Introduction
The first part of Understanding Visual Culture will explore the idea of practice through three topics: idea and reality, art and life, and action as habit, method, rule.
Aristotle proposed 3 basic 'practice activities:
- thinking
- making
- acting
As an artist it is important to find the balance between these as it has become more common to view the whole process of creation rather than just the finished product.
In this part you will examine the relationships between thinking, making and acting, and the ways in which art practice has expanded and diversified from the studio and craft-based activities to the social realm, the material to the immaterial, and from individual to collective. However different these practices seemingly appear, they all strive in their various ways for some form of transformation, be it material, spiritual, psychological or political.
Aristotle proposed 3 basic 'practice activities:
- thinking
- making
- acting
As an artist it is important to find the balance between these as it has become more common to view the whole process of creation rather than just the finished product.
In this part you will examine the relationships between thinking, making and acting, and the ways in which art practice has expanded and diversified from the studio and craft-based activities to the social realm, the material to the immaterial, and from individual to collective. However different these practices seemingly appear, they all strive in their various ways for some form of transformation, be it material, spiritual, psychological or political.
Exercise 1: Practicing
What constitutes a practice? Write a list in your learning log of different types of practice that exist in everyday life - personal, professional, political etc. Does the practice of meditation, walking, or cooking share anything with that of making art? What occurs in all of these forms of practice? What is changed? What is achieved? Write 200 words and complete between 4 and 8 visual pieces recording your observations.
Practice Defined
1. Practice can be defined as the application of an idea, belief or method
2. The exercise of a profession
3. Habitual procedure
4. Repetition in order to acquire proficiency
(Oxford Dictionary, 2019)
Fundamentally, most of us would consider the word practice to be a verb. Whatever profession you are in you refer to the required actions in your job as 'best practice'. It implies that there action has to be taken. Naturally, as with most things we do, we will spend time to think about first. Most actions need to be consider within any profession as the are done to achieve a certain result, e.g. baking the cake the client want, preparing a student for an exam, providing the right home to the right owner etc. We would not be able to produce our 'best practice' if we did not take the time to brainstorm, plan and problem solve. Within certain professions, like the arts, the process of thinking and plan will still involve making, as you test out ideas in order to better conceptualize and visualize the outcome. Considering this, I agree with Aristotle that practice can encompass the three activities; making, thinking and action. I suppose where it becomes more interesting for an artist especially, is when you have crossed the line from practicing to creating final pieces. An education I am certainly seeing how subjects have evolved past simply looking at final product pieces, but also valuing the process and the journey of the student. The process certainly is important as it digs deeper into the critical thinking undertaken and sometimes understanding this context can provide more value to the final product.
For the creative pieces I will fist show practice as being exercise. In the pencil sketches below I am practicing sketching faces. These sketches do not have to be finished as I am simply working on my observational skills.
Practice Defined
1. Practice can be defined as the application of an idea, belief or method
2. The exercise of a profession
3. Habitual procedure
4. Repetition in order to acquire proficiency
(Oxford Dictionary, 2019)
Fundamentally, most of us would consider the word practice to be a verb. Whatever profession you are in you refer to the required actions in your job as 'best practice'. It implies that there action has to be taken. Naturally, as with most things we do, we will spend time to think about first. Most actions need to be consider within any profession as the are done to achieve a certain result, e.g. baking the cake the client want, preparing a student for an exam, providing the right home to the right owner etc. We would not be able to produce our 'best practice' if we did not take the time to brainstorm, plan and problem solve. Within certain professions, like the arts, the process of thinking and plan will still involve making, as you test out ideas in order to better conceptualize and visualize the outcome. Considering this, I agree with Aristotle that practice can encompass the three activities; making, thinking and action. I suppose where it becomes more interesting for an artist especially, is when you have crossed the line from practicing to creating final pieces. An education I am certainly seeing how subjects have evolved past simply looking at final product pieces, but also valuing the process and the journey of the student. The process certainly is important as it digs deeper into the critical thinking undertaken and sometimes understanding this context can provide more value to the final product.
For the creative pieces I will fist show practice as being exercise. In the pencil sketches below I am practicing sketching faces. These sketches do not have to be finished as I am simply working on my observational skills.
For the next set of sketches I want to focus on 'the practice of a method'. During one of my galery visits, I discover the work of Adam Riches. He creates scribbled portraits usually using pen. The more lines he puts in the more moody they become and I quite like this idea of using messy, yet purposeful scribbles to draw. This technique (method) is new for me, which means I will need to practice doing it. I first started with sketches on a small A5 size using a fine wet ink pen.
You may notice that I have numbered the sketches to try and show how my application of the method progresses. In sketches 1 to 3 I am still a bit heavy handed as I learn the intensity of the pen and the marks it makes. In sketch 4 and 5 you notice how I take a more minimal approach with lines in order to focus on more specific features of the face.
Although Riches uses a great layering of lines to create his portraits, I am more drawn to the less is more approach, as it allows you to see every mark that was made, kind of like the way the impressionists painted. For sketch 6 I chose to move to a larger sketch pad, which freed up my ability to move my hand which improved my technique. I have found that this is the case with my painting too. I don't feel as restricted and I also then to be a bit more sensitive in feeling out my next mark. It could also be that I took a bit more time with this one, pausing in between lines in order to evaluate the composition. As you can see from my writing, even though I was 'acting', I could not have done it without 'thinking' and 'making' first. As a technique it would require continued practice, but throughout you can see how I have had to repeat certain actions and compositions in order to improve. There is of course, also the base skills of observation and understanding form which would need to be established before moving on new methods. Although, I don't believe this is always the case. There are times when an artist should just jump in blindly and take risks, as this may be when the best discoveries are made! |
Topic 1: Idea and reality
Research point 1:
Raphael Hefti
Hefti is a Swiss artist originally trained as an engineer. He develops his experimental pieces in collaboration with scientists and technicians open up new pathways for the creation of art (Bellini, 2015). Hefti is often described as a modern-day alchemist or pseudo-scientist. The artist explores the reactions of materials by manipulating industrial processes, in order to discover mistakes that enable transformations to take place. Hefti presents materials in conditions and states that might be considered in an industrial context as a sign of an error, malfunction or hazard. Through a sustained engagement with process, Hefti uses techniques and methods repeated over time to discover the point at which a material will become unstable, accidental, unfamiliar, or behave unexpectedly in order to discover new processes (UVC Guide).
Hefti is a Swiss artist originally trained as an engineer. He develops his experimental pieces in collaboration with scientists and technicians open up new pathways for the creation of art (Bellini, 2015). Hefti is often described as a modern-day alchemist or pseudo-scientist. The artist explores the reactions of materials by manipulating industrial processes, in order to discover mistakes that enable transformations to take place. Hefti presents materials in conditions and states that might be considered in an industrial context as a sign of an error, malfunction or hazard. Through a sustained engagement with process, Hefti uses techniques and methods repeated over time to discover the point at which a material will become unstable, accidental, unfamiliar, or behave unexpectedly in order to discover new processes (UVC Guide).
