.com/browse/dystopia</span></span></a></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.thefreedictionary.com/utopia"><span style="color: windowtext;"><span style="font-family: Calibri;">http://www.thefreedictionary.com/utopia</span></span></a></span></div></span>KTDhttp://www.blogger.com/profile/10564552341896037366noreply@blogger.com6tag:blogger.com,1999:blog-3575310752773273852.post-86734808037195607792011-04-22T13:02:00.003+12:002011-05-01T10:18:08.356+12:00Sublime Landscape<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-uHdiWAr8FnE/TbDMMqg73YI/AAAAAAAAAEM/ZiFyclV---c/s1600/fri_wand_2.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" i8="true" src="http://4.bp.blogspot.com/-uHdiWAr8FnE/TbDMMqg73YI/AAAAAAAAAEM/ZiFyclV---c/s320/fri_wand_2.jpg" width="251" /></a></div><br />
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</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;"></span></span><span style="color: white;"> </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-fareast-language: EN-NZ;"><span style="color: white; font-family: Calibri;">'Wanderer in the mists' (1818) Caspar David Friedrich</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
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<div class="separator" style="clear: both; text-align: left;"><a href="http://1.bp.blogspot.com/-RgZx95QYnrY/TbDMN6nzqDI/AAAAAAAAAEQ/X_5hmZJPAkI/s1600/ON-THE-BEACH-Untitled-394-03-2003.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" height="177" i8="true" src="http://1.bp.blogspot.com/-RgZx95QYnrY/TbDMN6nzqDI/AAAAAAAAAEQ/X_5hmZJPAkI/s200/ON-THE-BEACH-Untitled-394-03-2003.jpg" width="200" /></span></a></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
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<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="color: white; mso-fareast-language: EN-NZ;">The Enlightenment was the creation of a new framework of ideas about man, society, and nature, which challenged existing conceptions rooted in a traditional world-view, dominated by Christianity (Hamilton, 1992). It started around about the 17<sup>th</sup> century and many argue it is still continuing today. It was a time where reason and rational thinking were introduced to understand the world through empiricism and human experience (Hooker, 1996). </span><u></u></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-fareast-language: EN-NZ;"><br />
<b style="mso-bidi-font-weight: normal;"><span style="color: white; font-family: Calibri;">2. Define the concept of the Sublime.</span></b></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-fareast-language: EN-NZ;"><span style="color: white; font-family: Calibri;">“The sublime” was defined in 1756 by the British statesman and political theorist Edmund Burke (1729-1797). The basis of Burke’s beliefs was that the life of feeling and spirit depended on a harmony within the larger order of the universe. The sublime therefore was the ultimate experience of divinity, a mixture of awe, fear and enlightenment produced by the contemplation of a powerful, terrifying nature (ALVC Resource Book, 2011). The elements of nature and divinity being god creating all in nature perfectly and beautifully are interlinked to landscape in which the sublime is often seen and portrayed in art.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-fareast-language: EN-NZ;"><br />
<span style="color: white; font-family: Calibri;">3. How did the concept of the Sublime come out of the Enlightenment thought?</span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-fareast-language: EN-NZ;"><span style="color: white; font-family: Calibri;">Within the time period of enlightenment thought, the ideas of empiricism and secularism arose. This meant that the natural world around people was studied and experienced, much of this being nature and landscapes. The association between the power of nature and a recognition of the divinity behind it was a constant theme in early Romantic writing (ALVC Resource Book, 2011). The writer<span style="mso-spacerun: yes;"> </span>Wilhelm Wackenroder proclaimed that there exist only two languages through which God allows humans to comprehend the Divine; one of these is reserved for God alone... the second language having two components: “they are: nature and art” (ALVC Resource Book, 2011). From these ideas artists began focusing on landscapes as art themselves instead of picturesque backgrounds for other subject matter. They started filling the scenes with symbolic meanings of religious beliefs. Often in sublime art, figures are solitary and anonymous showing they could be anybody and their insignificance in the functioning of the world as a whole. They represent how the world goes on and functions without them and that ultimately they are small and overpowered by the divinity of nature. Sublime art often entices the viewer to take a place within the artwork and experience the sublime. </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-fareast-language: EN-NZ;"><br />
<b style="mso-bidi-font-weight: normal;"><span style="color: white; font-family: Calibri;">4. Discuss the subject matter and aesthetic (look) of Misrach's work to identify the Sublime in his work. Add some more images of his work.</span></b></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="color: white;"><span style="mso-fareast-language: EN-NZ;">Misrach’s works are photographs of human intervention in natural landscapes. They show small figures in huge majestic powerful settings that seem every bit as vulnerable as the world that they occupy (Ayers, 2008). He "paint[s] an elegant picture of the strangeness and upset balance of human activity in an alien landscpae" (Richard Misrach," 2005-2011). He takes photographs of desserts and oceans as they are “ultimate definition of the sublime because we’re in awe of it—its glory and its beauty—but it’s still really scary and dangerous” (Ayers, 2008). He started doing his works in this way when he “</span><span lang="EN-US" style="mso-ansi-language: EN-US;">was drawn to the fragility and grace of the human figure in the landscape” (Risch, 2010). </span><span style="mso-fareast-language: EN-NZ;">He was strongly influenced by the images that came out of the 9/11 World Trade Tower plane bombings and the fragility of the people involved and their powerlessness to stop it. He was also inwas also influenced by the</span><span lang="EN-US" style="mso-ansi-language: EN-US;">1950s Cold War novel and film, On the Beach (Risch, 2010). </span><span style="mso-fareast-language: EN-NZ;">They are sublime in their showing divinity through nature being landscapes and the smallness of one or more human beings in the scale of the world and the universe.</span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><a href="http://3.bp.blogspot.com/-riKpuCpqvto/TbDL4_dVlGI/AAAAAAAAAD4/7lgpztJ3xJk/s1600/Misrach1994_21.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" height="253" i8="true" src="http://3.bp.blogspot.com/-riKpuCpqvto/TbDL4_dVlGI/AAAAAAAAAD4/7lgpztJ3xJk/s320/Misrach1994_21.jpg" width="320" /></span></a></div><span style="color: white;"><br />
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<span style="font-family: Calibri;"><i></i></span><span style="color: white;"> Swimmers, Pyrammid Lake Indiana Reservation, Nevada, 1987-93 </span><br />
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</span></div><div align="left" class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"> White Man Contemplating pyramids, Eygpt, 1989-1991</span></div><div align="left" class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
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</span></div><div align="left" class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white; font-family: "Calibri", "sans-serif"; line-height: 115%; mso-ansi-language: EN-NZ; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-NZ; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><strong>5. Identify some other artists or designers that work with ideas around the Sublime, from the Enlightenment era as well as contemporary artists.</strong></span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-wrqYJl6int8/TbDN8l-K3LI/AAAAAAAAAEY/axccjbfxcaw/s1600/1630-painting-by-viviano-codazzi.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" height="247" i8="true" src="http://3.bp.blogspot.com/-wrqYJl6int8/TbDN8l-K3LI/AAAAAAAAAEY/axccjbfxcaw/s320/1630-painting-by-viviano-codazzi.jpg" width="320" /></span></a></div><span style="color: white;"><br />
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<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-fareast-language: EN-NZ;"><span style="color: white; font-family: Calibri;">Painting of St. Peter's Square in 1630 by Viviano Codazzi. </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-fareast-language: EN-NZ;"><span style="color: white; font-family: Calibri;">The huge scale of the building surrounded by tiny figures is reminiscent of the ideas of the sublime in art showing the awe and power of the building over human life. </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
