Week 6- Anish Kapoor Sculpture

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.

Conceptual art is art in which the concepts or ideas involved in the work take precedence over traditional aesthetic and material concerns. Many of the works, sometimes called installations, of the artist Sol LeWitt may be constructed by anyone simply by following a set of written instructions.This method was fundamental to LeWitt's definition of Conceptual art, one of the first to appear in print:

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.

 

Sepia Mutiny (n.d.). Retrieved September 1, 2011. From:

http://www.sepiamutiny.com/sepia/archives/003711.html

The sculpture is called “Sky Mirror,” and it’s essentially a large, convex piece of highly polished stainless steel, roughly in the shape of a contact lens. From the image at the Times (which is computer generated) as well as images of the same sculpture at other sites, I have a feeling this piece is going to be a bit of a tourist sensation.

This high-profile placing of one of Kapoor’s sculptures is a coup for the artist, but hardly the first time he’s been given pride of place in the western art world. Major pieces of his are on display in the MOMA and the Tate Modern in London, the most famous of which might be Marsyas, a massive construction that filled the Tate’s vast Turbine Hall four years ago. Kapoor is one of the most important and influential practitioners of a movement in abstract sculpture called either minimalism or post-minimalism, depending on how exact we’re being. The artwork itself, which was manufactured in Finland, is a six-metre-wide concave dish of polished stainless steel weighing ten tons and angled up towards the sky. It reflects the ever-changing environment, season to season, day and night.

                                                                           Yellow, 1999

Royal Academy of Arts, London

This piece of art ‘Yellow’ is a vast (six square meters) fibreglass, monochrome disc where its centre fades deep into the wall, drawing the viewer with it. “Hive” is a steel structure which occupies an entire room and has its own internal space too.It is a installation on a wall,not flat but concave. It is an gigantic construction of art, recessed into a wall, showing Kapoor’s genuine creativity and craftsmanship through its imperceptible achievement. The idea behind this work plays around with the nothingness, “as solidity  dissolves imperceptibly into space.” It is about making something void look solid, a quality seen in the work only when viewed up close, defying the rules of perception. The eye plays trick on us and make us stuggle to understand what we make out to be concave and loses itself in this work which seems a flat, yet mysteriously rounded surface.Kapoor has produced work that is both thought provoking and sensational.The sheer scale of the work and its monochrome state fills our view. Kapoor has a deep interest in the use of varying tones of a single colour.

http://www.worldartmhttp://www.guggenheim-bilbao.es/microsites/anish_kapoor/secciones/galeria_imagenes/galeria_imagenes_detalle.php?idioma=en&id_imagen=27osphere.com/index.php/tune-on-arts/exhibitions/242-anish-kapoor.html

                                                                 Anish Kapoor, Memory (2008)

Memory (2008) appears before you like an unexploded bomb, rust-coloured and swollen and oddly submissive. Forged from 24 tonnes of Cor-Ten steel, Anish Kapoor’s new site-specific installation at the Deutsche Guggenheim (a site-specific installation strangely set to travel) presents three discrete and non-synchronous faces to museum visitors: the first snub-nosed and sheer; the second conical and rocket-shaped; the third a yawning mouth leading into the structure’s interior. Memory the creator, memory the preserver, memory the destroyer.

Frieze (n.d.). Retrieved September 1, 2011. From:

http://www.frieze.com/shows/review/anish_kapoor/

                                                    Anish Kapoor ‘The farm’(2003-2009)

This is Anish Kapoor's amazing, 84m-long, twisted red cone,is called “The Farm” (the sculpture is named after its site), is designed to withstand the high winds that blow inland from the Tasman Sea off the northwest coast of New Zealand’s North Island. The sculpture is fabricated in a custom deep red PVC-coated polyester fabric by Ferrari Textiles supported by two identical matching red structural steel ellipses that weigh 42,750kg each. The fabric alone weighs 7,200kg. It cuts through a ridge like some celestial megaphone but being made of red polyester fabric and steel it holds no other similarity/likeness of materials to one. This piece is is located here in New Zealand in the Kaipara Bay just north of Auckland, It is designed to reflect and twist the images of the surrounding landscape and to withstand the high winds that blow in from the Tasman Sea. It is made of red polyester fabric and steel.It is such an amazing work that the scale and relationship to the surrounding landscape is so well balanced.