His 2012 ‘Launching Rockets Never Gets Old’ exhibition at Camden Arts Centre, included a series of Mirrored Panels and Underlay Push Sticks X15ChNiSi2520. The mirrored panels were sections of museum glass which applied multiple layers to in order to create the psychedelic sheen seen on the right. Push Sticks are industrial steel beams are repeatedly exposed to such intense temperatures that they combust, char and shatter like glass. By removing the strength of the steel, the beams are unable to function in the capacity in which they are expected. (Whitecube, 2012)
Hefti takes the notion of repetition within his practice to the limit. This essentially leads to a textural exploration of the used materials. It shows how in this case, the process of repetition can lead to new an exciting results. |
Joseph Buys
He was a German sculptor and performance artist mostly associated with the Fluxus movement. A movement during the 60s and 70s that consisted of artists trying to break the bounds of art, especially as viewed by museums and galleries. They believed that anyone could make and understand art, as it does not need to be specifically defined. He worked best thinking that the outcome of a piece would be uncertain, although he always had a theme in mind. In his practice of art, he also considered how pushing the limits of a material or idea can lead to interesting unknowns, like in Woman/Animal Skull (1956-1957), part of a series of drawings where Buys explored "aesthetic asceticism" (Wolf, 2019). "Every action, every performance, brings a new element in the whole, an unknown area, an unknown world" (UVC Guide). |
Reading point 1:
Popper, K. (2010) ‘Unended Quest//1974’ In: Le Feuvre (ed.) Failure, Documents of Contemporary Art. Cambridge: The MIT Press. pp. 177-179 (provided in resources)
In order to understand this section written by Karl Popper, it is important to have some context about him. He was a philosopher in the field of Science, mostly known for his theory of falsification. This is a theory that implies an original hypothesis cannot be falsified or have contradictory evidence, therefor making it true. It is useful to understand that in the field of Science is very objective, as empirical evidence is the basis for gaining understanding. Every experiment has observed variables that have been planned. In this written piece, however, Popper is talking about "creative thinking" and how the use of imagination has the potential to allow for random or uncertain outcomes. When and outcome can not be per-determined it may often be viewed as a failure, especially if one is narrow minded in the expected outcome. He makes the observation that failure, if viewed with creative criticism, has the potential to improve existing theories and therefore practice.
In order to understand this section written by Karl Popper, it is important to have some context about him. He was a philosopher in the field of Science, mostly known for his theory of falsification. This is a theory that implies an original hypothesis cannot be falsified or have contradictory evidence, therefor making it true. It is useful to understand that in the field of Science is very objective, as empirical evidence is the basis for gaining understanding. Every experiment has observed variables that have been planned. In this written piece, however, Popper is talking about "creative thinking" and how the use of imagination has the potential to allow for random or uncertain outcomes. When and outcome can not be per-determined it may often be viewed as a failure, especially if one is narrow minded in the expected outcome. He makes the observation that failure, if viewed with creative criticism, has the potential to improve existing theories and therefore practice.
Exercise 1.1: Testing limits
In a medium that you have some experience of working in, create a piece of work in which you are testing something new that you have not explored before and push it to its limit. Like Beuys and Hefti, it could be that you already have a framework that you are working within, but there must be some element that allows you to experiment, without a fixed outcome in mind. It could be a new material, process, approach, or technique. Describe and reflect on the process and the outcome in your learning log.
During my Painting 2 course I started doing some pieces using canvas as a way of creating contrast and texture. I would cut them up into smaller pieces then use then to create a type of collage in certain ares of interest, especially areas that would require a higher shadow contrast. For the piece I created below I wanted to use this concept of using canvas, but making it even larger and more sculptural.
I first started by sketching out the outline of face and then used large pieces of canvas, which was crumbled and folded and shaped to place around the face. I used a hot glue gun to secure and shape the canvas.
I have been experimenting quite a bit with using very diluted oils as it gives them a watercolour-like appearance and allows the paint to drip and run. I dilute it with a mixture of half turps and half linseed oil. The only thing about this is that it takes a long time to dry before you can work on your next layer. For the first layer I started with two flesh tones, one lighter and one darker.
Once the first layer had dried, I applied my blue layer, which is a combination of blues. At this point I was actually quite satisfied with how the piece looked and would likely have considered it close to done, but as I am trying to push limits, I decided to add another layer.
I quite like the scribbling effects I managed to create with my pen sketches and I wanted to see if this effect could transfer to oils. Using a darker shade of diluted blues, I use a thin round brush to create scribbling textures around the face. As I started to shpae the lines around the canvas shapes, it naturally began to form the shape of what almost looks like ears.
I am not sure if the scribbles were a success, perhaps I laid down too many or I did not make enough? Maybe I could fill in more of the space around the head to make it appear like a face coming out of a nest of wires. There is something interesting about the piece, especially when considering the three dimensional effect of the canvas and some of the intricacy in the lines around the eye, but as an over all composition, I'm not sure it works. I might come back to it again later to see if I can make any additional marks.
If I worked in this manner again, I might try and be even more bold with my placement of the canvas, possible bringing it over an area of the face or even extending out over the canvas edges. I would also be more methodical in my placement of the scribbled lines, as I think the style requires a greater element of simplicity. It was however a useful experiment in pushing my boundaries and trying something different.
During my Painting 2 course I started doing some pieces using canvas as a way of creating contrast and texture. I would cut them up into smaller pieces then use then to create a type of collage in certain ares of interest, especially areas that would require a higher shadow contrast. For the piece I created below I wanted to use this concept of using canvas, but making it even larger and more sculptural.
I first started by sketching out the outline of face and then used large pieces of canvas, which was crumbled and folded and shaped to place around the face. I used a hot glue gun to secure and shape the canvas.
I have been experimenting quite a bit with using very diluted oils as it gives them a watercolour-like appearance and allows the paint to drip and run. I dilute it with a mixture of half turps and half linseed oil. The only thing about this is that it takes a long time to dry before you can work on your next layer. For the first layer I started with two flesh tones, one lighter and one darker.
Once the first layer had dried, I applied my blue layer, which is a combination of blues. At this point I was actually quite satisfied with how the piece looked and would likely have considered it close to done, but as I am trying to push limits, I decided to add another layer.
I quite like the scribbling effects I managed to create with my pen sketches and I wanted to see if this effect could transfer to oils. Using a darker shade of diluted blues, I use a thin round brush to create scribbling textures around the face. As I started to shpae the lines around the canvas shapes, it naturally began to form the shape of what almost looks like ears.