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</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white; font-family: Calibri;">Bridge near The Usk, by J.M.W. Turner (1775-1851). Watercolour. England, 19th century.</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white; font-family: Calibri;">J.M.W. Turner’s work shows the natural landscape that is symbolic of divinity on earth as was the idea of the sublime. I like this painting a lot and think that it does make you feel in awe of the landscape around you and the impressive scale of it all.</span></div><div align="left" class="separator" style="clear: both; text-align: center;"><span style="color: white;"></span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-vnhTIruFrVc/TbDL_ALPWwI/AAAAAAAAAEA/jb4J8erWqRE/s1600/22540w_morley_04tuymans.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" height="246" i8="true" src="http://2.bp.blogspot.com/-vnhTIruFrVc/TbDL_ALPWwI/AAAAAAAAAEA/jb4J8erWqRE/s320/22540w_morley_04tuymans.jpg" width="320" /></span></a></div><span style="color: white;"><br />
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<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-fareast-language: EN-NZ;"><span style="color: white; font-family: Calibri;">Luc Tuymans, <i>The Walk</i> 1993, Oil on canvas, 37x48cm </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-fareast-language: EN-NZ;"><span style="color: white; font-family: Calibri;">This work reminds me of Caspar David Friedrich 'Wanderer in the mists' showing the backs and mainly silhouette of the men looking out onto a vast distant landscape. Though the figures are large and obvious in the painting the power of the natural setting is greater than them, making them seem weak and fragile in balance to the landscape.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
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</span> </div><span style="color: white;"></span><span style="font-family: "Calibri", "sans-serif"; line-height: 115%; mso-ansi-language: EN-NZ; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-NZ; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span><span style="color: black;"> </span> <br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white; mso-fareast-language: EN-NZ;">Pierre Huyghe, <i>Still from One Million Kingdoms</i> 2001, Video installation with sound, 7mins </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;">I like this image from a video installation by Pierre Huyghe for its influence of the sublime but difference from it. The green tall digital projections appear like mountains and tower over the figure as they would in nature but having been digitally made create an interesting twist on the idea of the sublime in art.</span></div><div align="left" class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"></span></div><div align="left" class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
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<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white; mso-fareast-language: EN-NZ;"><strong>6. How does Misrach's photography make you feel? Does it appeal to your imagination?</strong></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white; mso-fareast-language: EN-NZ;">To me Misrach’s works make humans appear small in the scale of the world and insignificant. They are small dots in the entirety that is the universe and even the world. Individually they are alone and powerless against nature but together and in groups can overtake it and occupy/consume the world around them. it appeals to me in the way it portrays the world and nature as vast and open, as if the world is itself infinite with places that seem almost untouched by human hand such as <i style="mso-bidi-font-style: normal;">'Untitled # 394-03' (2003)</i> as well as places completely dominated by human hand such as <i style="mso-bidi-font-style: normal;">White Man Contemplating Pyramids</i> in which the pyramids are manmade into the landscape.</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-fareast-language: EN-NZ;"><br />
<strong><span style="color: white;">7. Add a Sublime image of your choice to your blog, which can be Art or just a Sublime photograph.</span></strong></span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-okSit08-Wxk/TbDMCFO2TlI/AAAAAAAAAEI/fVGWTApRhic/s1600/MonkSea.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" height="204" i8="true" src="http://4.bp.blogspot.com/-okSit08-Wxk/TbDMCFO2TlI/AAAAAAAAAEI/fVGWTApRhic/s320/MonkSea.jpg" width="320" /></span></a></div><div align="left" class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"></span></div><div align="left" class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
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</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white; font-family: Calibri;">Caspar Friedrich "Monk by the Sea" 1809</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
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<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white; mso-fareast-language: EN-NZ;">Katy Dick, “5:20”, 1.1.2011</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
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</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><u><span style="color: white; mso-fareast-language: EN-NZ;">Hamilton, P. (1992). The Enlightenment nad the birth of social science, in Hall, S. & Gieben B. (eds.), <i style="mso-bidi-font-style: normal;">Formations of Modernity</i>. Cambridge: Open University Press (pg.23)</span></u></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><u><span style="color: white; mso-fareast-language: EN-NZ;">Hooker, R. (1996).<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The scientific revolution</i>. Retrieved 21 February, 2006 from: </span></u><a href="http://www.wsu.edu:800/~dee/ENLIGHT/SCEREV.HTM"><u><span style="color: white; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">http://www.wsu.edu:800/~dee/ENLIGHT/SCEREV.HTM</span></u></a><u></u></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white; mso-fareast-language: EN-NZ;">AUT University. (2011). ALVC1 Resource Book. Pg 109. The Tradition Invented: The Theory of the Sublime. Retrieved Decmeber 11, 2002 from </span><a href="http://media.dickinson.edu/landscapes/Ia_landscape_Europe.html%20retrieved%20december%2011"><span style="color: white; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">http://media.dickinson.edu/landscapes/Ia_landscape_Europe.html </span></a><span style="mso-fareast-language: EN-NZ;"></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white; mso-fareast-language: EN-NZ;">Ayers, R. (2008) Richard Misrach.</span><a href="http://www.artinfo.com/news/story/26514/richard-misrach/"><span style="color: white; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">http://wwwc.artinfo.com/news/story/26514/richard-misrach/</span></a><span style="color: white;"> </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span lang="EN" style="color: white; mso-ansi-language: EN;">Richard Misrach(Copyright 2005–2011 Museum of Contemporary Photography) </span><a href="http://www.mocp.org/collections/permanent/misrach_richard.php"><span style="color: white; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">http://www.mocp.org/collections/permanent/misrach_richard.php</span></a><span style="color: white; mso-fareast-language: EN-NZ;"> </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Risch, C. (2010, January 28). Visions of the Decade: Richard Misrach’s On The Beach (5 Photos)</span><span lang="EN-US"> </span></span><a href="http://www.pdnphotooftheday.com/2010/01/3367"><span lang="EN-US" style="color: white; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">http://www.pdnphotooftheday.com/2010/01/3367</span></a><span style="mso-ansi-language: EN-US;"><span style="color: white;"> <span lang="EN-US"></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"></span></div>KTDhttp://www.blogger.com/profile/10564552341896037366noreply@blogger.com7tag:blogger.com,1999:blog-3575310752773273852.post-71223452724998573822011-04-19T00:07:00.001+12:002011-05-01T10:19:56.560+12:00Links to Science and Reason<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-uf2bdK1TejI/TawoUpN5lBI/AAAAAAAAADw/mmHFeiKxl1M/s1600/untitled.bmp" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" r6="true" src="http://3.bp.blogspot.com/-uf2bdK1TejI/TawoUpN5lBI/AAAAAAAAADw/mmHFeiKxl1M/s320/untitled.bmp" width="320" /></a></div><div align="left"><br />