Structurflex. (January, 2010). Retrieved September 1, 2011 from:

http://www.structurflex.co.nz/index.asp?s1=news&s3=Anish%20Kapoor%20sculpture%20blends%20fabric%20and%20steel%20in%20New%20Zealand

Fabric Architecture (n.d.). retrieved September 1, 2011. From:

http://fabricarchitecturemag.com/articles/0110_sk_sculpture.html

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

As previously stated, the work is located in New Zealand in the Kaipara Bay just north of Auckland, this work was designed to cause the viewer to question certain factors of what they already know, the viewers perception of space, time and reality.

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?

My favourite piece of his work is the “Sky Mirror” and a related piece now installed at Millenium Park in Chicago called “Cloud Gate” is the way they present a kind of prism through which to view the world. They are solid, stainless steel, and point at the monumental architecture around themselves — and in that sense they are completely of a piece with the modern American city. But in that they have the general look of liquids, they resist the sense of fixity of massive public sculptures, which are sometimes more in the vein of decorative buildings than art objects that inspire contemplation. The reflection is taking two different forms but the truth is they are still one image.The mirror is gigantic and the reflects show the larger image than it usual.When I looked at it it tells me how massive the world is.The hectic life,reality and time is something we cant dogde.Mirror is something that is reminding us what we doing everyday and watching the world and also the world is watching you at the same time.We all look at the mirror everyday ,trying to make things better than usual,just like the sky mirror is conveying the message that anything could happen when our life is upside down.

http://www.exploratorium.edu/outdoor/exhibit/sky-mirror

 

Pluralism and the Treaty of Waitagi

 

 

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

“Pluralism in art refers to the nature of artforms and artists as diverse.” It “honors differences within and between equitable groups while seeing their commonalities.”

-Caldwell, B. (1999) Cultural Context. Retrieved 28 Aug, 2011 from Academic Literacies in Visual Communication 2: Resource Book (2011), Lyceum Press for AUT University, Auckland, New Zealand.

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

The culture of New zealand is largely inherited from English and European custom, interwoven with Maori and Polynesian tradition. An isolated Pacific Island nation, New Zealand was comparatively recently settled by humans. Initially Māori only, then bicultural with colonial and rural values, now New Zealand is a cosmopolitan culture that reflects its changing demographics, is conscious of the natural environment, and is an educated, developed Western society.

Culture, as defined by dictionary.com, is “the behaviors and beliefs characteristic of a particular social, ethnic, or age group.” The culture of New Zealand is quite largely “inherited from English and European custom, interwoven with Maori and Polynesian tradition.” I would describe the current dominant culture in New Zealand as being the typical Kiwi culture consisting of activities such as; watching the rugby, backyard barbeques, wearing jandals no matter what the season, drinking beer and farm life, also sticking to beliefs such as enjoy life and live with no regrets. I say typical because this is the culture that New Zealand has come to be known for, and most people who migrate into New Zealand adapt to the culture that is so wide spread here.

However,nowadays young generation are likely to be more into new lifestyle,also can be described as ‘freedom cultural’.The world is changing and people are thinking in different way,media came up and changed the dominant culture.People tend to ignore they own culture and belief as they are more interested into pop-culture,MTV that came from American-society.

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

Māori culture has predominated for most of New Zealand's history of human habitation.There were about 2000 Pakeha (Europeans) in New Zealand, most living in the Bay of Islands. At this time, intertribal Maori warfare was frequent, and the arrival of guns, which Maori traded from Pakeha, made it deadly. This, and the diseases brought by the Pakeha, had a terrible effect on the Maori population, and their numbers started to steeply decline. With the signing of the Treaty of Waitangi in 1840, New Zealand became a British colony. This saw a great increase in the number of British migrants coming to New Zealand. Many had their passage paid for by colonial companies.

The systematic colonial settlement of New Zealand was largely based on the ideas of Edward Gibbon Wakefield, who believed the colonial settlements should be modelled on the structures of British society. Many New Zealand cities and towns were established and populated in this way. These settlements were intended to be civilised and self-sufficient, with small farmers cultivating their land, and living in peace with the native people. Declining number start began as more migrants arrived and more land was needed for them, land disputes with Maori increased.

