Week 6- Anish Kapoor Sculpture

 Anish Kapoor

Cloud Gate (2004), Millennium Park, Chicago

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

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

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:

“	In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.

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.

Anish Kapoor with giant curved mirror sculpture in London's Kensington Gardens - photo: Peter Macdiarmid/Getty Images

I like how he make his art works and his idea. mirror as a reflection, we can see things or etc through the mirror. it could be any meaning we have to think about.

I found this is very interesting work he had make, Typically Kapoor's pieces are simple organically curvaceous forms in single bright colours that evoke the pigments used in Indian markets and temples. Convex and concave elements trick the eye and the viewer often experiences a kind of illusion of depth.

Cloud Gate is a large public sculpture which was first unveiled at the opening of Millennium Park in 2004. It soon became one of the city's most photographed attractions, and is now one a famous symbol of Chicago.

Cloud Gate

The Cloud Gate further cemented Chicago's reputation of a city at the forefront of public art and follows in the footsteps of earlier well-known public installations such as Alexander Calder's Flamingo at Federal Center, Picasso's untitled sculpture at the City Hall and Jean Dubuffet's Monument with Standing Beast at the James R. Thompson Center.

The Name

Even before it was given an official title, Chicagoans were quick to dub the reflective steel sculpture 'the Bean' after its peculiar shape and the name stuck. The official name however is Cloud Gate as it represents a gate to the city it reflects.

Design

Cloud Gate

Cloud Gate was the first public sculpture of Indian-born and London-based artist Anish Kapoor. His work was selected out of two proposals that were submitted in 1999 for a showpiece sculpture in the new, modern Millennium Park, which was scheduled to open in 2000.

Kapoor designed a stainless steel construction consisting of 168 plates, each 1 cm (0.4 inch) thick and seamlessly welded together. The structure weighs 100 tons and measures 10 meters high and 20 meters wide (33 x 66 ft). People can walk through the 3.7 meter high central arch, where they can look up to the large 'dent' and see numerous distorted reflections of themselves.

Unveiling When the new Millennium Park was officially inaugurated in 2004 after a four year delay, the city was eager to show the sculpture to the public, as it had spent the hefty sum of 23 million dollars on what was to become one of the highlights of the park.

Reflection of the
Michigan Avenue Skyline

Unfortunately the assembly of the sculpture was well behind schedule and Kapoor was reluctant to unveil the unfinished artwork to the public. And not without reason; the structure was still unpolished and the seams were visible.
As expected, many Chicagoans were highly critical and dismissed the unfinished 'Bean' as a piece of metal. After the inauguration of the park, the structure was put back under wraps. Not until it was completely finished in May, 2006 became its almost magical appeal visible.

Now seamless and polished, the Cloud Gate reflects and distorts the skyline of Michigan Avenue, the sky, and the people nearby, who always seem to have the urge to touch the sculpture's silvery surface. Cloud Gate instantly became an icon of Chicago, and an attraction that every visitor to the city wants to see.

 

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

i t hink Site-specific art is artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the artwork. The actual term was promoted and refined by Californian artist Robert Irwin, but it was actually first used in the mid-1970s by young sculptors, such as Lloyd Hamrol and Athena Tacha, who had started executing public commissions for large urban sites

 

 Anish Kapoor has undertaken the third in The Unilever Series of commissions for the Turbine Hall at Tate Modern. Anish Kapoor is renowned for his enigmatic sculptural forms that permeate physical and psychological space. Kapoor's inventiveness and versatility have resulted in works ranging from powdered pigment sculptures and site-specific interventions on wall or floor, to gigantic installations both in and outdoors. Throughout, he has explored what he sees as deep-rooted metaphysical polarities: presence and absence, being and non-being, place and non-place and the solid and the intangible.

 

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

30 St Mary Axe, also known as the Gherkin and the Swiss Re Building, is a skyscraper in 's London main financial district, the City of London, completed in December 2003 and opened on 28 April 2004. It is 180 metres (591 ft) tall, with 40 floors. Its construction symbolised the start of a new high-rise construction boom in London.