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</span></div><div align="left"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="font-family: Calibri;"><span style="color: white;">Still from Pipilotti Rist’s 'Ever is Over All' (1997)<span style="mso-spacerun: yes;"> </span></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="color: white; font-family: Calibri;">1. Define the 17th century 'Scientific Revolution', and say how it changed European thought and world view. </span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="color: white;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">The 17<sup>th</sup> century scientific revolution was a change in technological and natural science. It was a series of changes in the structure of European thought itself: systematic sciences advanced, and the view that the world functions like a machine arrived (Hooker, 1996). </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Medieval scientific philosophy was abandoned in favour of the new methods proposed by Bacon, Galileo, Descartes, and Newton; the importance of experimentation to the scientific method was reaffirmed; the importance of God to science was for the most part invalidated, and the pursuit of science itself (rather than philosophy) gained validity on its own terms (Kent, 2006). </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">These methods greatly changed European thought and the view of the world affecting every other aspect of life, from individual life to the life of the group.The world become more logical, mathematical and scientific; understood through observation, experimentation and exploration over religious faith and following.</span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="color: white; font-family: Calibri;">2. Give examples of how we can we still see evidence of the 'Scientific Revolution' in the world today.</span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="color: white;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">Science in the world today surrounds us in so many ways. Basically everything we use, see, etc is a product of the methods and theories of science. </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Science provides a world view, a way of making sense out of the apparently random and meaningless experience of our lives (Kreis, 2002).</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"> In my opinion the fact that we see the world as revolving around the sun is evidence of the scientific revolution in the world today. The fact that we study science in schools as a subject on its own, and view science as a field of work and income shows how the scientific revolution is still impacting the world today. The religious view of Scientology is evidence of the scientific revolution in today’s society and scientific experimentation to improve our lives and make our lives easier is an ongoing product of the revolution today.</span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="color: white; font-family: Calibri;">Research Pipilotti Rist's video installations to answer the following;</span></span></u></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="color: white; font-family: Calibri;">3. From your research, do you think that the contemporary art world values art work that uses new media/technology over traditional media?</span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="color: white;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">i think that in the contemporary art world it is hard to escape from the new media and technological art that is being produced and shown as art. I think some people are sceptical towards it having a fixed preset idea of what is and isn’t art. I think growing up in a technological and media influenced society, younger generations would be more open to for instance video as art and accept it as art. The concept of art being anything with a creative process behind it, as has been discussed in CADI, mean that video as art should be embraced as a progressive step forward in artistic expression. </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The overarching acceptance on the part of museum curators of video's relevance and expressive potential points not only to prevailing sentiments about the creative promise of technology, but also reflects and simultaneously taps into the most marketable constituents of the current art/museum-going public (Lane, 2003). <span style="mso-spacerun: yes;"> </span></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="color: white; font-family: Calibri;">4. How has Pipilotti Rist used new media/technology to enhance the audience's experience of her work.</span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="color: white;">Through the use of media/technology Rist is able to show two moving images simultaneously that blend and create the full effect she wants. They enhance the experience for the viewer greater than if the two videos had been shown by themselves without the other<b style="mso-bidi-font-weight: normal;">. </b>Ever Is Over All <span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">envelops viewers...</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> [Creating a] spellbinding lull (“the Museum of Modern Art,” 2006-7). </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">She has</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"> fulfilled the roles of director, producer, and singer for this video (Long, 1999) </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">gaining complete control over the outcome that the artworks audience will get to experience as the final result. Using technology she has manipulated media to show exactly what she wants seen and in a way to create a reaction in the viewer as she desires. Showing the video within the space of an entire room forces he work onto the viewer creating a relationship between the media and viewer immediately and </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">require[ing] active audiences to immerse themselves directly in her work (Long, 1999). </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="color: white;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">5. Comment on how the installation, sound and scale of 'Ever is Over All' (1997) could impact on the audience's experience of the work</span></b><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">.</span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="color: white; font-family: Calibri;">As i said above the fact that the installation occupies the entire room covering 2 whole walls in projections, i think could be seen as intimidating but with the effect of the sound accompanying the image of the woman and the flowers could be very entertaining and meaningful. <span style="mso-spacerun: yes;"> </span>Occupying so much space it would be hard to take it in all at once so the viewer would have to stand back for a few minutes to fully understand the installation and thus achieving sending the message Rist is making through her work.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="color: white; font-family: Calibri;">6. Comment on the notion of 'reason' within the content of the video. Is the woman's behaviour reasonable or unreasonable?</span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="color: white;"><i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Ever is Over All</span></i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> (1997) is on one wall a slow motion portrayal of a young woman walking down a car-lined street, smashing the windows of the parked cars with a large hammer in the shape of a tropical flower as she passes. On the other wall images of flowers swaying in a field are projected, occasionally overlapping the first image, as the woman moves along laughing and smashing glass shattering everywhere. </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="mso-spacerun: yes;"> </span>A</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">n approaching police officer smiles in approval, introducing comic tension into this whimsical and anarchistic scene (“the Museum of Modern Art,” 2006-7). I</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> think the woman in the video’s behaviour is unusual as she seems so peaceful and happy then slightly violent smashing to pieces cars. I like it purely because who hasn’t walked past something and felt like smashing it just because you can? I think her behaviour is reasonable in terms of creating the installation, though in real society she would be looked at with concerned glances and somebody would stop her and probably ring the cops. The fact that in the video an officer walks by and smiles shows its not real society because they would have stopped her or someone walking by would have asked what she was doing and why. </span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"><span style="color: white; font-family: Calibri;">7. Comment on your 'reading' (understanding) of the work by discussing the aesthetic (look), experience and the ideologies (ideas, theories) of the work.</span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="color: white; font-family: Calibri;">I like the work especially the fact it is so massive. It’s like standing right up close to a movie screen bent around a corner. The bright and contrasting colours draw attention to what is going on in the video and are pleasant to look at and invite the viewer to take their time watching it. I think getting to experience it close up in the room spread out across the walls would impose the artists’ idea of the woman and her actions as defying masculinity and femininity in society clearly. The sheer size of installation confined in a small space creates a unique experience like Ron Mueck’s gigantic sculptures unable to be taken in just one glance. </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="color: white;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">Hooker, R. (1996).