New Zealand History. (n.d). Retrieved August 23, 2011 from: http://www.nzhistory.net.nz/tags/pre-1840-contact

http://www.newzealand.com/int/article/colonisation/

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

As nowadays there are many artists and designers living and working in New Zealand, the Treaty of Waitangi  definitely relates to all of us. I think for someone to be designers or artists ,ofcause they should know about their living culture and working. In New Zealand as a practicing artist, it is very important for them to know this country’s historical context because when they are creating something for this market, they need to know what kind of affects it will have on its people and culture. It’s also would benefit to the artists /designers when you know more about the history of Treaty of Waitangi.Even as a New Zealand resident, one must know at least some of Aotearoa’s history, if not for work related reasons, then out of curiosity. 

As an artists, we should be focusing and pay more attention on research about market and the audience we are designing for in order to be successful, and history is also one of the most important one. I think the audience also will pay more attention to the art work that somehow linked to the Treaty of Waitangi because is does exist in Newzealand and is also has an interesting historical background.

5. How can globalization be seen as having a negative effect on regional diversity in New Zealand in particular?

Globalization is the tendency of business,technologies,or philosophies to spread throughout the world,or the process of making this happen.generally used to describe “the changes in societies and the world economy that result from increasing international trade and cultural exchange whereby people around the world are more connected to each other than ever before.”

For example goods and services that are produced in one part of the world can be easily accessible in all parts, information flows more quickly, global communication is common-place and international travel is frequent.Also people can purchased things that they needs by internet without moving out of the house.Although these examples may sound positive, globalization also having a negative effect on regional diversities here in New Zealand. As New Zealand culture becomes more and more known throughout the world, people seem to think that because we are a small country they can take aspects of the culture we have here and take advantage of it.

Like video game developers, Sony Playstation, used a traditional Maori tattoo, the moko, to define one of their characters. However the positive effects of globalization here far exceeds the negative. I think Newzealand would not be this advance like what it is today if  there weren’t for globalization

AUT University. (2011). Academic Literacies in Visual Communications 2: Resource Book. New Zealand, Auckland: Lyceum Press

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. 

  

'Welcome' (2004) Shane Cotton

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

Forked Tongue'(2011) Shane Cotton

Shane Cotton is one of New Zealand’s most well known, as well as scrutinized, artists who is of both Pakeha and Maori decent. He often uses his paintings to make political statements and express his opinions on subjects such as the colonization of Europeans and the confiscation of Maori land. The work Welcome is one that is riddled with symbolism, as his works often are. There are two mirroring birds, which seem to be the same species, the controversial motif of "upoko tuhituhi" or “marked heads” in his work, and the head of Jesus. Birds in Maori culture are believed to be spiritual guides and messengers, and the birds in his painting are placed there to possibly symbolize the idea of nativity and culture. 

The upoko tuhituhi in his work relates to the heads of chiefs that were traded between tribes and this also symbolizes Maori culture by referring to their native ways. This symbolism is repeated in many of his works such as Hurikiko, 2006. And lastly, the image of Jesus’ head in the painting is a strong symbolism of the foreign and Western, as religion travelled to the shores of Aotearoa along with its European settlers. He may also be making referrals to death and the afterlife thought the use of the “marked head” and the image of Jesus, putting them in a mirroring composition as if to make a statement about life and death/good and bad.

Eye Contact. (n.d). Retrieved August 23, 2011 from http://eyecontactsite.com/2010/07/pondering-the-marks-and-symbols-of-shane-cotton

7. Tony Albert's installation 'Sorry' (2008) reflect 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'.

 

Tony Albert | Australia b.1981 | Girramay people | Sorry 2008 |
Found kitsch objects applied to vinyl letters | 99 objects :
200 x 510 x 10cm (installed) | The James C Sourris Collection.
Purchased 2008 with funds from James C Sourris through the
Queensland Art Gallery Foundation | Collection: Queensland Art Gallery

 

The work Sorry is a commemoration to the apology made by Kevin Rudd, the Prime Minister of Australia, on 13 February 2008, to the indigenous Australians who have suffered as a result of ‘past mistreatment’ by the Australian Government. Albert make this work to pay respect to the natives of Australia as well as a reminder of that day; a reminder to Kevin Rudd that the people are waiting to see/hear the actions of his words. Like what we always say that Actions speak Louder Than Words.’ and that it will stay a reminder to Kevin Rudd and the rest of the Australian majority of the promise they still need to fulfill.

