Etop001 said: In response to Rory’s Blog on the text of Bruce Barber
I understand the artists intentions. However as a maker i felt a sense of sadness at the outcome of this award. This type of competition might scare off makers to enter this award in the future. When speaking to Ivan Anthony he commented that this years Venice Biennale was filled with painting and that it was a relief after years of video. We have gone through a time where ideas on 'Junk' within artistic practice was new, however viewers are sick of this. We want something that has intention, and is relevant to the world now. In years to come tradition mediums will again reign supreme.
Etop001 said: In response to Rory’s Blog on the text Thomas Hirschhorn
Agreed. Just because someone is seemly more qualified to comment on the work doesn't mean it should effect how people view the work. Rather a catalogue should provide an informative background of the artists in a language that is translatable for any viewer.
Etop001 said: In response to Rory’s Blog on Celia Lury
I agree with your comment 'branding is a form that is so familiar.' Due to era in which we live we are surrounded by Brands, and Markets. It is easy to see why an artist would want to explore the same ideas are they are relevant to all of us.
SEPTEMBER 21, 2009 5:52 PM
Etop001 said: In response to Libby’s Blog on Relational Aesthetic.
It is interesting to hear how your own work used the ideas of Social exchange in the creation of your recent artwork. When people donated money to the exhibition of drawing did it add more of an aura around the objects? or was the value placed more on the plaque that named the sponsor?
SEPTEMBER 21, 2009 6:37 PM
Etop001 said: In response to Melanie’s Blog on Theatre Country
The Zoe Leonard did not interest me at all at the DIA. However, the way you have tied this reading and that work together gives it a new level of interest. The writing that you have quoted from the text gives the work more substance and meaning and has made me rethink the importance of Leonard's intention.
And in futher response:
Etop001 said:
The fact that the postcards were readymades really bothered me for some reason. But when I think back an aspect of all of that work is readymade.
Etop001 said: In response to Melanie’s Blog on Falling asleep with books.
The ultimate question in life...then.. what am i doing?
Etop001 said: In response to Melanie’s Blog on Collecting
It is interesting to hear what others collect. Myself its Jewelry, I collect it as a signifier for a memory, of time, and place. It is interesting to see collections. Humans are obsessed with collecting, especially meaningless objects. Its what makes each of us different and unique. Shows such as Antiques Roadshow feed this obsession. I believe people collect objects that remind them of a time when things were simpler.
SEPTEMBER 21, 2009 5:38 PM
Etop001 said: On reply to Taart on my blog on Lyotard.
That is a interesting further link you have made Taart, I can see how the two link together. The above statement would be a great way to further development this discussion
Etop001 said: On reponse to others on my blog on Seth Price.
I agree with all that we are turing into 'jack of all trades' I think it relates to our Pioneering history we are a nation of DIYers and this is the same when it comes to learning.
Etop001 said: In reponse to Carolin’s comment on my Meg Cranston response.
Agreed. At the recent film festival on seeing the film 'Louise Bourgouis the mistress, the spider and the tangerine' she talks about her childhood and how all her work has come from her memories of this time. I found it interesting to hear a artist talk about her influences because for me also what has come before influences what is coming next.
Tuesday, September 22, 2009
Monday, September 21, 2009
Rubbish, a comment on society.
Thomas Hirschhorn interview with Hans Ulrich Orbist, Thomas Boutoux ed., Hans Ulrich Orbist: Interviews volume 1, Milan: Charta, 2003, pp.393-400
The opening text gives a short summary of Thomas Hirschhorn’s life and Practice. What follows is an interview between Hirschhorn and Hans Ulrich Orbist. The article discusses contemporary graffiti as a cultural reference, which, in the future may be seen as an historical art form. Hirschhorn state; ‘An excavation site is a place without hierarchy.’ (Page 394) So what in the past has been considered vandalism may now be considered a cultural record.
Later on in the text Hirschhorn states “ For me, art is a tool to learn about the world, a tool to engage with reality, and a tool to experience the time I live in.” he creates works out of everyday materials, for instance photocopies, as a way of cheaply reproducing information, tape, and newspaper. He uses materials that are readily available as part of consumer society and talks about Kiosks as a way of people viewing work. (399) This brings to mind the work of New Zealand Artist, Eve Armstrong. Her works revolve around forms of exchange. In 2007 as part of the Auckland Triennial, she set up Trading Tables, in public places, and invited people to exchange goods with each other, facilitated by the artist. Her sculptural work uses unwanted objects and resources to form piles, often in a semi-organized way.