The building was designed by Lord Foster, his then business partner Ken Shuttleworth[1] and Arup engineers, and was constructed by Skanska of Sweden in 2001–2004.
The building is on the former site of the Baltic Exchange building, the headquarters of a global marketplace for ship sales and shipping information. On 10 April 1992 the Provisional IRA detonated a bomb close to the Exchange, severely damaging the historic Exchange building and neighbouring structures.
The UK government's statutory adviser on the historic environment, English Heritage, and the City of London governing body, the City of London Corporation, were keen that any redevelopment must restore the building's old façade onto St Mary Axe. The Exchange Hall was a celebrated fixture of the ship trading company.
After English Heritage later discovered the damage was far more severe than previously thought, they stopped insisting on full restoration, albeit over the objections of the architectural conservationists who favoured reconstruction. Baltic Exchange sold the land to Trafalgar House in 1995.[9] Most of the remaining structures on the site were then carefully dismantled, the interior of Exchange Hall and the façade were preserved, hoping for a reconstruction of the building in the future.
In 1996 Trafalgar House submitted plans for the Millennium Tower, a 386 metres (1,266 ft) building with more than 140,000 m2 (1,500,000 sq ft) office space, apartments, shops, restaurants and gardens. This plan was dropped after objections for being totally out-of-scale with the City of London and anticipated disruption to flight paths for both City and Heathrow airports; the revised plan for a lower tower was accepted.
The gherkin name dates back to at least 1999, referring to that plan's highly unorthodox layout and appearance. Due to the current building's somewhat phallic appearance, other inventive names have also been used for the building, including the Erotic gherkin, the Towering Innuendo, and the Crystal Phallus


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?

Youtube has some excellent footage on Kapoor-take a look at Anish Kapoor at the Royal Academy.

The Indian-born artist Anish Kapoor is probably best known in the United States for his 2004 chrome installation piece “Cloud Gate” for the Millennium Plaza in Chicago, but Europeans—especially Londoners—will know him for his massive, bloodred, site-specific sculpture “Marsyas” displayed in the Turbine Room of the Tate Modern during its grand opening in 2002. Kapoor appreciates what engineers and tensile fabricators do because it affects his work: “I am concerned with the way in which the language of engineering can be turned into the language of the body,” he says. “Marsyas” relied heavily on the skills of both Arup for the engineering and Bo Hightex for the piece’s fabrication. (See FA, May/June 2003, p.22.)

Although the Tate sculpture was temporary, Kapoor often creates his outdoor sculptures for permanent residence. Such is the case with his recent installation for “The Farm,” a 400ha (1,000 acre) private estate outdoor art gallery in Kaipara Bay, north of Auckland, New Zealand. Kapoor’s first outdoor sculpture in fabric, “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.

The ellipses are orientated one horizontal, the other vertical. Thirty-two longitudinal mono-filament cables provide displacement and deflection resistance to the wind loads while assisting with the fabric transition from horizontal ellipse, to a perfect circle at midspan, through to the vertical ellipse at the other end. The sculpture, which passes through a carefully cut hillside, provides a kaleidoscopic view of the beautiful Kaipara Harbor at the vertical ellipse end and the hand contoured rolling valleys and hills of “The Farm” from the horizontal ellipse. Fabrication and installation of the art piece is by Structurflex Ltd., of Henderson, Auckland, New Zealand, overall engineering is by Structure Design Ltd., membrane engineering by Compusoft Engineering Ltd.

• 
• 
  A view of the Kaipara Harbor is visible through the vertical ellipse.
• 
  “The Farm” transitions from a vertical ellipse seaward to a circle at midspan, to an identical, but horizontal ellipse at lands end.
• 
  Thirty-two mono-filament cables provide displacement and deflection resistance to the high winds that blow inland off the Tasman Sea toward Kapoor’s sculpture on the New Zealand coastline.

Renference

http://www.sculpture.org.uk/image/910000000542/1/

http://www.sculpture.org.uk/image/910000000542/1/

http://www.britishcouncil.org/arts-anish-kapoor-india.htm

www.royalacademy.org.uk › 
http://www.robgarrettcfa.com/thefarm.htm
http://www.billslater.com/cloudgate/

Dismemberment of Jeanne d’Arc- 

Old Municipal Market Building Brighton

Week 5 - Pluralism and the Treat of Waitangi

Week 5 - Pluralism and the Treat of Waitangi

Pluralism and the Treaty of Waitangi

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

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

Pluralism in art refers to the nature of 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( ref ALVC resource book 2011)

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.

Māori culture has predominated for most of New Zealand's history of human habitation. Māori voyagers reached the islands of New Zealand some time before 1300, though exact dates are uncertain. Over the ensuing centuries of Māori expansion and settlement, Māori culture diverged from its Polynesian roots. Māori established separate tribes, built fortified villages (Pā), hunted and fished, traded commodities, developed agriculture, arts and weaponry, and kept a detailed oral history. Regular European contact began approximately 200 years ago, and British immigration proceeded rapidly during the nineteenth century.