I am not sure if the scribbles were a success, perhaps I laid down too many or I did not make enough? Maybe I could fill in more of the space around the head to make it appear like a face coming out of a nest of wires. There is something interesting about the piece, especially when considering the three dimensional effect of the canvas and some of the intricacy in the lines around the eye, but as an over all composition, I'm not sure it works. I might come back to it again later to see if I can make any additional marks.
If I worked in this manner again, I might try and be even more bold with my placement of the canvas, possible bringing it over an area of the face or even extending out over the canvas edges. I would also be more methodical in my placement of the scribbled lines, as I think the style requires a greater element of simplicity. It was however a useful experiment in pushing my boundaries and trying something different.
Reading point 2:
Fisher, J. (2010) ‘Judgement and Purpose//1987’ In: Le Feuvre (ed.) Failure, Documents of Contemporary Art. Cambridge: The MIT Press. pp. 116-121 (provided in resources)
In this piece of writing Fisher explores the philosophy of failure, or as he calls it anaprokopology (not success). An artwork my be considered a failure if unfinished or if not meeting the intentions of the artist or potentially the judgement (intention) of viewers. This also means that the opposite can be true. In all areas of life, failure should be considered a great tool for learning, as it teaches us our limitations and aids us in where to make adjustments. Fisher makes an interesting point about failure of being judged in 'toos', meaning that we often determine failure by looking for what is in excess. I have often noticed this when given feedback on my own work often hearing the phrase 'over worked'. Fisher says that our ability to find the excess in something is tied more to our own values and perceptions than to the intentions of the artist and their piece.
From reading the piece, I gathered some advice on 'avoiding failure:
- Don't set intentions to high
- Consider the right timing of a piece
- A piece should have intrinsic value, meaning that the artist invested and internal intention to the piece
- you need to learn to recognize and acknowledge your failure
- If you are not making mistakes, you are not trying hard enough
- in the arts especially, what you might consider a failure, could inadvertently become the purpose
And remember: Your failures contribute to your journey and form part of the process that lead you to success!
In this piece of writing Fisher explores the philosophy of failure, or as he calls it anaprokopology (not success). An artwork my be considered a failure if unfinished or if not meeting the intentions of the artist or potentially the judgement (intention) of viewers. This also means that the opposite can be true. In all areas of life, failure should be considered a great tool for learning, as it teaches us our limitations and aids us in where to make adjustments. Fisher makes an interesting point about failure of being judged in 'toos', meaning that we often determine failure by looking for what is in excess. I have often noticed this when given feedback on my own work often hearing the phrase 'over worked'. Fisher says that our ability to find the excess in something is tied more to our own values and perceptions than to the intentions of the artist and their piece.
From reading the piece, I gathered some advice on 'avoiding failure:
- Don't set intentions to high
- Consider the right timing of a piece
- A piece should have intrinsic value, meaning that the artist invested and internal intention to the piece
- you need to learn to recognize and acknowledge your failure
- If you are not making mistakes, you are not trying hard enough
- in the arts especially, what you might consider a failure, could inadvertently become the purpose
And remember: Your failures contribute to your journey and form part of the process that lead you to success!
Exercise 1.2: Failures
Look through your studio practice to date and try to identify works, or points within the work, which you considered not to work in the way that you had intended. Failure is not only a generative tool in practice, but human and artistic failure can also be the subject of the work intentionally and/or inadvertently. Whilst the idea of perfection can be perpetually reached for, flaws and failure seem to engender a particular curiosity and empathy. Reflect on what happened instead and what the ‘failure’ led to, or changed for you.
While watching the local news one evening I noticed the interesting digital art they used to when discussing events in the city. It shows the silhouette of the city with cool splashes of colour and in the background. I wanted to experiment with how I could achieve this look with paint. I though watercolours would be the best medium to choose as it creates that interesting bleeding and atmospheric look. My 1st attempt had many issues, as you can tell. I used too much water to create the bleeding which meant that colours turned muddy. I did not secure the canvas, which meant that the paper created pools. As I chose to use paint and brush to created the sillhoute of the skyline, it started looking sloppy and didn't have the graphic nature I was looking for. Another problem I faced is that, living in Hong Kong, I am not always able to consistently get the same supplies, especially when it comes to watercolour paper. So often when I try out ideas they turn out differently from before as the paper brand is different. Even if you buy the same density, the brand can still play a role in how it bleeds and blends. You can notice this in my 3rd attempt. Though this has greatly improved, the paper still shows the strain of the amount of water needed to create the type of blend I was looking for. I did however switch over to using a fine point marker to create the skyline and used a ruler to get lines right. This choice made it more graphic and gave the painting more detail. I also like the juxtaposition of the atmospheric softness of the watercolours with the hard graphic lines of the marker. From the above works I learned a lot about techniques when using watercolours, including how much water to use, taping down canvas and and consider the quality of paper.
What I discovered from these exercises also inspired me to use these findings in new ways. Using the bleeding and dripping techniques from before, I transferred this to atmospheric portraits. I also liked the colour palette of blues, reds and yellows, which transferred well here. As I had already completed a few experiments with different paper and their responses to bleeding and dripping, it made me more confident when painting this. I also wanted to see how the use of the graphic marker would impact a portrait. My Obama painting on the far right shows the soft drippings of the watercolours with the graphic lines of the pen to create shadows and detail. |
Any parent (and educator) would tell you that failure is an important step in the growth process, no matter which are of life you are talking about. For those of us resilient enough to recognize that, it means we are able to adapt, change and learn from. by my (foolishly) trying to recreate a piece of digital art with actual paint, I stumbled across painting techniques that are quite unique. It also helped me to be more meticulous as an artist. Being more conscious of my tools and preparation when painting and every time I create new pieces I try to become more refined in my technique. Though I should add that I am quite the explorer when it comes to art, so I am regularly trying out new ideas, styles and methods, and so my list of failures is long ...
Research point 2:
Bruce Nauman
The American artist Bruce Nauman, like many Conceptual artists of the time, created works that explored frustration, futility and failure. His work " stresses meaning over aesthetics; it often uses irony and wordplay to raise issues about existence and alienation, and increasingly it provokes the viewer’s participation and dismay (Guggenheim, 2019). Like Joseph Buys, Nauman pushes the boundaries of what art could be. He especially explored the practice of repetition, especially repeating mundane tasks for long periods of time, like his performance pieces Bouncing in the Corner (1968) and Walk with Contrapposto (1968).
The American artist Bruce Nauman, like many Conceptual artists of the time, created works that explored frustration, futility and failure. His work " stresses meaning over aesthetics; it often uses irony and wordplay to raise issues about existence and alienation, and increasingly it provokes the viewer’s participation and dismay (Guggenheim, 2019). Like Joseph Buys, Nauman pushes the boundaries of what art could be. He especially explored the practice of repetition, especially repeating mundane tasks for long periods of time, like his performance pieces Bouncing in the Corner (1968) and Walk with Contrapposto (1968).