Both artists use waste goods to comment on the consumerism. Waste being a by-product of life and of the consumer society. Through this material being used as an art material new presence is given to the objects. In the recent Waikato Art Awards, a pile of rubbish /art was conceptualized by artist Dane Mitchell. The awards judge Charlotte Huddleston comments on the winning work. “Dane's work responds well to his current situation, addressing, as is typical for him, the interplay of art, culture, anthropology, archaeology and his own situation within these systems.”
It seems that these ideas are very important to contemporary artists, as they are relevant to the time in which we live.
Lett, Michael. "Jacqueline Fraser Eve Armstrong." Http://www.scoop.co.nz/stories/CU0801/S00066.htm. 11 Jan. 2008. accessed 21 Sept. 2009.
Huddleston, Charlotte “Winner of Trust Waikato National Contemporary Art Award 2009 announced”. 4 Sept. 2009. accessed 21 Sept. 2009 http://www.waikatomuseum.co.nz/file/fileid/17306
The opening text gives a short summary of Thomas Hirschhorn’s life and Practice. What follows is an interview between Hirschhorn and Hans Ulrich Orbist. The article discusses contemporary graffiti as a cultural reference, which, in the future may be seen as an historical art form. Hirschhorn state; ‘An excavation site is a place without hierarchy.’ (Page 394) So what in the past has been considered vandalism may now be considered a cultural record.
Later on in the text Hirschhorn states “ For me, art is a tool to learn about the world, a tool to engage with reality, and a tool to experience the time I live in.” he creates works out of everyday materials, for instance photocopies, as a way of cheaply reproducing information, tape, and newspaper. He uses materials that are readily available as part of consumer society and talks about Kiosks as a way of people viewing work. (399) This brings to mind the work of New Zealand Artist, Eve Armstrong. Her works revolve around forms of exchange. In 2007 as part of the Auckland Triennial, she set up Trading Tables, in public places, and invited people to exchange goods with each other, facilitated by the artist. Her sculptural work uses unwanted objects and resources to form piles, often in a semi-organized way.
Both artists use waste goods to comment on the consumerism. Waste being a by-product of life and of the consumer society. Through this material being used as an art material new presence is given to the objects. In the recent Waikato Art Awards, a pile of rubbish /art was conceptualized by artist Dane Mitchell. The awards judge Charlotte Huddleston comments on the winning work. “Dane's work responds well to his current situation, addressing, as is typical for him, the interplay of art, culture, anthropology, archaeology and his own situation within these systems.”
It seems that these ideas are very important to contemporary artists, as they are relevant to the time in which we live.
Lett, Michael. "Jacqueline Fraser Eve Armstrong." Http://www.scoop.co.nz/stories/CU0801/S00066.htm. 11 Jan. 2008. accessed 21 Sept. 2009.
Huddleston, Charlotte “Winner of Trust Waikato National Contemporary Art Award 2009 announced”. 4 Sept. 2009. accessed 21 Sept. 2009 http://www.waikatomuseum.co.nz/file/fileid/17306
Sunday, September 20, 2009
Art, and its link with Society.
‘Art is one of the ways people communicate.’ (Dick Higgins) Within the time that we live the emergence of new technologies has affected what we perceive. Interactivity within art mediums is important as it makes artworks relevant and engaging. The Fluxus artist Robert Watts, believes that contemporary artists are are ‘utilizing discoveries’ from any discipline and adapting them for their own purpose. He believes that ‘this new movement of artists into new forms is directly parallel to the discovery of new forms in science. Ideas are cross-fertilized therefore many disciplines may be drawn into one work.’ As with the changing nature of the world artists are beginning to incorporate ideas that are not traditionally art based ideas as a response to these occurrences. It is thought that specialization does not allow for new ideas, where as through the collaboration of ideas through an inter-disciplinary practice, new solutions to problems are addressed. Intermedia or Interdisciplinary is encouraged within more Art Schools throughout the world as a way to discover and invent new ways of working.
Meg Cranston is one artist that works in an Interdisciplinary way. In the reading of ‘Running on light feet’ Cranston states, “ I don’t discredit artists that go deep, but I go broad. I prefer to go from flower to flower.” (Page 7) Cranston shows she is interested in a wide range of ideas and topics. She states that she goes broad, we can interpret this as an investigation into a wide range of information. In the reading ‘Dispersion’ by Seth Price, it is suggestive of how wide ranging scattered ideas are incorporated into one piece of writing. The ideas of Price are relevant to many art practitioners. Cranston works in a similar way, she is one person, yet works in many different style of art making. Most artists are trademarked to a style she is different. Working in a way that is cumulative. The ideas she forms influences what develops next. She comments, ‘someone told me that you should take the worst comment about your work and base your next show on that idea, so I took a playwright course and wrote a few plays.’ (Page 17) Many contemporary artists work within a similar way, incorporating and sifting through a ‘Wikipedia’ of knowledge to form new styles and ideas.