<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The scientific revolution</i>. Retrieved 21 February, 2006 from: </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.wsu.edu:800/~dee/ENLIGHT/SCEREV.HTM"><span style="mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">http://www.wsu.edu:800/~dee/ENLIGHT/SCEREV.HTM</span></a></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;"><span style="color: white;">Kent, J. (2006, January 10). <i style="mso-bidi-font-style: normal;">The Impact of the Scientific Revolution: A Brief History of the Experimental Method in the 17th Centur. </i><span style="mso-spacerun: yes;"> </span></span></span><a href="http://cnx.org/content/m13245/latest/"><span style="mso-fareast-language: EN-NZ;"><span style="color: white; font-family: Calibri;">http://cnx.org/content/m13245/latest/</span></span></a></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="color: white;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;">Kreis, S. (2002) <i style="mso-bidi-font-style: normal;">The History Guide: lectures on Early Modern European History: lecture 10: The Scientific Revolution, 1543-1600</i>. </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.historyguide.org/earlymod/lecture10c.html"><span style="mso-fareast-language: EN-NZ;">http://www.historyguide.org/earlymod/lecture10c.html</span></a></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="color: white; font-family: Calibri;">Lane, R. (2003). <i style="mso-bidi-font-style: normal;">Guilty Pleasures: Pipilotti Rist and the Psycho/Social Tropes of Video. <a href="http://www.mariabuszek.com/kcai/PoMoSeminar/Readings/LaneGuiltyRist.pdf">http://www.mariabuszek.com/kcai/PoMoSeminar/Readings/LaneGuiltyRist.pdf</a></i> </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b><span lang="EN" style="mso-ansi-language: EN; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"><a href="http://www.moma.org/"><span style="border-bottom: windowtext 1pt; border-left: windowtext 1pt; border-right: windowtext 1pt; border-top: windowtext 1pt; mso-border-alt: none windowtext 0cm; padding-bottom: 0cm; padding-left: 0cm; padding-right: 0cm; padding-top: 0cm;"><span style="color: white; font-family: Calibri;">The Museum of Modern Art</span></span></a><span style="color: white; font-family: Calibri;">: </span></span></b><span style="font-family: Calibri;"><span style="color: white;"><i><span lang="EN" style="mso-ansi-language: EN; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Out of Time: A Contemporary View: August 30, 2006–April 9, 2007. </span></i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.moma.org/collection/browseresults.php?object_id=81191">http://www.moma.org/collection/browseresults.php?object_id=81191</a></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="color: white;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">Long, V. (1999).</span><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Cindy Sherman + Pipilotti Rist: the Writing of the Feminine.</span></i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> <a href="http://members.fortunecity.com/vanessa77/index21.html">http://members.fortunecity.com/vanessa77/index21.html</a></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div>KTDhttp://www.blogger.com/profile/10564552341896037366noreply@blogger.com5tag:blogger.com,1999:blog-3575310752773273852.post-10465794095845248242011-04-10T14:56:00.001+12:002011-05-01T10:19:11.558+12:00Artists Status<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><strong><span style="color: white; font-family: Times, "Times New Roman", serif;">1. Identify aspects of Durer's self portrait that show a changing view of the artist's view of himself as an individual. </span></strong></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: left;"><a href="http://4.bp.blogspot.com/-3h5ccSga_hQ/TaET2ab7bRI/AAAAAAAAADg/T0XuhK4RR1Y/s1600/durer26.JPG" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white; font-family: Times, "Times New Roman", serif;"><img border="0" height="200" r6="true" src="http://4.bp.blogspot.com/-3h5ccSga_hQ/TaET2ab7bRI/AAAAAAAAADg/T0XuhK4RR1Y/s200/durer26.JPG" width="144" /></span></a><span style="color: white; font-family: Times, "Times New Roman", serif;"></span></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: left;"><span style="font-family: "Times New Roman", "serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"><span style="font-family: "Calibri", "sans-serif"; line-height: 115%; mso-ansi-language: EN-NZ; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="color: white; font-family: Times, "Times New Roman", serif;">Self Portrait in Fur Coat (1500), Albrecht Durer </span></span></span></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: left;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: white;"><span style="font-family: "Times New Roman", "serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">Dürer seemed fascinated by his own image. He was well aware of his audience and painted his image to project an air of importance, to create perhaps, an increased social status</span> (the self-portrait as a projection of self, </span></span><a href="http://userpages.umbc.edu/"><span style="color: white; font-family: Times, "Times New Roman", serif;">http://userpages.umbc.edu</span></a><span style="color: white; font-family: Times, "Times New Roman", serif;"> ). The picture is proudly inscribed: 'Thus I, Albrecht Durer from Nuremburg, painted myself with indelible colours at the age of 28 years' (Albrecht Durer, </span><a href="http://www.moodbock.com/"><span style="color: white; font-family: Times, "Times New Roman", serif;">www.moodbock.com</span></a><span style="color: white; font-family: Times, "Times New Roman", serif;">). <span style="font-family: "Times New Roman", "serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;">This shows his opinion of himself as an individual and unique from other artists. It also promotes himself as an artist by stating that he painted it and it’s his work, done his way.<span style="mso-spacerun: yes;"> </span>His changing view of himself as an individual and an artist can be seen as in this showing how he thinks of himself as an important individual and a talented artist. He is not just an ordinary artist like everyone else; he is special and can produce art in a certain style and way, unique and different. He has portrayed himself in “imitation Christi”</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">, in imitation of Christ. Durer deliberately set out to create a Christ-like image as a was a statement of faith, </span>(Albrecht Durer, </span><a href="http://www.moodbock.com/"><span style="color: white; font-family: Times, "Times New Roman", serif;">www.moodbock.com</span></a><span style="font-family: Times, "Times New Roman", serif;"><span style="color: white;">) <span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">which shows his individual religious views. Portraying himself in a likeness to Christ he acknowledges his religion and his beliefs as well as showing his belief that his artistic skills were a God-given talent.</span></span></span></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: left;"><span style="color: white;"><br />
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<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white; font-family: Times, "Times New Roman", serif;"><strong>2. Explain how the artist's social status increased during the Renaissance period. Briefly explain why this happened.</strong></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white; font-family: Times, "Times New Roman", serif;">During the Renaissance a revival of classical texts and art led to the discovery of theses on mathematical and scientific ways to composition and construct an artwork. As these were techniques and methods were applied in art making and required intellectual thought, painters, sculptors and architects wanted to attain recognition for their professions as liberal arts. This meant that their work was not just a craftsman skill but also required intelligence and the implementation of scientific methods. With their new scientific methods they began to claim superiority over mere craftsmen, and tried to establish for themselves a better social position (Blunt, A. 1962). This meant that there was a crucial shift from the artists as mere artisan belonging to a craft guild to the artist as a creative and learned personality, admired not just for acquired skills but also for innate ability what we might today call creative genius (Barker et al, 1999). There was a high value on imagination, originality, spontaneity, creativity and self-expression and that art should reflect the individual sensibility of the creator. The rising status of the artist during the Renaissance was a kind of reaction to the loss of any precise social function for art and resulting in the marginalization of the artists (Barker et al, 1999). Artist of the time began asserting an individual reputation that set them apart from other members of their profession. The idea of belonging to a guild or workshop as a fundamental unit of production, with works being more or less collaboration, began to deteriorate as shown by Francesco del Cassa’s complaint of all artist working on a set of fresco paintings for the Duke at the Schifanoia Palace were being paid by the same rate per square foot of wall regardless of reputation. Cenneno Cennini’s treatise of how apprenticeships shouldn’t be where new artists copy another artists work to create a uniform workshop style but so that the aspiring artist should eventually develop his own individual style had a large impact on the social status of the artist (Barker et al, 1999).<u> </u>However the attainment of status cannot simply be attributed to individual ‘greatness’ of an artist. A crucial role was played by transformations in artistic patronage during the Renaissance, when the expanding power and wealth of Italian rulers such as the Medici were taking place enabling artists to escape from control of guilds and work as court artists, creating a name for themselves as individuals with their own style.