Robert Smithson
Smithson was an American artist well know for his sculptural land art. One of his most famous pieces was Spiral Jetty (1970). He is also liked to the post-minimalist movement which sought to highlight the environment surrounding art as much as the art itself. Smithson generally used found objects or elements of nature itself in order to create simple yet grand sculptures. As his pieces were outside the gallery, they had to be photographed and filmed in order for them to be exhibited in galleries, and as such he referred to them as site, non-site art, bringing into question the true location of the pieces (Wolf, 2019).
Smithson was an American artist well know for his sculptural land art. One of his most famous pieces was Spiral Jetty (1970). He is also liked to the post-minimalist movement which sought to highlight the environment surrounding art as much as the art itself. Smithson generally used found objects or elements of nature itself in order to create simple yet grand sculptures. As his pieces were outside the gallery, they had to be photographed and filmed in order for them to be exhibited in galleries, and as such he referred to them as site, non-site art, bringing into question the true location of the pieces (Wolf, 2019).
Smithson created the earth work Partially Buried Woodshed with the help of students in 1970. He made use of an abandoned woodshed which was on the edge of campus and piled 20 truckloads of dirt onto it. The piece explores two notions. One being entropy and natural order of decay and change found in natures, as well as the idea that the photographs and documentation of the piece, will allow it to be frozen in time, despite the inevitable changes to follow (Kent, 2016).
Thinking back on what Fisher wrote about timing when considering failures in art, it is interesting to see how the significance of the Partially Buried Woodshed changed as time went on. A piece originally conceived as an exploration in sculpture and entropy, took on new meaning when a few months later students protesting American involvement in the Vietnam war lead to violent responses from the national guard. After this the words 'MAY 4 KENT 70' were written on it and it became a type of memorial site, giving it new significance. Natural decay also caused parts to crumble and be removed, but the piece was finally cleared in 1984 (Mundy, 2012). |
Does your research change your perception about the reflections on success and failure you made in the previous exercise?
It does not change the fact that I think failure is often a necessary part of the process and that it can be a great tool for helping you problem solve and develop new ideas. The one aspect that is certainly interesting from Fischer's writing is that what might be a failure one year, might be a success years later due to a change in trends and techniques. From this I can certainly learn the value of keeping pieces and periodically looking back at them as a means of either inspiration or renewed reflection.
It does not change the fact that I think failure is often a necessary part of the process and that it can be a great tool for helping you problem solve and develop new ideas. The one aspect that is certainly interesting from Fischer's writing is that what might be a failure one year, might be a success years later due to a change in trends and techniques. From this I can certainly learn the value of keeping pieces and periodically looking back at them as a means of either inspiration or renewed reflection.
Topic 2: Art and Life
Practice is rooted in the everyday. The boundary between art and life can be difficult to negotiate, but some artists deliberately explore or erase this distinction. The line can be blurred not only between artist/work but work/viewer. Fluxus artists, like Buys, relied on the active participation of the viewer in order to constitute the work. The emphasis was on the lived experience of the viewer rather than the passive appreciation of an art object.
Research point 3: Mary kelly
The American artist and writer Mary Kelly is a pioneering feminist who has played a leading role in conceptual art and Postmodernism. In the 70s the women's rights movement took a significant place in society. Women were challenging oppression and sexism, especially in the work place. Kelly herself had noticed that artists of the time, particularly great artists, were naturally considered to be men and that women were often not taken seriously or faced discrimination. She first explored this inequality in the documentary film piece Nightcleaners (1970–75). It documented how woman had to work domestic jobs in the evenings in order to take care of their children in the day and it represented the "sexual-social division of labour that underpinned inequality" (Kelly cited in Fowler, 2015). Shortly after she had her son and considered her role as mother and how the parent-child relationship is represented, which lead to her creation of Post-Partum Document. Documentation III: Analysed Markings And Diary Perspective Schema (Experimentum Mentis III: Weaning from the Dyad), 1975.
This piece consists of grids, records of conversations, grids, transcriptions, nappy liners and children's drawings that document 6 years of her relationship with her son from birth. They are all box framed and and hung in one continuous eye-line. The piece "subverts the artistic tradition of sentimentalising the mother-child relationship, showing its complexity – the density of unexplained academic theory and its schematic presentation" (Goodwin, 2018). In Four Works in Dialogue (1973-2010), she identifies the following questions that relate to the piece: What is femininity? What is maternal femininity? What fall outside of this relationship? and ultimately it also leads to later exploring masculinity and the societal expectations on gender roles.
This piece consists of grids, records of conversations, grids, transcriptions, nappy liners and children's drawings that document 6 years of her relationship with her son from birth. They are all box framed and and hung in one continuous eye-line. The piece "subverts the artistic tradition of sentimentalising the mother-child relationship, showing its complexity – the density of unexplained academic theory and its schematic presentation" (Goodwin, 2018). In Four Works in Dialogue (1973-2010), she identifies the following questions that relate to the piece: What is femininity? What is maternal femininity? What fall outside of this relationship? and ultimately it also leads to later exploring masculinity and the societal expectations on gender roles.
Exercise 1.3: Cut Piece
Cut Piece is one of Yoko Ono’s early performance works, which was debuted in Kyoto, in 1964, and has since been performed in Tokyo, New York, London, and, Paris in 2003. During the performance the artist sat alone on a stage, dressed in a suit, with a pair of scissors in front of her. The audience had been invited to take turns to approach the artist and use the scissors to cut off a small piece of her clothing, which they could keep. Ono remained motionless and expressionless throughout until she decided that the performance had ended.
Write what you think this work would have been like to experience from the perspective of the artist, the participant, and the audience. Describe the relationship between thinking, making and acting in Ono’s work. Think about how these occur in your studio practice and your own life as an artist.
Write what you think this work would have been like to experience from the perspective of the artist, the participant, and the audience. Describe the relationship between thinking, making and acting in Ono’s work. Think about how these occur in your studio practice and your own life as an artist.
Cut Piece, Performance Art, Yoko Ono, 1964
Artist Perspective
As with any art piece, it begins with the artist. The artist conceives and ideas and then works out a plan of how this idea will come to fruition. If I had to make my own conclusions of why Yoko Ono had an affinity toward the fluxus movement, I would say it is due to her isolated upbringing and a need for affection which she did not get from her parents (Fiesel, 2019). The 60s and 70s also represent a time in society when women were trying to break the bounds of their 'expected roles' and fight to be be taken more seriously as artists. I suppose for Ono, growing up in a conservative household, this would been taking control of her own femininity and putting your body in such a public platform would really exaggerate that. Combine this with the fluxus notion of getting the audience involved and you see how this piece may have developed. In the piece the artist relinquishes control to her audience and allowing the to make the decisions of what will be exposed. There could be a metaphor within this, showing that a conservative person would need others to help them push boundaries. She also made a choice not to show any reactions or responses when participants cut her clothes. This decision may once again be a statement on how woman have been forced to sit back and take whatever society throws on us, or it could be that this places her in the audience seat, as though she is also watching the piece unfold with now prediction on where it may go. Either way, the artist has made herself vulnerable, which could be the ultimate display of intimacy. Of course, my interpretations aside, the artist commented on the piece bringing to light the use of the female body in art and the relationship between the body as 'object' and the viewer, noting that, "viewing without responsibility has the potential to harm or even destroy the object of perception" (Pahidon, 2019).