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

New Zealand pre-1840

The Māori people of Aotearoa (New Zealand) are descendants of Polynesian peoples who had arrived by 1300 AD. There is debate over the precise date and the number of vessels, but Te Ara – the Encyclopedia of New Zealand refers to ocean-going waka (canoes) having journeyed during the 1200s from east Polynesia to land on New Zealand’s coast. Fifty years after Captain James Cook’s arrival in 1769 less than 200 Europeans had settled in New Zealand, whereas there were around 100,000 Māori. As early as 1792, whalers arrived as temporary visitors, and the first mission station was set up by Samuel Marsden after his arrival under the auspices of the Anglican Church Missionary Society in 1814. During the late 1820s the number of non-Māori living in New Zealand began to increase, and by 1839 totalled about 2,000 (Māori numbered about 100,000). Two-thirds lived in the North Island with a large majority being single men. An estimated 90 percent were of British background and of these almost seven in ten were English. 

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

They artists and designer who design and create the art work is all about New Zealand because they live and working in this country they know the history about New Zealand to related the art works. so that the history is very import part to effect the work they had made. 

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

Hard to discuss about, should increase import and export with other country can be globalization.also Labour Market Trends and Globalization's Impact on Them.

Globalization is the tendency of businesses, technologies, or philosophies to spread throughtout the world, or the process of making this happen. the global economy is sometimes referred to as a globality, characterized as a totally interconnected marketplace, unhampered by time zones or national boundaries.

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

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

Art work above may of the Maori and Pakeha characters discuss the impoact of the Treaty of Waitangi, their ambivalence about concepts of landownership and the nation of two cultures living in the one land. is is something of this ambivalence about the land and the cultural landscape of New Zealand which is also at the heart of Shance Cotton's art. and i think all the works in the exhibition seem aged and fractured with an almost medieval feel to them. however, they also contain images which seem to provide hope with the images of natural images and lines which trace over these them suggesting links to the past and the future.

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'.

13 February 2008 is an historic date etched into Australia’s national memory. On this day, Australia witnessed one of its most overtly optimistic displays of unity and national pride, when Prime Minister Kevin Rudd offered a formal apology to Indigenous Australians. It was a day when, in the eyes of many, the country grew up.

Here, Tony Albert has captured this outpouring of emotion. He introduces us to a forest of faces, each sharing elements of history with those stolen from their people, land and culture. Each represents a false identity, manufactured black faces made to fit white society.

The artist also revels in the sense of irony in the work, with the impetus of such a momentous and joyous event being an apology. On yet another level, Albert presents us simply with a word — bold letters on a wall — indicative of an Indigenous Australian response to the apology. While it was an important symbolic gesture, many Indigenous Australians are waiting to see real change within society before fully accepting the Prime Minister’s apology and speech as more than words.

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

Both artists Shane Cotton and Tony Albert art works relate to pluralism as Shane Cotton's art work refers to New Zealand culture and history and Tony Albert's art works SORRY apologies as above on 2008. world must be equal!!! 

 

 

Reference: ALVC resource book 2011

http://qag.qld.gov.au/collection/indigenous_australian_art/tony_albert

http://www.google.co.nz/imgres?q=treaty+of+waitangi&hl=zh-CN&sa=X&tbm=isch&prmd=ivnsb&tbnid=KgNjSusBb6fM7M:&imgrefurl=http://www.teara.govt.nz/en/immigration-regulation/1/2&docid=NSmjBiCa8FlH7M&w=313&h=600&ei=-3FbTvzzBMnHmAXbhdyeDA&zoom=1&iact=hc&vpx=580&vpy=128&dur=269&hovh=311&hovw=162&tx=63&ty=151&page=1&tbnh=165&tbnw=155&start=0&ndsp=22&ved=1t:429,r:9,s:0&biw=1440&bih=692

Week 4 - Kehinde Wiley

Week 4 - Kehinde Wiley

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

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

Kahinde Wiley is a Gay American based painter born in Los Angeles, who has an international reputation. Wiley lives and practices between Beijing and Brooklyn.


This weeks ALVC class focuses on the Postmodern theme "INTERTEXTUALITY", re-read Extract 1 The death of the author on page 39 of your ALVC books and respond to the oil paintings of Kehinde Wiley. 