The concept of kitsch is applied to artwork that was a response to the 19th century art with aesthetics that convey exaggerated sentimentality and melodrama, hence, kitsch art is closely associated with sentimental art(Wikipedia,n.d.).

Tony Albert, Queensland art gallery. (n.d) Retrieved August, 29, 2011.

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

The works of Shane Cotton and Tony Albert relate to pluralism in very similar ways. Both artists express the importance cultures and traditions through their artwork, and show that the Western globalized culture is not the only one that deserves attention. Their works demand respect for the native people of New Zealand and Australia and the idea that hierarchy does not need t exist is evident in their works. Cotton honour for the differences between the two New Zealand cultures comes from his half-cast background, while Albert is of Western decent who greatly respects the native culture of Australia. 

They both understand, and try to make us understand through the message from their artwork.They dared  to make the difference  and not afraid of the consequences that they might get,which I think is quite risky but also challenging at the same time. I truly understand that the world is a multicultural society now and the words  ‘Sorry’ and ‘Welcome’.are part of every cultures that we say it everyday,related to their cultures especially Albert.The words is just simply tell us about the human life and cultural identity,which all of us should have in our mind.

Week 4 - Kehinde Wiley and inter-textuality

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

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

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.

‘Intertextuality,as a term,has not been restricted to discussion of the literary arts.It is found in discussions of cinema,painting,music,architecture,photography and in virtually all cultural and artistic productions.’(Allen,2000,p.175)

Intertextuality,like modern literary and cultural theory itself,can be said to have its origins in 20^th century linguistics.It is seems such a useful term because it foregrounds notions of relationality,interconnectedness and interdependence in modern cultural life.

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.

Wiley’s paintings often vague the boundaries between traditional and contemporary modes of images. Wiley's work is based on the sign and visual rhetoric of the heroic, powerful, majestic and the sublime in his representation of urban, black and brown men found throughout the world.His paintings are also based on photographs that taken around the streets of Harlem of young men wearing everday clothes, representing the portrayal of masculinity and physicality from the views of black and brown men.

Wiley expressed his styles and ideas from a range of time periods such as the Renaissance, French rococo, West African textile designs, Islamic architecture and to urban hip-hop. He embraces the style of hip-hop culture which he shows in his paintings, and appear to be based around the style and concepts of the Renaissance paintings. "His painting style has been compared to that of such traditional portraitists as Reynolds, Gainsborough, Titian and Ingres." (Kehinde Wiley, n.d.)

3. Wiley's work relates to next weeks Postmodern theme "PLURALISM" . Read page 46 and discuss how the work relates to this theme.

Pluralism in art refers to the nature of artforms and artists as diverse. The cultural context of art is all encompassing in its respect for the art of the world's cultures. Inclusion of individuals of differing 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.

Wiley's paintings takes away the boundaries that is created within our societies about the different hierachies that we have in our world today, he features black/ brown men in his paintings with a renaissance and british like style in the background to contrast both concepts, while still mainting to keep the idea of the street-like, hip hop culture. Wiley's work also relates to Pluralism because it gives the viewers an idea that there are different cultures but everyone 'is equal'.

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

Wiley’s work not only makes plain the intertextual nature of the photograph image but serves also to make points about the physical world,social western worldwide.The images of his work portrayed the realistic representation of the world. He has drawn from historic portraiture and has applied similar aspects to the people of today; placing value on his culture.Wiley's paintings takes away the boundaries that is created within our societies about the different hierarchies,social society and different culture that we have in our world today. I think we are still influenced by this hierarchy idea that is still remained inside of our minds eventhough it does not show up in surface like them in the way lords and wealthy men of the past had been painted.

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

At the present time,any discussion of the place of intertextuality within the arts leads us towards the issue of Postmodernism.The idea of intertextuality can produce a similar rethinking of photographer,often seen as pure representation of reality.Wiley’s is not merely referring to the manner in which,in postmodernism,earlier division between ‘serious’and ‘popular’ or high and ‘low’ cultural society are merged. I find it interesting that there is so much deep thinking and technical skill behind Wiley's works, yet he speaks about them very simply. This makes me think he is more concerned about world-wide society than anything else, which I find is a good thing.These images show how he used an old renaissance painting, but changed it to a new, unique, and contemporary way. Wiley’s work is different from otheres and it’s a fresh change. The colors he uses work really well together,and the background looked just like a wallpaper to me. Also I like his use of bright colours and how he has encorporated some of the patterns and floral wallpapers that were once popular amoung the rich of the 17th -18th centuries.I like the way how he deliberately mixes images of power and spirituality,using them as a filter in the portrayal of masculinity.