Participant Perspective
If I had to put myself in the shoes of a participant who actually stepped up to cut a piece of clothing, I imagine there would have been a sense of thrill in the act. It is not every day that another person would allow you to cut the clothing right off their body. Cutting something is generally associated with destruction. Though some participant were eager to step up, there were those who hesitated. It certainly speaks of the way would try to respect someone when in a public situation. This could again be a commentary on how that respect may be lost when behind closed doors, again considering the societal expectations on females and the fact that these issues need to be brought out into the open. From a more practical point, I think there would also be a feeling of connection to the artist and the performance. It does really embody this notion that anyone can be an artist, or at least, the idea that the viewer of an art piece is just as important as the artist itself as they control how a piece is received, in this case quite literally. It would be interesting to consider their thinking at the moment they chose to stop viewing, and switch to doing. It is very likely that the participants would have realized the importance of their contribution to the piece or that they were driven by having the experience an memory of participating.
Audience Perspective
As I mentioned before, the audience of a piece of art plays a vital role, whether or not they are physically doing anything, they are still a part of the process. A painting or sculpture displayed in a space is put there for a reason, so it can be viewed, discussed, analyzed, critiqued. Standing in the audience and watching others cut pieces of material, you would like share in the discomfort I mentioned for participants. An audience member would also wonder how far is too far. Every time a piece is cut and more of the body revealed, it would give them time to reflect on the female body and hopefully their thoughts will find a path to considering the use of the female form in art (which was part of the artists intention). As there was time between cuts, the audience members would have opportunities to reflect on the 'image' created with each cut.
Reflection on own practice
I also work in a multi media platform, mostly painting and film. Any art form requires thinking and planning, as you need to have a concept. Sometimes I do just jump in and start trying techniques and then I might see where this takes me, other times I create a more concrete and step by step plan. This is especially the case for film. But in both mediums I have to allow an opportunity for the piece to evolve or turn out differently from what I had participated, for this, I need to be actively involved. Of course the share act of creation is me 'acting'. What I do appreciate about the fluxus movement is the idea of bringing in the audience, so it would be useful to consider how may do this in my own practice.
As with any art piece, it begins with the artist. The artist conceives and ideas and then works out a plan of how this idea will come to fruition. If I had to make my own conclusions of why Yoko Ono had an affinity toward the fluxus movement, I would say it is due to her isolated upbringing and a need for affection which she did not get from her parents (Fiesel, 2019). The 60s and 70s also represent a time in society when women were trying to break the bounds of their 'expected roles' and fight to be be taken more seriously as artists. I suppose for Ono, growing up in a conservative household, this would been taking control of her own femininity and putting your body in such a public platform would really exaggerate that. Combine this with the fluxus notion of getting the audience involved and you see how this piece may have developed. In the piece the artist relinquishes control to her audience and allowing the to make the decisions of what will be exposed. There could be a metaphor within this, showing that a conservative person would need others to help them push boundaries. She also made a choice not to show any reactions or responses when participants cut her clothes. This decision may once again be a statement on how woman have been forced to sit back and take whatever society throws on us, or it could be that this places her in the audience seat, as though she is also watching the piece unfold with now prediction on where it may go. Either way, the artist has made herself vulnerable, which could be the ultimate display of intimacy. Of course, my interpretations aside, the artist commented on the piece bringing to light the use of the female body in art and the relationship between the body as 'object' and the viewer, noting that, "viewing without responsibility has the potential to harm or even destroy the object of perception" (Pahidon, 2019).
Participant Perspective
If I had to put myself in the shoes of a participant who actually stepped up to cut a piece of clothing, I imagine there would have been a sense of thrill in the act. It is not every day that another person would allow you to cut the clothing right off their body. Cutting something is generally associated with destruction. Though some participant were eager to step up, there were those who hesitated. It certainly speaks of the way would try to respect someone when in a public situation. This could again be a commentary on how that respect may be lost when behind closed doors, again considering the societal expectations on females and the fact that these issues need to be brought out into the open. From a more practical point, I think there would also be a feeling of connection to the artist and the performance. It does really embody this notion that anyone can be an artist, or at least, the idea that the viewer of an art piece is just as important as the artist itself as they control how a piece is received, in this case quite literally. It would be interesting to consider their thinking at the moment they chose to stop viewing, and switch to doing. It is very likely that the participants would have realized the importance of their contribution to the piece or that they were driven by having the experience an memory of participating.
Audience Perspective
As I mentioned before, the audience of a piece of art plays a vital role, whether or not they are physically doing anything, they are still a part of the process. A painting or sculpture displayed in a space is put there for a reason, so it can be viewed, discussed, analyzed, critiqued. Standing in the audience and watching others cut pieces of material, you would like share in the discomfort I mentioned for participants. An audience member would also wonder how far is too far. Every time a piece is cut and more of the body revealed, it would give them time to reflect on the female body and hopefully their thoughts will find a path to considering the use of the female form in art (which was part of the artists intention). As there was time between cuts, the audience members would have opportunities to reflect on the 'image' created with each cut.
Reflection on own practice
I also work in a multi media platform, mostly painting and film. Any art form requires thinking and planning, as you need to have a concept. Sometimes I do just jump in and start trying techniques and then I might see where this takes me, other times I create a more concrete and step by step plan. This is especially the case for film. But in both mediums I have to allow an opportunity for the piece to evolve or turn out differently from what I had participated, for this, I need to be actively involved. Of course the share act of creation is me 'acting'. What I do appreciate about the fluxus movement is the idea of bringing in the audience, so it would be useful to consider how may do this in my own practice.
Reading Point 3:
Bryan-Wilson, J (2003) ‘Remembering Yoko Ono’s Cut Piece’ In: Oxford Art Journal (26, 1) pp. 99-123 [online] At:
http://arthistory.berkeley.edu/pdfs/faculty%20publications/Bryan-Wilson/jbwyoko.pdf
Wilson has some great insights about the meaning of the piece, some of which I will list below:
- Ono's nudity was a reference to the images of war and her own memories of growing up around the war in Japan
- It addresses the role the audience plays in viewing the female body
- it stimulates discussion around Eastern and Western art and the use of the body
- many of the fluxus performance pieces were created as a way to 'escape' the war
- the piece consists of three gestures: invitation, sacrifice, souvenir
- many considered the piece a form of protest
- the piece still carries significance (and unanswered questions) towards the portrayal of the body in art, as well as the gender and cultural implications they hold.