</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white; font-family: Times, "Times New Roman", serif;"><strong>3. Comment on Gavin Turk's work in relation to individualism, status of the artist and egotism.</strong></span></div><div class="separator" style="clear: both; text-align: left;"><a href="http://1.bp.blogspot.com/-xmQRARMJCy0/TaET_FYevRI/AAAAAAAAADs/Wk9-_fopUtg/s1600/GavinTurk97Knob-s.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: white; font-family: Times, "Times New Roman", serif;"><img border="0" r6="true" src="http://1.bp.blogspot.com/-xmQRARMJCy0/TaET_FYevRI/AAAAAAAAADs/Wk9-_fopUtg/s1600/GavinTurk97Knob-s.jpg" /></span></a></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: "Calibri", "sans-serif"; line-height: 115%; mso-ansi-language: EN-NZ; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="color: white; font-family: Times, "Times New Roman", serif;">Knob (1997) Gavin Turk</span></span></div><span style="font-family: "Calibri", "sans-serif"; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-NZ; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white; font-family: Times, "Times New Roman", serif; font-size: small;">Gavin Turk’s work shows individualism through the use of his name alone. No one else has his name and it is individual in itself as a symbolic representation of him. Reading the name on the screen print you automatically think about that person whose name it is and why they chose to portray their name in such a way.<span style="mso-spacerun: yes;"> </span>He considers this work portraiture (British Council, 2009) By printing his name as this artwork he is attempting to validate his importance to society (British Council, 2009, <i style="mso-bidi-font-style: normal;">Gavin Turk (1967-</i>)<b style="mso-bidi-font-weight: normal;"> </b>his themes of<span style="mso-ansi-language: EN;"> <span lang="EN">authorship, authenticity and identity, often lead to him casting himself as the main subject of his work. This shows his opinion of his status as an artist as an important person and also of his egotism of his love for himself and thoughts of high priority in society. </span></span>(British Council, 2009, <i style="mso-bidi-font-style: normal;">Gavin Turk (1967-</i>) it shows status of the artist and his want for recognition for his artwork and society to think him accomplished and as a high ranking artist. </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><span style="color: white; font-family: Times, "Times New Roman", serif; font-size: small;"><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><strong>4. Comment on Damien Hirst's use of his work and the media for self promotion.</strong></div></span><div class="separator" style="clear: both; text-align: left;"><a href="http://2.bp.blogspot.com/-36w2JS3rNSA/TaET1euDeGI/AAAAAAAAADc/DzLkJcp8_rk/s1600/Damien-hirst-and-w_1638623a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: white; font-family: Times, "Times New Roman", serif; font-size: small;"><img border="0" height="200" r6="true" src="http://2.bp.blogspot.com/-36w2JS3rNSA/TaET1euDeGI/AAAAAAAAADc/DzLkJcp8_rk/s320/Damien-hirst-and-w_1638623a.jpg" width="320" /></span></a></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Times, "Times New Roman", serif; font-size: small;"><span style="color: white; font-family: "Calibri", "sans-serif"; line-height: 115%; mso-ansi-language: EN-NZ; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Damien Hirst and Maia Norman (1995)</span></span></div><span style="color: white; font-family: Times, "Times New Roman", serif; font-size: small;"><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">For Damien Hirst “it is the recognition... that counts.” He feels sorry for artists like Van Gogh, whose works never sold until he was dead and became famous (Brooks, 2010). He seems to crave fame and acknowledgement over people thinking he is an amazing and talented artist. He uses his work which is often controversial to get his name out there and known. The more objection and controversy the more the media will pick up on it and spread his name around society and get him to the status of a household name and British art icon. For instance his Two F***ing and Two Watching, a rotting cow and bull, was banned in New York for fears of ‘vomiting among the visitors” (Encyclopedia of Art, 2011). He never does anything quietly, always in the media and promoting his name out there.</div></span><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><strong><span style="color: white; font-family: Times, "Times New Roman", serif; font-size: small;">5. Find 2 images of work by artists or designers that reflects some of the ideas of individualism, self promotion or egotism that have been discussed on this blog. </span></strong></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: left;"><a href="http://2.bp.blogspot.com/-14DQUUG-xs0/TaET6EwPB8I/AAAAAAAAADk/X0o42dqplCk/s1600/louis_vuitton_wallets_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: white; font-family: Times, "Times New Roman", serif; font-size: small;"><img border="0" height="200" r6="true" src="http://2.bp.blogspot.com/-14DQUUG-xs0/TaET6EwPB8I/AAAAAAAAADk/X0o42dqplCk/s200/louis_vuitton_wallets_1.jpg" width="153" /></span></a><a href="http://1.bp.blogspot.com/-hYnTujmXiVA/TaET8aDafBI/AAAAAAAAADo/8OzC5-2fno0/s1600/yves-saint-laurent-fabric-logo-tote-bag.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: white; font-family: Times, "Times New Roman", serif; font-size: small;"><img border="0" height="200" r6="true" src="http://1.bp.blogspot.com/-hYnTujmXiVA/TaET8aDafBI/AAAAAAAAADo/8OzC5-2fno0/s200/yves-saint-laurent-fabric-logo-tote-bag.jpg" width="142" /></span></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: white; font-family: "Arial", "sans-serif";">These designs are by fashion designers Yves Saint Lauren and Louis Vuitton. They like Turk’s screen Print show individualism by the use of their own names on most designs they produce. They also show self promotion as when seen in society the designer can be identified straight away from just looking at the design. They promote the brand and name behind it whenever seen. The idea of people buying a work purely based on the name associated with it as is such in the world of fashion promotes egotism. It makes the designer a house hold name based not necessarily on design or function but by name and media coverage based on popularity.</span><span style="background: yellow; mso-highlight: yellow;"></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><strong><span style="color: white; font-family: Times, "Times New Roman", serif; font-size: small;">6. How do you think artists and designers are viewed in Western society today?</span></strong></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: "Times New Roman", "serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"><span style="font-size: small;"><span style="color: white; font-family: Times, "Times New Roman", serif;">I think art and design is a crucial part of western society. It is why we like what we buy, use, have, etc. We may have it because we like the design, name associated or functionality of the piece created. Artists are viewed, I think, a little more creative and ‘artsy’ than designers in society but I feel that designers include art into their designs and are as much artists as painters or sculptors. </span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
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<strong><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="color: white;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman";"> </span></span></span>The self-portrait as a projection of self. </span><a href="http://userpages.umbc.edu/~ivy/selfportrait/project.html"><span style="color: white;">http://userpages.umbc.edu/~ivy/selfportrait/project.html</span></a></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="color: white;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman";"> </span></span></span>Albrecht Durer. </span><a href="http://www.moodbook.com/history/renaissance/durer-portraits.html#self-portrait-in-a-fur-collared-robe"><span style="color: white;">http://www.moodbook.com/history/renaissance/durer-portraits.html#self-portrait-in-a-fur-collared-robe</span></a></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="color: white;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman";"> </span></span></span>Blunt, A. (1962) <i style="mso-bidi-font-style: normal;">The Social Position of the Artist. </i><span lang="EN" style="mso-ansi-language: EN;">Oxford, UK</span><i style="mso-bidi-font-style: normal;">: </i>Oxford University Press</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="color: white;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman";"> </span></span></span>Barker, E., Webb, N. & Woods, K. (1999). Historical introduction: the idea of the artist. In Barker, E., Webb, N. & Woods, K. (eds.), The Changing state of the Artist (pp. 7-25). London: Open University. </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="color: white;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman";"> </span></span></span>British Council. (2009) <i style="mso-bidi-font-style: normal;">Gavin Turk.</i> </span><a href="http://collection.britishcouncil.org/collection/artist/5/18434/object/45690"><span style="color: white;">http://collection.britishcouncil.org/collection/artist/5/18434/object/45690</span></a><span style="color: white;"> </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="color: white;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman";"> </span></span></span><span lang="EN" style="mso-ansi-language: EN;">British Council. (2009) <i style="mso-bidi-font-style: normal;">Gavin Turk (1967 −. </i></span></span><a href="http://collection.britishcouncil.org/collection/artist/5/18434"><span style="color: white;">http://collection.britishcouncil.org/collection/artist/5/18434</span></a></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="color: white;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman";"> </span></span></span>Brooks, R. (2010, March 28). <i style="mso-bidi-font-style: normal;"><span lang="EN" style="font-family: "Georgia", "serif"; mso-ansi-language: EN; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;">It’s the fame I crave, says Damien Hirst. </span></i></span><a href="http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article7078850.ece"><span style="color: white;">http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article7078850.ece</span></a></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="color: white;"><br />