In the 1970s Joseph Beuys stated ‘everyone is an artist,’ I was not meant to suggest that everyone could be creators of art. Rather, he meant that anyone should use creative thinking in their own area of specialization. Edward de Bono, a Scholar in conceptual and creative thinking encourages this. He teaches lateral thinking through his the use of six thinking hats. The outcome causes people to view information differently, to break it down into sub areas of investigation. (Page 20) Interactivity is important within contemporary art as it creates linkages for the viewer and makes art relevant in today’s society.
Bourriaud, N. (2002). Relational Aesthetics. Dijon, Les Presses du Réel.
Higgins, Dick. "Statement on Intermedia." Web. 21 Sept. 2009. Published in: Wolf Vostell (ed.): Dé-coll/age (décollage) * 6, Typos Verlag, Frankfurt - Something Else Press, New York, July 1967
Hendricks, Geffory, ed. Critical mass : happenings, Fluxus, performance, Intermedia, and Rutgers University. London: Rutgers University Press, 2003. pp. 25-30
Israel Nico, Cranston Meg, Running on Light Feet in Hot pants in a Cold Cold World: Works 1987-2007, Artspace and Clouds, Auckland, 2008,
Seth Price, “Dispersion” (2001-2002), a document designed for the catalogue of the Ljubljana Biennial of Graphic Art 2003 curated by Christopher Cherix, printed as a book with Green Naftali 2003, available as a PDF (Dispersion2008.pdf) via the artist’s own website: http: //www.distributedhistory.com
Josephy Beuys : Rothfuss, Joan. "Walker Art Center/ Beuys Hyperessay/ Creativity." Web. 21 Sept. 2009.
De Bono, Edward. Serious Creativity. London: HarperCollins, 1995 pp.20
Meg Cranston is one artist that works in an Interdisciplinary way. In the reading of ‘Running on light feet’ Cranston states, “ I don’t discredit artists that go deep, but I go broad. I prefer to go from flower to flower.” (Page 7) Cranston shows she is interested in a wide range of ideas and topics. She states that she goes broad, we can interpret this as an investigation into a wide range of information. In the reading ‘Dispersion’ by Seth Price, it is suggestive of how wide ranging scattered ideas are incorporated into one piece of writing. The ideas of Price are relevant to many art practitioners. Cranston works in a similar way, she is one person, yet works in many different style of art making. Most artists are trademarked to a style she is different. Working in a way that is cumulative. The ideas she forms influences what develops next. She comments, ‘someone told me that you should take the worst comment about your work and base your next show on that idea, so I took a playwright course and wrote a few plays.’ (Page 17) Many contemporary artists work within a similar way, incorporating and sifting through a ‘Wikipedia’ of knowledge to form new styles and ideas.
In the 1970s Joseph Beuys stated ‘everyone is an artist,’ I was not meant to suggest that everyone could be creators of art. Rather, he meant that anyone should use creative thinking in their own area of specialization. Edward de Bono, a Scholar in conceptual and creative thinking encourages this. He teaches lateral thinking through his the use of six thinking hats. The outcome causes people to view information differently, to break it down into sub areas of investigation. (Page 20) Interactivity is important within contemporary art as it creates linkages for the viewer and makes art relevant in today’s society.
Bourriaud, N. (2002). Relational Aesthetics. Dijon, Les Presses du Réel.
Higgins, Dick. "Statement on Intermedia." Web. 21 Sept. 2009. Published in: Wolf Vostell (ed.): Dé-coll/age (décollage) * 6, Typos Verlag, Frankfurt - Something Else Press, New York, July 1967
Hendricks, Geffory, ed. Critical mass : happenings, Fluxus, performance, Intermedia, and Rutgers University. London: Rutgers University Press, 2003. pp. 25-30
Israel Nico, Cranston Meg, Running on Light Feet in Hot pants in a Cold Cold World: Works 1987-2007, Artspace and Clouds, Auckland, 2008,
Seth Price, “Dispersion” (2001-2002), a document designed for the catalogue of the Ljubljana Biennial of Graphic Art 2003 curated by Christopher Cherix, printed as a book with Green Naftali 2003, available as a PDF (Dispersion2008.pdf) via the artist’s own website: http: //www.distributedhistory.com
Josephy Beuys : Rothfuss, Joan. "Walker Art Center/ Beuys Hyperessay/ Creativity." Web. 21 Sept. 2009.
De Bono, Edward. Serious Creativity. London: HarperCollins, 1995 pp.20
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