After reading this article, it is interesting to learn more about the influence of the Japanese war and how the images of citizens in tattered clothes or revealed skin influenced the artist. Considering that the performance was repeated also makes the violence and vulnerability of the pieces more pressing.
http://arthistory.berkeley.edu/pdfs/faculty%20publications/Bryan-Wilson/jbwyoko.pdf
Wilson has some great insights about the meaning of the piece, some of which I will list below:
- Ono's nudity was a reference to the images of war and her own memories of growing up around the war in Japan
- It addresses the role the audience plays in viewing the female body
- it stimulates discussion around Eastern and Western art and the use of the body
- many of the fluxus performance pieces were created as a way to 'escape' the war
- the piece consists of three gestures: invitation, sacrifice, souvenir
- many considered the piece a form of protest
- the piece still carries significance (and unanswered questions) towards the portrayal of the body in art, as well as the gender and cultural implications they hold.
After reading this article, it is interesting to learn more about the influence of the Japanese war and how the images of citizens in tattered clothes or revealed skin influenced the artist. Considering that the performance was repeated also makes the violence and vulnerability of the pieces more pressing.
Exercise 1.4: Actions
Look up the work of three of the artists you have examined in this topic in more detail. In your sketchbook make a mind map of the various actions that these artists put into motion in their practices; add to it the impact these actions create for the viewer. Finally, link some of the shared themes in their works in terms of gender, sexuality, power, etc.
I first did some research on each artist to get a sense of their work and process as seen below.
Once I identified their commonalities I simplified it into the mind map below.
Further Research
As the particular theme of art and life is of great significance, I have chosen to do some further reading from the suggested list.
Dezeuze, A. (2007) ‘Blurring the Boundaries between Art and Life (in the Museum?)’ In: Tate Papers (8) [online] At:
https://www.tate.org.uk/research/publications/tate-papers/08/blurring-boundaries-between-art-and-life-in-the-museum
During the 1960s there was a great emphasis on art works becoming more like experiences as viewers were encouraged to participate in the art form rather then observing it. Dezeuze refers to these pieces as being "do-it-yourself art works". It is interesting to consider how much of hwat drove this type of art, was the desire to be free, spontaneous and in control of ones own future, which made these works a type of political statement against the political systems of the time.
The article also brings up an interesting point about the act of repetition. Considering much of the reading and reflection I have done on the art of 'practice' involving repetition, there is a fair point made r by the artist Kaprow on how his works could never be repeated in the same manner as himself, the environment and the viewer will change.
These types of art also changed how we perceive the value of art, as it was not a physical piece that could necessarily have a monetary value.
Earlier when writing about Cut Pieces I noted that the piece is dependant on viewers who particpate as well as viewer that watch. In this article, Dezeuze makes the observation that one would only truly be able to understand or attempt to interpret a piece if you were actually able to participate. Therefore, regardless of how much I research a piece or watch videos of it, my engagement and understanding will still not be authentic enough to help me fully understand its theme or purpose.
I suppose this final remark would be true of all art works. One can never comparing seeing the real thing to looking at documentations of it.
Dezeuze, A. (2007) ‘Blurring the Boundaries between Art and Life (in the Museum?)’ In: Tate Papers (8) [online] At:
https://www.tate.org.uk/research/publications/tate-papers/08/blurring-boundaries-between-art-and-life-in-the-museum
During the 1960s there was a great emphasis on art works becoming more like experiences as viewers were encouraged to participate in the art form rather then observing it. Dezeuze refers to these pieces as being "do-it-yourself art works". It is interesting to consider how much of hwat drove this type of art, was the desire to be free, spontaneous and in control of ones own future, which made these works a type of political statement against the political systems of the time.
The article also brings up an interesting point about the act of repetition. Considering much of the reading and reflection I have done on the art of 'practice' involving repetition, there is a fair point made r by the artist Kaprow on how his works could never be repeated in the same manner as himself, the environment and the viewer will change.
These types of art also changed how we perceive the value of art, as it was not a physical piece that could necessarily have a monetary value.
Earlier when writing about Cut Pieces I noted that the piece is dependant on viewers who particpate as well as viewer that watch. In this article, Dezeuze makes the observation that one would only truly be able to understand or attempt to interpret a piece if you were actually able to participate. Therefore, regardless of how much I research a piece or watch videos of it, my engagement and understanding will still not be authentic enough to help me fully understand its theme or purpose.
I suppose this final remark would be true of all art works. One can never comparing seeing the real thing to looking at documentations of it.
Topic 3: Action as habit, method, rule
The experimental and the unknown often sit within a framework, a set of rules or conditions that are key to practice and go towards defining the identity of the work. It could be that an artist will only work with collected material with particular historical significance, a specific technique, or a single colour.
Hanne Darboven
A German conceptual artist who is known for her large-scale minimalist installations consisting of handwritten tables of numbers. During her stay in New York in the 1960’s Darboven developed her Konstruktionen, which is a neutral language of numbers in linear constructions using a pen, pencil, typewriter, and graph paper whihc are usually drawn diagonally. The number systems becomes a means to show the passage of time. For Ein Jahrhundert (A Century) (1971–75), she visualized the hundred-year span through numbers representing each day and year starting with the number 00 and ending in 99 (Guggenheim, 2009). |
On Kawara
He is a Japanese conceptual artist meditates on the concept of time by consistently implementing rules that he followed over nearly five decades. He worked on the Today series (1966-2014) where he painted dates paintings in the centre of the canvas using acrylic paint. The were monochromatic and range in size. The date was composed in the language and convention of the place where the painting was made; in countries using a non-Roman alphabet, Kawara used Esperanto. The paintings were meticulously created adhering to a series of steps that never varied. If unable to finish a painting by midnight, it was destroyed. Each painting was stored in a cardboard box constructed by the artist, which often contained a local newspaper cutting and works were often given subtitles, drawn from the daily media. The series considers a passage of time. the use of different number systems shows the importance of place and considers the language of time in different cultures. |
Exercise 1.5: Meditations
Describe the types of meditation that take place in the production of the Today series and its conceptualisation by the viewer. How do praxis and theoria relate to each other in this work? Write 200 words in your learning log.
Theoria (theory) are knowledge seeking activities where the goal is to discover truth through contemplation and consideration, while praxis (practice) is doing, where the action is the goal. Though we are able to define these two terms separately, it is important to note that they are intrinsic. The meditation and reflection required to 'seek' knowledge can not be done without practice, while the more physical act of creation can not be achieved without the theoretical contemplation. The essence of On Kawara's work is to allow the audience to meditate about time and place. While a specific date and place may have significance to the painter, it will take on new significance when viewed. Every new exhibition location will create new significance for the viewer. The viewer's own personal context and recollections of the date being viewed will also change its significance, not to mention the impact of the cultural language used. Consider that theoria is the act of contemplation (which we could also call meditation or reflection), the art pieces will consistently require the audience to meditate over its significance for them.