</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="color: white;"><span lang="EN" style="font-family: Symbol; font-size: 10pt; mso-ansi-language: EN; mso-bidi-font-family: Symbol; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman";"> </span></span></span>Encyclopedia of Art. (visited 2011) <i style="mso-bidi-font-style: normal;">Damien Hirst (b1965). </i><span lang="EN" style="font-size: 10pt; mso-ansi-language: EN; mso-bidi-font-size: 11.0pt;"><a href="http://www.visual-arts-cork.com/famous-artists/damien-hirst.htm"><span style="mso-bidi-font-size: 10.0pt;">http://www.visual-arts-cork.com/famous-artists/damien-hirst.htm</span></a></span></span></div></strong></span>KTDhttp://www.blogger.com/profile/10564552341896037366noreply@blogger.com6tag:blogger.com,1999:blog-3575310752773273852.post-7884478778635270012011-03-31T20:24:00.000+13:002011-03-31T20:24:35.172+13:00The Humanist Sculptures of Ron Mueck<div class="separator" style="clear: both; text-align: left;"><a href="http://3.bp.blogspot.com/-isG5z18lmEg/TZQqN2OKqPI/AAAAAAAAADU/o9r3ACDxyP4/s1600/mueck_head_jpg_520x880_q85.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="188" r6="true" src="http://3.bp.blogspot.com/-isG5z18lmEg/TZQqN2OKqPI/AAAAAAAAADU/o9r3ACDxyP4/s320/mueck_head_jpg_520x880_q85.jpg" width="320" /></a></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Mask II (2002) Ron Mueck</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><a href="http://1.bp.blogspot.com/-D6IgTMR9x9w/TZQqMBB_90I/AAAAAAAAADM/iPYyBIfYyYM/s1600/images.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" r6="true" src="http://1.bp.blogspot.com/-D6IgTMR9x9w/TZQqMBB_90I/AAAAAAAAADM/iPYyBIfYyYM/s1600/images.jpeg" /></a></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">A girl (2006) Ron Mueck</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Mueck's sculpture is described as 'hyper-real'. Define the meaning of this term and apply it to his work.</span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Hyper-realism is an artistic</span><span style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-NZ;"> style characterized by highly realistic graphic representation (“hyper-realism,” 2009).</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> It is characterised in art <span class="ssens">by depiction of real life in an unusual or striking manner (“hyper-realism,” 2011). </span>Mueck’s works are certainly hyper-real, graphically representing aspects of or the human form in striking larger than life or unusual miniature sculptures. The sheer size of his larger pieces are startling to the viewer and enable Mueck to show small details usually unseen on a normal sized human being, on a large scale for all to see. His smaller than everyday pieces show things usually unseen as a whole, completely. Both scales show the human figure in their most intimate, isolated and vulnerable moments (MacIntyre, 2010). While some of his sculptures seem grotesque and unappealing, I like them for their realistic qualities even on a non-human scale. I like <i style="mso-bidi-font-style: normal;">Mask II</i> for its calmness and serenity but find <i style="mso-bidi-font-style: normal;">A Girl</i> to be quite ugly which could be because of the facial expression of the girl and her puffy dangling limbs.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="background: yellow; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-highlight: yellow;"><span style="font-family: Calibri;"></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;">Mueck is not interested in making life size sculpture. Find out why he is more interested in working with the scale of the figure which is not life size, and mention 2 works which use scale that is either larger or smaller than life.</b></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">“I never made life-size figures because it never seemed to be interesting. We meet life-size people every day” (Tanguy, 2003). I like this statement from Mueck about his work and agree that what is different from what we see everyday either in miniature or in large scale always seems more interesting to see and more mind occupying than if it were in regular size.<span style="mso-spacerun: yes;"> </span>It makes you take notice in a way that you wouldn’t do with something that’s just normal (Tanguy, 2003).</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><a href="http://4.bp.blogspot.com/-0d5U1NMJiBg/TZQqNCE_0vI/AAAAAAAAADQ/tft8gF8kGRk/s1600/mue-08.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" r6="true" src="http://4.bp.blogspot.com/-0d5U1NMJiBg/TZQqNCE_0vI/AAAAAAAAADQ/tft8gF8kGRk/s320/mue-08.jpg" width="231" /></a></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin;"></span><span style="mso-bidi-font-family: Calibri; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">The huge work <i style="mso-bidi-font-style: normal;">Big Man</i> could have been just a sculpture of a regular old man but when made to be on a dramatic and large scale, details can be observed about it, such as the fact that he has no hair whatsoever on his body and this makes it interesting and fascinating to look at. His human imperfections such as wrinkled skin and folds in his flesh due to his pose are noticed and make you wonder about this person as a human being and the movement of the body. </span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><a href="http://1.bp.blogspot.com/-USpOowsYkHA/TZQqOpr5B8I/AAAAAAAAADY/R76MD-5bavU/s1600/saltz6-6-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" r6="true" src="http://1.bp.blogspot.com/-USpOowsYkHA/TZQqOpr5B8I/AAAAAAAAADY/R76MD-5bavU/s320/saltz6-6-1.jpg" width="320" /></a></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin;">One of his smaller sculptures </span><i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Mother and Child, </span></i><span style="mso-bidi-font-family: Calibri; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-latin;">of a naked woman who has just given birth with her newborn child crouched on her belly, in its tiny half-scale size allows you to see all the work and detail put into the artwork. Its realistic nature on such a small scale allows the viewer to see everything that is going on from the emotion on the mothers face to the tiny limbs of the baby all in one glance. Colin Wiggins, the curator for a show in the National Gallery where <i>Mother and Child</i> showed, commented that </span><span lang="EN" style="mso-ansi-language: EN; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">'You [feel like you are] confronting a sacred object. You could see that it was communicating something in a visceral and emotional way’ (O’Hagan, 2006).</span><span lang="EN" style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Damien Hirst commented on Mueck’s work saying </span><span lang="EN" style="mso-ansi-language: EN; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">'It's all about scale, not size. [Mueck’s work is] smaller than life-size and absolutely massive. It's so emotional that, once you see it, you can't get it out of your head’</span><span lang="EN" style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span><span lang="EN" style="mso-ansi-language: EN; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">(O’Hagan, 2006).</span><span lang="EN" style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Define Renaissance Humanism, and analyze the term in order to apply it to an example of Mueck's work. Note that the contemporary definition of Humanism is much broader than the Renaissance definition.