THE WRITTEN-VERBAL HYBRID CRITIQUE:
1. ARTIST PRESENTATION/PERFORMANCE/DEMONSTRATION OF THE WORK: (1-2 minutes)
2. WRITTEN RESPONSE BY CLASSMATES: (1-2 minutes)
– Include one SHORT qualitative statement for example “This piece is_____because____” or “This piece makes me feel___because__” (please be inventive with your language…avoid words like “good” or “interesting”)
– Include one question about the work
– NAME THE PIECE (give it a fictitious title)
3. SHARE RESPONSES: Each person reads aloud (2 min)
4. ARTIST RESPONSE: (2 min) The artist chooses only ONE of her/his classmate’s questions to respond to. (the artist needs to pay close attention to the responses as they are read…or consider writing it down when you hear it)
TOTAL TIME PER STUDENT: 8-ish minutes
The streamlined viewing of massive quantities of digital images has become commonplace. The internet has created an efficient way to consume disparate images within platforms such as Tumblr or Instagram. I am interested in the way that my paintings can fit into that dynamic. The idea of optimizing a painting for it’s inevitable appearance on someone else’s screen makes sense to me. Although, it is equally important to me that my paintings retain their identity as physical objects in the world. In many ways, the works in hyperfocus are an attempt to reconcile and come to terms with this dual nature.
The paintings in hyperfocus reference the mechanics of the internet through the use of systems, as well as, through the aesthetics of directional scrolling, frames, and grids. I applied the paint systematically to each surface. This process resulted in the creation of superficial structures and layers. These paintings define their own logic in terms of composition, style, color, and form. Symbols are adopted – combined and reformed into new visual languages. This procedural framework is not static. It fluctuates; inhaling and exhaling as it repeatedly constructs and deconstructs itself.
There is an underlying uncertainty about this way of working. The resulting state of flux creates a physiological experience, a sort of temporary disorienting trance, and a fleeting moment where the mind is at the mercy of the eye’s perception. Such structures build experiences rather than specific representations.
Today we introduce your final project: Body Extension. With this assignment, we will look at works by artists working sculpturally with the body. We will discuss strategies for building lightweight structures to be worn. Your homework is to arrive to our class meeting on Monday November 17th or Tuesday November 18th with a project and /or several ideas already underway, as well as, enough materials to continue working in class. I will conduct individual meetings throughout.
This project is a mixed media assignment lasting approximately 3 weeks. Our goal is to critique this project in the first week of December. You are invited to work with any material(s) you deem appropriate to execute your idea. Your final piece must be worn for the critique.
We will begin with a short preparatory group workshop/project called “One Minute Sculptures” inspired by the work of Erwin Wurm. In addition to your other supplies, please arrive prepared with a camera and several object “props” to work with for our next class meeting.
Austrian artist Erwin Wurm’s (b. 1954) One Minute Sculptures are equal parts sculpture, performance, and image. Here is an interview with Wurm about the series.
“If you approach things with a sense of humor,” the artist says, “people immediately assume you’re not to be taken seriously. But I think truths about society and human existence can be approached in different ways. You don’t always have to be deadly serious. Sarcasm and humor can help you see things in a lighter vein.”
Sculpture I students: for our next class meeting, bring as many props as possible for an in-class “One-Minute Sculpture” workshop, as well as, a camera (preferred) or camera phone for documentation.
Spontaneity will be rewarded: “First thought, best thought”
In 1968 Rebecca Horn produced her first body sculptures, in which she attached objects and instruments to the human body, taking as her theme the contact between a person and his or her environment. Einhorn (Unicorn) is one of Horn’s best known performance pieces: a long horn worn on her head, its title a pun on the artist’s name. She presented Einhorn at the 1972 Documenta. Its subject is a woman who is described by Horn as “very bourgeois” is “21 years-old and ready to marry. She is spending her money on new bedroom furniture,” walks through a field and forest on a summer morning wearing only a white horn protruding directly from the front of the top of her head and the straps holding it there. These straps are almost identical to the ones worn in Frida Kahlo’s painting Broken Column. The image, with wheat floating around the woman’s hips, is simultaneously mythic and modern. (wikipedia)
“For two years, French photographer Charles Fréger has been traveling throughout 19 European countries and trying to capture the spirit of what he calls “tribal Europe” in his “Wilder Mann” series. What he found was a huge array of pagan rituals, mainly related to the winter solstice and spring renewal, focusing on the common myth of the “wild man.”