Considering the process of creation, it is undeniable that On Kawara applied both Theoria and praxis to his work, and would be expecting the same from his audience. The artist himself has spoken about each piece being an "exercise in meditation" (Guggenheim, 2019). It aims to evaluate mans relationship with time. For the artist to consider the significance of time, he himself would have had to meditate on the meaning of numerical language when considering time, as well as the cultural context of each paintings creation. With each new date created, the series also starts to take on a routine, reflecting how we also use calender's to 'control' our lives. Though the paintings themselves look quite simple, the praxis of creating them was actually quite involved, being "meticulously handmade in multiple layers ...(using) tapered brushes, a ruler, a set square, an X-acto knife, and a brush for dusting. Kawara rotated the canvas throughout the painting process in order to paint from all sides and thereby achieve exacting results" (Guggenheim, 2019). This in itself show how even the mere act of achieving precision can be meditative.
Theoria (theory) are knowledge seeking activities where the goal is to discover truth through contemplation and consideration, while praxis (practice) is doing, where the action is the goal. Though we are able to define these two terms separately, it is important to note that they are intrinsic. The meditation and reflection required to 'seek' knowledge can not be done without practice, while the more physical act of creation can not be achieved without the theoretical contemplation. The essence of On Kawara's work is to allow the audience to meditate about time and place. While a specific date and place may have significance to the painter, it will take on new significance when viewed. Every new exhibition location will create new significance for the viewer. The viewer's own personal context and recollections of the date being viewed will also change its significance, not to mention the impact of the cultural language used. Consider that theoria is the act of contemplation (which we could also call meditation or reflection), the art pieces will consistently require the audience to meditate over its significance for them.
Considering the process of creation, it is undeniable that On Kawara applied both Theoria and praxis to his work, and would be expecting the same from his audience. The artist himself has spoken about each piece being an "exercise in meditation" (Guggenheim, 2019). It aims to evaluate mans relationship with time. For the artist to consider the significance of time, he himself would have had to meditate on the meaning of numerical language when considering time, as well as the cultural context of each paintings creation. With each new date created, the series also starts to take on a routine, reflecting how we also use calender's to 'control' our lives. Though the paintings themselves look quite simple, the praxis of creating them was actually quite involved, being "meticulously handmade in multiple layers ...(using) tapered brushes, a ruler, a set square, an X-acto knife, and a brush for dusting. Kawara rotated the canvas throughout the painting process in order to paint from all sides and thereby achieve exacting results" (Guggenheim, 2019). This in itself show how even the mere act of achieving precision can be meditative.
Art with social action
Theaster Gates
Theaster Gates is a social practice installation artist based in America. His work is highly involved in his immediate community and uses urban planning, city design, sculpture etc. His buildings aim to serve the community and improve social practice which makes him an activist.
Theaster Gates is a social practice installation artist based in America. His work is highly involved in his immediate community and uses urban planning, city design, sculpture etc. His buildings aim to serve the community and improve social practice which makes him an activist.
Research point 3:
Adams, T (2015) ‘Interview’ In: Theguardian.com 03.05.15 [online] At:
https://www.theguardian.com/artanddesign/2015/may/03/theaster-gates-artist-chicago-dorchester-projects
Reflection on the article
Adams' work is great example of social action and crossing disciplines. Though he is essentially an architect, he makes use of sculpture, business and charity to make an impact within his environment. In the study of any art form we are often asked to consider cultural context and impact and as a student it can be very easy to do this in theory and discuss the possible impact of our work, but making real authentic product that have meaning in society is often not the first priority. It is encouraging to see how Adams took his love for his neighborhood and developed that into something that could become a type of beacon that brings them together. His designs become a type of self sustainable entity, as materials are reused or refurbished and used to drive the next project. Thinking back on the fluxus movement and their drive to show that art is a part of life and life is a part of art, I can see how Adams' work is also showing this. It is interesting to consider that at the hart of the fluxus movement was a desire for community. They knew that art was a means of conveying a universal message that could bring people together. Works that cross disciplines and serve a social need will certainly have a bigger chance of doing this. His collaboration with other artists is another way in which he develops the community, allowing artists to learn and develop together as a means to elevate their own craft.
https://www.theguardian.com/artanddesign/2015/may/03/theaster-gates-artist-chicago-dorchester-projects
Reflection on the article
Adams' work is great example of social action and crossing disciplines. Though he is essentially an architect, he makes use of sculpture, business and charity to make an impact within his environment. In the study of any art form we are often asked to consider cultural context and impact and as a student it can be very easy to do this in theory and discuss the possible impact of our work, but making real authentic product that have meaning in society is often not the first priority. It is encouraging to see how Adams took his love for his neighborhood and developed that into something that could become a type of beacon that brings them together. His designs become a type of self sustainable entity, as materials are reused or refurbished and used to drive the next project. Thinking back on the fluxus movement and their drive to show that art is a part of life and life is a part of art, I can see how Adams' work is also showing this. It is interesting to consider that at the hart of the fluxus movement was a desire for community. They knew that art was a means of conveying a universal message that could bring people together. Works that cross disciplines and serve a social need will certainly have a bigger chance of doing this. His collaboration with other artists is another way in which he develops the community, allowing artists to learn and develop together as a means to elevate their own craft.
Reading point 4:
Gates, T, Stewart, J. (2018) ‘Theaster Gates Embedded: in Conversation with Jacqueline Stewart/2014’ In: Boon, Levine (eds.) Practice, Documents of Contemporary Art. Cambridge: The MIT Press. pp. 122-126 (provided in resources)
Reflection on the article
Reading this article there are a couple of ideas that really resonate with me. The artist refers to his buildings as homes as they are meant to be a safe space, where you live, share and feel comfortable. He wants his art to comfort those who engage with it. He also talks about those entering the house as being a viewer as well as a participant, which comes back to what I said about the fluxus movement in my previous section. The house is immersive and becomes a part of the people who enter it. As each personality that comes through the door is different, it means that the space is always changing. I suppose most pieces of work allow for this to some extent, as the audience member looking at a piece of art will have his own context and background, meaning that their interpretation of a piece would be different from another. This is where the artist might be more considerate of their composition or presentation of a work of art in order to steer specific reactions from their viewers.
Overall
It is useful for me in my own practice to consider how my work may be more inclusive of the neighborhood I'm in and how I might use my work to make an impact in my community. Collaborations with other artists may also be an interesting area to explore. In general, I would need to be more critical of what would allow a viewer to 'invest' in my work, not financially, but through contemplation and conversation.