</span></span></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Renaissance humanism is the rediscovery and re-evaluation of the aspects of classical civilization (de Bracton, 1994) of ancient Greece and Rome. In terms of art it was about rendering the outside world according to the principles of human reason (Blunt, 1962). Naturalism based on the scientific study of the outside world by the means of the weapons of perspective and anatomy (Blunt, 1962) was a major part of humanism in the renaissance along with realism. Mueck’s work is very humanistic with his studies of real-life models and photographs to produce his work, and his realistic portrayal of the human form in the final sculptures. This is seen in Mueck’s work <i style="mso-bidi-font-style: normal;">Big Man. </i>Mueck started with a smaller sculpture of a man wrapped in blankets done from his imagination. He found a model as close to the sculpture physically as he could and studied his figure closely observing what he could and couldn’t do in terms of poses that would appear as natural as possible. When the man sat down in the corner waiting for Mueck to decide what scale and pose to position him in he sat in this pose and Mueck liked it. He did a clay study about a foot high and took photographs of it and drew in a small person next to it in one of the images. Liking this scale he decided upon doing the final sculpture large scale and painting it so as it appeared weathered with age spots, veins and things so as he appeared as realistic as possible (Tunguy, 2003). I like the realistic qualities of Mueck’s works even on different scales to what is considered normal in human scale. I think the fact that his sculptures appear so realistic is what makes them so interesting as we as the viewer can see without imagining what the human form would look like on such scale be it larger or smaller. We can see what the details and aspects of the human anatomy appear like in different sizes and what is noticed standing out or only seen after close and lengthy viewing.<span style="background: yellow; mso-highlight: yellow;"></span></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Research and discuss one of Mueck's sculptures that you might find challenging or exciting to experience in an art gallery. Describe the work, upload an image of the work, and explain your personal response to the work. </span></span></b></div><div class="separator" style="clear: both; text-align: left;"><a href="http://3.bp.blogspot.com/-b-1UpawUgfY/TZQqLQLRaYI/AAAAAAAAADI/R2bqr444xSY/s1600/deaddad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="224" r6="true" src="http://3.bp.blogspot.com/-b-1UpawUgfY/TZQqLQLRaYI/AAAAAAAAADI/R2bqr444xSY/s320/deaddad.jpg" width="320" /></a></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">A work that I would find challenging to experience in an art gallery would have to be <i style="mso-bidi-font-style: normal;">Dead Dad</i>. The smaller-than-life-size sculpture of a naked, dead male is kind of creepy to me. ‘</span><span lang="EN" style="mso-ansi-language: EN; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Laid out as if awaiting the mortician's blade’ (O’Hagan, 2006) </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">is exactly how I would describe the sculpture. The limbs especially the hands just lying lifeless on the floor appear too still and make me uncomfortable with the idea of death displayed for all to see. The fact that it is only 3ft long and smaller that life is reassuring as we know from just the scale of it that it’s not a real person but it’s obvious ‘deadness’ is concerning. Mueck says that “I didn't really get on with my father but, as I made the piece, I found myself thinking about him, caring" </span><span lang="EN" style="mso-ansi-language: EN; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">(O’Hagan, 2006). </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">This fact makes the work less chilling to me as if it helped Mueck feel better about his relationship with his father, it doesn’t seem quite so eerie and disturbing.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><ul><li><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">Blunt, A. (1962). <i style="mso-bidi-font-style: normal;">Artistic Theory in Italy 1450-1600</i>. Oxford; Oxford University Press. (Pages 1-2)</span></span></div></li>
<li><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;">De Bracton, N. (1994) Humanism: An Introduction. </span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;"><a href="http://www.byu.edu/ipt/projects/middleages/LifeTimes/humanism.html">http://www.byu.edu/ipt/projects/middleages/LifeTimes/humanism.html</a></span></span></div></li>
<li><div class="brandcopy" style="margin: 6pt 0cm 0pt;"><span style="color: black; font-family: "Calibri", "sans-serif"; font-size: 11pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Hyper-realism. (2009). In <i style="mso-bidi-font-style: normal;">the American Heritage® Dictionary of the English Language, Fourth Edition. </i>Houghton Mifflin Company. </span><span style="color: black; font-family: "Calibri", "sans-serif"; font-size: 11pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><a href="http://www.thefreedictionary.com/hyperrealism">http://www.thefreedictionary.com/hyperrealism</a></span></div></li>
<li><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span class="ssens"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Hyper-realism. (2011). On Merriam-Webster.com, an Encyclopaedia Britannica Company. </span></span></span></div></li>
<li><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span class="ssens"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Calibri;"><a href="http://www.merriam-webster.com/dictionary/hyperrealism">http://www.merriam-webster.com/dictionary/hyperrealism</a></span></span></div></li>
<li><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">MacIntyre, A. (2010, February 5).</span><i style="mso-bidi-font-style: normal;"><span style="mso-ansi-language: EN; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> <span lang="EN">Ron Mueck's hyper-real sculptures come to Manchester, Feb 4-April 11. <a href="http://www.monstersandcritics.com/arts/news/article_1531151.php/Ron-Mueck-s-hyper-real-sculptures-come-to-Manchester-Feb-4-April-11">http://www.monstersandcritics.com/arts/news/article_1531151.php/Ron-Mueck-s-hyper-real-sculptures-come-to-Manchester-Feb-4-April-11</a> </span></span></i></span></div></li>
<li><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">O’Hagan, S. (2006, August 6). </span><i style="mso-bidi-font-style: normal;"><span lang="EN" style="mso-ansi-language: EN; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Ron Mueck: From Muppets to motherhood. <a href="http://www.guardian.co.uk/artanddesign/2006/aug/06/art2">http://www.guardian.co.uk/artanddesign/2006/aug/06/art2</a></span></i></span></div></li>
<li><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Tanguy, S. (2003, July/August 2003)</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-NZ;"> <i style="mso-bidi-font-style: normal;">The Progress <span style="mso-bidi-font-style: italic;">Big Man</span> A Conversation with Ron Mueck.</i></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> <a href="http://www.sculpture.org/documents/scmag03/jul_aug03/mueck/mueck.shtml">http://www.sculpture.org/documents/scmag03/jul_aug03/mueck/mueck.shtml</a></span></span></div></li>
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</div>KTDhttp://www.blogger.com/profile/10564552341896037366noreply@blogger.com6tag:blogger.com,1999:blog-3575310752773273852.post-77028136946748664152011-03-11T20:04:00.000+13:002011-03-11T20:04:04.579+13:00Therefore I Am Barbara Kruger<div class="separator" style="clear: both; text-align: center;"><a href="https://lh6.googleusercontent.com/-y_e88IEHJtM/TXnGGsKuNKI/AAAAAAAAAC4/37jC1_v3OJ0/s1600/barbara-kruger-consumerism-critique.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="196" q6="true" src="https://lh6.googleusercontent.com/-y_e88IEHJtM/TXnGGsKuNKI/AAAAAAAAAC4/37jC1_v3OJ0/s200/barbara-kruger-consumerism-critique.jpg" width="200" /></a></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: Calibri;"><em>I shop therefore I am,</em> 1987 Barbara Kruger </span></div><br />
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;"></i></span><div class="separator" style="clear: both; text-align: center;"><a href="https://lh5.googleusercontent.com/-DHIQ6gQMLDU/TXnGLqqtipI/AAAAAAAAAC8/yLiBleaB7YA/s1600/BarbaraKruger-Face-It-Green-2007.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" q6="true" src="https://lh5.googleusercontent.com/-DHIQ6gQMLDU/TXnGLqqtipI/AAAAAAAAAC8/yLiBleaB7YA/s200/BarbaraKruger-Face-It-Green-2007.jpg" width="165" /></a></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: Calibri;"><em>Face It (Green) </em>2007</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