References

Cadwell, B. (1999) Cultural contexts. Retrieved August 25th, 2010, from

http://www.public.iastate.edu/~design/ART/NAB/PluArt.html

Kehinde Wiley (n.d.). Retrieved August 25th, 2010, from

http://en.wikipedia.org/wiki/Kehinde_Wiley

http://www.deitch.com/artists/sub.php?artistId=11

Allen, G. (2000) Intertextuality : The New Critical Idiom.New York,NY:Great Britain by Clays Ltd.

Week 3- Hussein Chalayan

‘Afterwords’ which explores the notion of ‘wearable, portable architecture’ in which furniture literally transforms itself into garments; Chalayan is famed for his spectacular shows in which anything could happen,from wooden furniture turning into dressesto the use od confessional boxes and trampolines as catwork props.Hussein Chalayan’s pioneering work crosses between architecture, design, philosophy, anthropology, science and technology.

Hussein Chalayan’s presentations demonstrate his unique ability to combine beautiful and wearable clothes for today with an intriguing vision of the future.

http://arttattler.com/designhusseinchalayan.html

                                     

                                        Chalayan 'Burka'

Burka focused on cultural displacement,something that is about identity. Images from Hussein Chalayan's 'Burka' show in 1996 are probably some of the most thought provoking I have ever seen. Forevering crossing the thin line between art and fashion, and in particular exhibitions and fashion shows, Chalayan's work excelled with the concept for the 'Burka' show. Challenging ideas such as modesty, identity and feminity, Chalayan presented models wearing different length burka inspired creations with nothing underneath them, with some of the model's being completely naked except for a mask and sandals.

For me personally, this work challenges how one item of clothing can really hide someone's identity. The burka is one of the items of clothing that have arisen from different interpretations as to how muslim women should dress. However, many in the western world have seen it as a symbol of patriachal oppression, as by covering women's faces it reduces them to the same person. For me, Chalayan's work shows women to appear to be all the same with their faces covered, no matter the length of the mask. As their face cannot be distingushed, neither can they as a person. And does covering the face really change how sexual a woman appears, even when naked? Nowadays, the identification of a garment as wearable art rather than fashion may have as much to do with the artist’s self –identification with the wearable art.

 

Hussein Chalayan, Afterwords, 2000

                                       The level tunnel (2006)

                                                          Repose (2006)

Chalayan used sound, scent and touch to create something unique. The sound for example, is created by a flute made from a vodka bottle. And when a visitor is going through the tunnel, his position is tracked and he can smell the scent of lemon and cedar as he goes further into the tunnel. When the visitor leaves the tunnel, he can of course taste the vodka. All these senses together should give the visitor an impression of what Level Vodka stands for.I don’t think that the meaning of art change,but it is just another type of modern art.He used the feeling of the atmosphere to attract audience.

http://www.todayandtomorrow.net/2008/05/13/the-level-tunnel/

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

I think Chalayan’s was inspired by those postmodernist ,technology and social reality.He used the process of scientific to make the film and many concepts are based on the social reality.

                                                   A groundbreaking technique in modern art by Jackson Pollock

                                                Marilyn in Pop Art by Andy Warhol (1962)

When the artists personally made the piece,ofcause the work that he made become more valuable and it is original.I always thought fashion communicates who we are.Human priority are shelter,food and clothing.Clothing is often an expression of your life.Whether fashion is frivolous,fabulous or functional ,the designers’task is to surprise and extertain.However in Chalayan’s work he was inspired by many artists,as he was trying to create something unique-to exploit every ideas and retain his individuality,which create the new modern of art. 

I like painting ,because I think painting gives me a lot of personal feeling when you look at it.If the painting was done by the assistants,I find the work would give me a different feeling as well,as it is not originally done by the artists.It would be hard to understand



References

Jones,T.(2009).TASCHEN:100 contemporary fashion designers.China printing (pg.108)

Laventon,M.(2005).Artwear:Fashion and Anti-fashion.New York,NY:Oxford University Press.

http://markandrews.edublogs.org/2011/01/28/jackson-pollocksplattering-paint-language-and-learning-opportunities/

http://www.nyc-architecture.com/MID/MID025.htm