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

the concept of intertextuality reminds us that each text exists in relation to others. in fact texts owe more to other texts than to their own makers. Michel foucault declared that: the frontiers of a book are never clear-cut: beyond the title, the first lines and the last full stop, beyond its internal configuration and its autonomous form, it is caught up in a system of references to other books, other sentences: it is a node within a network.

ref: ALVC 2011 resource book

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.

The subjects and stylistic references for his paintings are juxtaposed inversions of each other, forcing ambiguity and provocative perplexity to pervade his imagery. By applying the visual vocabulary and conventions of glorification, history, wealth, power, and prestige to subject matter drawn from the urban fabric in which he is embedded, Wiley presents his young men as both heroic and pathetic, aestheticized and reified, autonomous and manipulated. Ultimately, Wiley's practice disturbs and interrupts tropes of portrait painting to locate, in his words, "class struggle at the level of sign".

 

http://www.artnet.com/awc/kehinde-wiley.html

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

 Wiley's work relates to theme pluralism as pluralism in art refers to the nature of artforms and artists as diverse. thecultural 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.

ALVC 2011 resource book.

 

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

 

For all of his works all around the colour of our skin, what kind of information his work and painting try to tell us. as we through white man is more powerfull being on earth but is this true?  that is not fair . his work notice us what is real "equal" in this world, no matter what is your skins colour, we live in one world,  this is paceful world, we are family, we love eachother.

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

 

when i start to do my blog, i have no idea about wiley's work and did not get any message from his work, but now i found his pretty cool, i love his work also the way to show us about his work, very significance to our life, relationship, culture, nationality.

Week 3- Hussein Chalayan

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

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

Not all clothing is fashion, so what makes fashion fashion?

when i first time look at his work, i feel very comfused,i am try to ask myself is this "fashion", could be fashion, i think his work almost like art. or even design. his fashion way really different as nomal fashion show. 

 

hussein chalayan's design, one of his fashion show catwalk.  All above are his design, he designed cloth not just for wear, also a tool, a variety of use. it is art not fashion.

Hussein Chalayan, Burka, 1996

                                                                 Hussein Chalayan, Afterwords, 2000

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

 

 

 fashion design hussein chalayan has teamed up with level vodka to produce a new installation which will begin a

world tour beginning this month in mexico city. 'the level tunnel' is a 15m long, 5m high installation that can be

experienced from the exterior or blindfolded on the inside. chalayan has developed an experience of the senses,

working with a number of different materials as well as playing with scent, touch and sound. the viewing is

blindfolded and led into the installation, where they are confronted with sound created by a flute made from a

vodka bottle. 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. after mexico city the installation will move to athens and paris.

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

by m

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

 

 

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

 

 

I think every artist at the beginning of his artistic career when, there is always some work is not the concern, and perhaps the occasional meaning behind a work by the general public of all ages. Each piece the artist is very important for them, we see, imagine, understand, just think of our own meaning. The birth of each piece has a story. I think this is art, and between understanding and not understanding

http://www.husseinchalayan.com/#/home/
http://www.designboom.com/eng/interview/chalayan.html 
http://www.husseinchalayan.com/blog/

Post-Modernism, Ai Weiwei and Banksy

Post-Modernism, Ai Weiwei and Banksy

 Post-Modernism

This week's ALVC tutorial covers Post-Modernism. Use the ALVC texts and definitions from the internet to define the term and answer the following questions;

1. Define Post-Modernism using 8-10 bullet points that include short quotes.

-postmodernism is associated with relativism is the idea that anything goes.

-the period in which we now live is often called "postmodernism"

-postmodernism is something which evolved after 1968.

- Postmodernism is, almost by definition, a transitional cusp of social, cultural, economic and ideological history when modernism's high-minded principles and preoccupations have ceased to function, but before they have been replaced with a totally new system of values. It represents a moment of suspension before the batteries are recharged for the new millennium, an acknowledgment that preceding the future is a strange and hybrid interregnum that might be called the last gasp of the past.  

 -postmodernism is not easy to define. the term is used in philosophy, literature,social sciences and architecture.

-different postmodern thinkers may have different opinions, and people from different fields may have somewaht different definitions of" postmodernism"

-postmodernism is of course composed by two parts"post" and "modern". post is latin for after, and modernism refers to the modern period.

-postmodernism as used in philosophy.

2. Use a quote by Witcombe (2000) to define the Post-Modern artist.

The post-modern artist is "reflexive" in that he/she is self-aware and consciously involved in a process of thinking about himself/herslef and society in a deconstructive manner, "demasking" pretensions, becoming aware of his/her cultural self in history, and accelerating the process of self-consciousness.