<span style="font-family: Calibri;"> </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;">Barbara Kruger has been described as a feminist, conceptual and a pop artist.</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;">Her work reflects her interest in graphic design, photography, poetry and writing.</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Calibri;">Describe the 'style' that Kruger has used in the two presented works.</span></u></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;">Kruger uses her knowledge and interest in graphic design and writing to produce black and white images with thought provoking statements overlaid. The phrases usually make a bold statement that is juxtaposed by the image behind them and use pronouns such as “you”, “I”, “your”, “we” and “they” to invoke a reaction in the viewer and make them consider the message behind the artwork and her point in creating it. She has perfected a signature agitprop style, using large-scale, black-and-white photographic images juxtaposed with raucous, pithy, and often ironic aphorisms, printed in Futura Bold typeface against black, white, or deep red text bars (arthistoryarchive.com)<i style="mso-bidi-font-style: normal;">. I shop therefore I am</i> portrays a black and white image of a hand holding a sign bearing the words of its title. The image made me think of the meaning behind it and the point Kruger is trying to get across.<span style="mso-spacerun: yes;"> </span>To me she is making us question what we do and how that makes us who we are. In the case of <i style="mso-bidi-font-style: normal;">Face It</i>, she has given it a green tinge to invoke the idea of money and how we spend it to make ourselves appear a certain way to the world or in hope of gaining something from what we wear. The image of a silky and shiny textured garment with a label reading “this luxurious garment won’t make you rich or beautiful” is overlaid with the printed words “<i style="mso-bidi-font-style: normal;">Face It</i>!” and made me think about the clothes I wear and the message that the clothes I do wear send out, in comparison to what I want them to say to those who see me. </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Calibri;">What are some of the concepts and messages that Kruger is communicating in them? </span></u></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Calibri;">Do these images communicate these ideas effectively? Explain your answer.</span></u></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;">The bold obvious text speaks to the viewer Kruger’s opinions about a subject the images describe. The layering of the images with words directly on top make those viewing the image question why they are put together and the message behind them. To me, in these two artworks, Kruger is making the viewer think about who they are and what they do. It makes us think about ourselves socially and how we appear to the world as well as question our consumerism and materialism in what we have and need to have these things to be seen a certain way to achieve our goals. </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;">Kruger’s knowledge from magazine publishing means she knows how to catch the eye of the viewer and hold their attention with her artworks and make them think about what they are being shown through them. Their wide distribution—under the artist’s supervision—in the form of umbrellas, tote bags, postcards, mugs, T-shirts, posters, and so on, (ROGALLERY.COM, <strong><span style="font-family: "Calibri", "sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">2009</span></strong>) to me spreads these ideas effectively in the fact that anyone who sees the images will question for themselves their meaning. It also advertises in the public her point of view in comparison to our own and our individuality as humans. </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Calibri;">Define the concept of Mercantilism and explain how these two examples can connect with the concept.</span></u></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;">Mercantilism is a political and economic system that arose in the 17th and 18th centuries that purports that a country's economic strength is directly related to the maintenance of a positive balance of trade. That is, in order to remain economically and politically viable, a country must export more than it imports. </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;">From a merchant's perspective, profit originated from "buying cheap and selling dear." This is in contrast to the sacred belief of marketplace ideology held by classical economists—that exchange should be made on the basis of equivalents. Mercantilists believed, moreover, that the seller gains via the buyer's loss. Therefore, a nation will only become richer if it exports or sells more than it imports or buys. The view that profit or surplus originates in the unequal exchange of </span><span style="color: windowtext; text-decoration: none; text-underline: none;"><span style="font-family: Calibri;">commodities </span></span><span style="font-family: Calibri;">was therefore perfectly consistent with the mercantilist policy of controlling the terms of trade (Sarich, J.A. referneceforbuisness.com). The two examples above by Kruger connect with this concept on the basis of money and buying trade items. <i style="mso-bidi-font-style: normal;">Face It</i> especially connects with this idea with its green tinge that is often associated with money in which mercantilism is all about. The idea of it making us think about what we buy portrayed in Kruger’s work relates as we buy things for a certain reason and like the principle behind mercantilism we often are buying things for a lot more than they actually cost for the sellers benefit.</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Calibri;">Upload a more recent example of Kruger's work where she has used a new medium that is not graphic design. Title your image of the chosen work and comment on your response to the work. How do you think the audience would experience this work? </span></u></b></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh4.googleusercontent.com/-MIMKJjCg3yE/TXnGM5K3jII/AAAAAAAAADA/NlxJynUtF_4/s1600/SHALOM_032_ALL_thumb.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" q6="true" src="https://lh4.googleusercontent.com/-MIMKJjCg3yE/TXnGM5K3jII/AAAAAAAAADA/NlxJynUtF_4/s200/SHALOM_032_ALL_thumb.jpg" width="200" /></a></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">GAP Artist Edition T-shirt</i> by Barbara Kruger</span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="mso-bidi-font-size: 9.0pt;"><span style="font-family: Calibri;">Limited Edition T-Shirt Collection Presented by </span></span><span class="BalloonTextChar"><span style="color: windowtext; font-family: "Calibri", "sans-serif"; mso-ansi-font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 9.0pt; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin; text-decoration: none; text-underline: none;">Gap</span></span><span style="mso-bidi-font-size: 9.0pt;"><span style="font-family: Calibri;"> and the </span></span><span class="BalloonTextChar"><span style="color: windowtext; font-family: "Calibri", "sans-serif"; mso-ansi-font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 9.0pt; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin; text-decoration: none; text-underline: none;">Whitney Museum of American Art</span></span><span style="mso-bidi-font-size: 9.0pt;"><span style="font-family: Calibri;"> Features the Works of Today's Most Influential Contemporary Artists.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-size: 9.0pt;">I found it hard to find a more recent work by Kruger but found this 2008 fashion design T-shirt by Kruger for Gap. It is a combination of both graphic and fashion design and is a design on a t-shirt with no images but the text “Computers, sun glasses, watches, furniture, house & art (Plenty should be enough).”<span style="mso-spacerun: yes;"> </span>The collection of shirts was aimed at celebrating the intersection of art and fashion and enable people to access contemporary art in a different way, says Marka Hansen, President of the Gap brand North America</span> (Gokcen, S. 2008)<span style="mso-bidi-font-size: 9.0pt;">. I like it as a design for clothing garment and think that it still incorporates her preferred medium and artistic nature. I think an audience would stop and want to appreciate and read this top and think about what is written on it as they passed it by. I think that the fact it is in a collection of t-shirts by contemporary artists for a major clothing company in America would get this design seen by many and would probably sell well. I like the simplicity of the 3 colours and large lettering in contrast to the tiny message made to stand out on the red stripes which divide the space.</span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><span style="mso-bidi-font-size: 36.0pt;">Barbara Kruger</span>: <span style="mso-bidi-font-size: 24.0pt;"><a href="http://www.arthistoryarchive.com/arthistory/"><span style="color: windowtext; text-decoration: none; text-underline: none;">The Art History Archive</span></a> - <a href="http://www.arthistoryarchive.com/arthistory/feminist/"><span style="color: windowtext; text-decoration: none; text-underline: none;">Feminist Art</span></a></span></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><a href="http://www.arthistoryarchive.com/arthistory/feminist/Barbara-Kruger.html">http://www.arthistoryarchive.com/arthistory/feminist/Barbara-Kruger.html</a> </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: "Calibri", "sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Barbara Kruger Biography, 2009 ROGALLERY.COM </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><a href="http://rogallery.com/Kruger_Barbara/kruger-biography.html">http://rogallery.com/Kruger_Barbara/kruger-biography.html</a></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;">Sarich, J.A, updated by Knes, M. Mercantilism, </span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;"><a href="http://www.referenceforbusiness.com/encyclopedia/Man-Mix/Mercantilism.html">http://www.referenceforbusiness.com/encyclopedia/Man-Mix/Mercantilism.html</a></span></div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;"><span style="font-family: Calibri;">Gokcen, S. (2008, May 24). Gap Introduces Artist Editions T-shirts</span></div><div style="text-align: left;"><a href="http://www.dexigner.com/news/14902">http://www.dexigner.com/news/14902</a></div>KTDhttp://www.blogger.com/profile/10564552341896037366noreply@blogger.com1