It appears that the tradition of men dressing up as wild animals and monsters, which dates back to neolithic times and shamanism, is still very alive nowadays. The mythological figure of a “wild man” represents the complicated relationship humans have with nature and life and death cycles. His series explores the different interpretations of such figures – while some cultures depict him as covered in flowers or straws, others possess the features of bears, goats, or horned and hairy beasts.” – writer, Justina Bakutye
Assignment Sheet: time_writeup
5 artists to look at. Each uses elements of time or time-sensitive processes/materials in their work:
– Andrea Zittel, particularly her project “RAUGH”:http://sculpture.artapsu.com/?p=130
– Wolfgang Laib’s installation work with pollen: http://sculpture.artapsu.com/?p=2674
– Olafur Eliasson:http://sculpture.artapsu.com/?p=2681
– Alicia Eggert: http://sculpture.artapsu.com/?p=3318
– Janine Antoni: http://sculpture.artapsu.com/?p=794
An interview with Laib from the Huffington Post:
An explanation of the term, coined by sculptor – Andrea Zittel:
In 1998 I created a new ideology called Raugh- which was meant to embrace
“Human Nature.” A few “Rules of Raugh” are: Raugh surface should absorb
or camouflage dirt, rather than reveal it. and Because all possessions ultimately
break down or wear out, a Raugh object must deteriorate beautifully.
On view this past summer at EXPO 1: New York exhibition wass the sculpture “Your Waste of Time” by Olafur Eliasson. He placed several massive pieces of ice that broke off from Iceland’s largest glacier, Vatnajökull, in a big room that was cooled down below 0°. The oldest ice in the glacier is estimated to have originated some 800 years ago. How did he do this? Solar panels supplied the energy that cooled the room. They were installed especially for the exhibition, on the roof of the MoMA PS1.
The skin, as it creates new cells, moves layer after layer of old tissue, up through the epidermis, where it dies and is shed. Every 28 days the human body goes through this complex process in order to replace itself entirely. In this span of time, we create completely new surfaces for ourselves. In many ways, my creative processes are in imitation of this complex system and the body’s constant need to create new layers of cells to thrive.
The intent of this work is to create organic objects and patterns in order for us to experience and contemplate ourselves at our most superficial and intimate states: the surface and within its walls.This line of work began first and foremost with my passion for science and biology at a young age. Having the experience of looking under the microscope at my own skin cells revealed a world that was foreign but also essentially vital.
The difference between the outer appearance and inner workings of my being created an experience of disillusionment. We experience the world through our bodies’ complex processes and I became impassioned to understand them, as well as, myself and others around me. At times, I consider that these pieces are in the realm of portraiture, only at its smallest state.
The use of cut paper, thread and fabric in my work is one that is purposeful and symbolic. These organic materials speak to the nature of the body which is that they can be both delicate and strong or durable. I hope that through these materials and the use of vibrant colors, one can feel the characteristics they share with the work and feel a surge of vitality upon viewing them.
Bustling traffic, fast food joints, and big box stores. We move in perpetual motion on paths predetermined by the commercial nature of our lives. Our cars travel in lines like ants marching to and from the nest. Litter, remnants of our consumerism, becomes the cultural artifact left behind in parking lots and on the sides of roads. Disposing of these artifacts is part of my job and eventually, after hours spent collecting and removing litter from parking lots, it occurred to me to use some of these cultural artifacts to create something wonderful.
Insects fascinate me — their segmented bodies bring to mind something that has been created in a bizarre toy factory. Crafting bugs from the litter I collected makes me feel like a mad toy maker. The idea that mundane, discarded bits of trash could be given new life in the form of a buzzing wasp or a fluttering moth is magical.
Because we are constantly bombarded by advertisements, I choose to remove the product labels when I work with found materials. The act of sanding down loud commercial branding can be very therapeutic — becoming a master rather that a victim of consumer advertising. The sculpture transforms the distasteful realities of everyday life into a pleasurable world of fantasy.