3. Use the grid on pages 42 and 43 to summarize the list of the features of Post-
Modernity.

-postmodernity more focus on social and cultural pluralism.

-Play of surfaces, images signifiers without concern for depth.

-hyper-reality, image saturation.

4. Use this summary to answer the next two questions.

5. 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.
 

Ai Weiwei is China's most influential artists of his Coca-Cola logo Han dynasty urn, his style of work is now displayed after the show and cultural contrast

'Han Dynasty Urn with Coca-Cola logo'(1994), Ai Weiwei

 

Ai Weiwei dropping a Han Dynast Urn.

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.)

 

banksy is a pseufonymous england based graffiti artist. polotical activist, film director and painter. his satirical street art and sbuversive epigrams combine irreverent dark humour with graffiti done in a distinctive stencilling technique. Such artistic works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world.

You're mind is working at its best when you're being paranoid.
You explore every avenue and possibility of your situation
at high speed with total clarity."
— Banksy

'Flower Riot', Banksy

Los Angeles (2008), Banksy

 

 

 

 

 

 

 

 

 

 

 

 

 

This work is an ape-man held out his right hand plate, left hand holding the bones in the works of each artist's own ideas when there is always a creative sense. Often give us unlimited imagination to think of the significance of the work.

朗读

显示对应的拉丁字符的拼音

http://theworldsbestever.com/2008/02/new_banksy_pieces_surface_in_l.php

http://www.thedailybeast.com/articles/2009/03/11/how-china-conquered-the-art-world.html

WEEK 1- Nathalie Djurberg's 'Claymations'.

Nathalie Djurberg's 'Claymations'.

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.

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.

(http://www.designboom.com/weblog/cat/10/view/6886/nathalie-djurberg)

Research Djurberg's work in order to answer the following questions;

1. What do you understand by the word 'claymation'?

 

Claymation is the generalized term for clay animation, a form of stop animation using clay. The term claymation was coined by its creator, Will Vinton, owner of an animation studio that worked with clay artists to create clay animation. Claymation involves using objects or characters sculpted from clay or other moldable material, and then taking a series of still pictures that are replayed in rapid succession to create the illusion of movement. Some of the more famous claymation characters in history include Gumby and Pokey, Wallace and Gromit, and the California Raisins. 

2. What is meant by the term 'surrealistic Garden of Eden'? and 'all that is natural goes awry'?

 

God took some clay from the ground and made the shape of a man.  Then He breathed gently into the shape.  The man's eye's opened and he began to live.  God called him Adam and the LORD God caused a deep sleep to fall upon Adam, and he slept: and he took one of his ribs, and closed up the flesh instead thereof; And the rib, which the LORD God had taken from man, made he a woman, and brought her unto the man. 

Awry means the the god can not control Adam and Eve, they've got mind so the natural goes awry.

 

 

3. What are the 'complexity of emotions' that Djurberg confronts us with?

 

Her works palyed with emotion feel very uncomfortable, and  different vulnerability and resilience factors are implicated in the intraindividual experience of positive and negative emotions.

4. How does Djurberg play with the ideas of children's stories, and innocence in some of her work?

 

I think she try to bring the ideas of children's stories in her work like how she dressed up some of the she had made. but between innocence and none innocence it is all effect this world, relationship, life etc, it not just what she's work showing us the children's stories.it could be any thing. 

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?

 

Artist and designer try to gives us lots of new idea and different way to showing us also we can say tell us about the work, and we will always keep it in our mind.

6. In your opinion, why do you think Djurberg's work is so interesting that it was chosen for the Venice Biennale?

 

Amazing work was chosen for the Venice Biennale, but i think for me when i first saw her work (human, animal, plant etc) she made feel so scary, violent.

7. Add some of your own personal comments on her work.

 

Eat me daily.

I found myself alone 2008 

'Experiment' (2009) Venice Biennale                                           

Reference: http://www.google.co.nz/search?hl=zh-CN&biw=1440&bih=687&tbm=isch&oq=djurberg+&aq=f&aqi=&q=djurberg

http://www.eatmedaily.com/2009/01/i-found-myself-alone-by-nathalie-djurberg-at-the-zach-feuer-gallery-food-art/

 

http://psychsocgerontology.oxfordjournals.org/content/59/3/P117.short

 

http://heavenawaits.wordpress.com/the-garden-of-eden-and-the-%E2%80%9Cpit%E2%80%9D-%E2%80%93-tioran-land-drift-theory/