Reflection on the article
Reading this article there are a couple of ideas that really resonate with me. The artist refers to his buildings as homes as they are meant to be a safe space, where you live, share and feel comfortable. He wants his art to comfort those who engage with it. He also talks about those entering the house as being a viewer as well as a participant, which comes back to what I said about the fluxus movement in my previous section. The house is immersive and becomes a part of the people who enter it. As each personality that comes through the door is different, it means that the space is always changing. I suppose most pieces of work allow for this to some extent, as the audience member looking at a piece of art will have his own context and background, meaning that their interpretation of a piece would be different from another. This is where the artist might be more considerate of their composition or presentation of a work of art in order to steer specific reactions from their viewers.
Overall
It is useful for me in my own practice to consider how my work may be more inclusive of the neighborhood I'm in and how I might use my work to make an impact in my community. Collaborations with other artists may also be an interesting area to explore. In general, I would need to be more critical of what would allow a viewer to 'invest' in my work, not financially, but through contemplation and conversation.
Exercise 1.6: Poiesis and praxis
Thinking about what is involved in Gates’ The Dorchester Project, are there aspects of the work that you would identify as poiesis and others as praxis? The ancient Greeks made the distinction between the two in an attempt to show that they were involved in the higher activity of praxis while slaves and barbarians (considered by the Greeks to be anybody Non-Greek) would toil in the lesser activity of poiesis. Do you think these terms are relevant in contemporary terms? Discuss this with someone if you can and record your conversation/observations in your learning log.
Reflection
Praxis is when actions do not need to have an end 'goal', or at least in the ethical sense, nothing is expected of these actions in return. They merely represent a form of practice. From an artist point of view it this may include activities that help hone your skills, like observational sketches that serve the purpose of helping you paint better portraits for example. Looking at the Dorchester Project, it is clear that Gates has tapped well into the ethical definition of praxis, in that his 'practice' is serving his community without really asking anything of them in return. Though you can certainly argue that his goal of making a difference in his community and crafting a space where people and artists alike can develop and collaborate could certainly be considered a goal which provokes that action of community members. With this one could argue that praxis always has a purpose as every small action ultimately leads to a point of production as it lays the groundwork needed for that product to come to fruition.
Poiesis is the practice of a craft that has an end goal in mind. Ganes is certainly engaging all of his skills in these make-over projects by drawing on his skills in urban design, sculpture, ceramics, architecture etc. Every action is a deliberate choice a serves the greater purpose of the project which is a space where diversity and creativity is celebrated and shared. From the choice of location when purchasing a property, to the materials repurposed in the design to the sculptural pieces created in order to help fund projects.
To put this in more relevant terms, the praxis considers the process and journey involved in creating what we would consider a more final procuct (poiesis). As I have mentioned before, especially in education, showing and understanding the process of how we created a product is just as important as the product itself, as it is through the process that you discover the creativity, critical thinking, and problem solving involved in the process of creation, giving the final product more value. In other works, I don't agree with one being more or less important.
Reflection
Praxis is when actions do not need to have an end 'goal', or at least in the ethical sense, nothing is expected of these actions in return. They merely represent a form of practice. From an artist point of view it this may include activities that help hone your skills, like observational sketches that serve the purpose of helping you paint better portraits for example. Looking at the Dorchester Project, it is clear that Gates has tapped well into the ethical definition of praxis, in that his 'practice' is serving his community without really asking anything of them in return. Though you can certainly argue that his goal of making a difference in his community and crafting a space where people and artists alike can develop and collaborate could certainly be considered a goal which provokes that action of community members. With this one could argue that praxis always has a purpose as every small action ultimately leads to a point of production as it lays the groundwork needed for that product to come to fruition.
Poiesis is the practice of a craft that has an end goal in mind. Ganes is certainly engaging all of his skills in these make-over projects by drawing on his skills in urban design, sculpture, ceramics, architecture etc. Every action is a deliberate choice a serves the greater purpose of the project which is a space where diversity and creativity is celebrated and shared. From the choice of location when purchasing a property, to the materials repurposed in the design to the sculptural pieces created in order to help fund projects.
To put this in more relevant terms, the praxis considers the process and journey involved in creating what we would consider a more final procuct (poiesis). As I have mentioned before, especially in education, showing and understanding the process of how we created a product is just as important as the product itself, as it is through the process that you discover the creativity, critical thinking, and problem solving involved in the process of creation, giving the final product more value. In other works, I don't agree with one being more or less important.
repetition
Much of life is taken up with the practice of repetitive tasks and activities to which varying degrees of attention is paid.
In art practice, repetition can operate in different ways. Like in the work of Winsor, it can involve a repeated gesture made by the body in order to manipulate material; it can manifest in a set of rules and labour that are applied consistently over a period of time, observed in the work of Darboven and Kawara; or it can be a set of issues or themes that recur.
In art practice, repetition can operate in different ways. Like in the work of Winsor, it can involve a repeated gesture made by the body in order to manipulate material; it can manifest in a set of rules and labour that are applied consistently over a period of time, observed in the work of Darboven and Kawara; or it can be a set of issues or themes that recur.
Reading point 5:
Tan, F. (2018) ‘Fiona Tan Saint Sebastian (Works in Progress) //2001’ In: Boon, Levine (eds.) Practice, Documents of Contemporary Art. Cambridge: The MIT Press. pp. 162-165 (provided in resources)
Fiona Tan
She is an Indonesian born, Australian visual artist who uses photography, film and video to create art installations that explore themes of identity, memory, and history. In her two-channel video installation Saint Sebastian, 2001 films a woman taking part in an archery competition as part of the annual Toshiya ceremony, a coming-of-age ritual that has been held in Kyoto’s Sanjûsangen-dô Buddhist temple for more than four hundred years. The Japanese style of archery known as kyudo is more concerned with the fluidity of movement than hitting the target.
This document provides some thought provoking ideas about the art of practice. Though these writings are about praciticing how to shoot an arrow, it makes valuable observations of practice in general which are applicable to an artist. It is inferred the the amount of times you practice something is not as important as the effort with which you practice. If you don't put the same necessary focus and determination in each attempt, it does not serve a purpose. It is also mentioned that practice should be relentless and a part of every day routine. Finally, you should always have the target in mind and imagine that your practice is already part of reaching that final target.
These points once again confirm what I observed in my previous reflections about the art of practice (praxis) being as important as the final product (poiesis).
Fiona Tan
She is an Indonesian born, Australian visual artist who uses photography, film and video to create art installations that explore themes of identity, memory, and history. In her two-channel video installation Saint Sebastian, 2001 films a woman taking part in an archery competition as part of the annual Toshiya ceremony, a coming-of-age ritual that has been held in Kyoto’s Sanjûsangen-dô Buddhist temple for more than four hundred years. The Japanese style of archery known as kyudo is more concerned with the fluidity of movement than hitting the target.
This document provides some thought provoking ideas about the art of practice. Though these writings are about praciticing how to shoot an arrow, it makes valuable observations of practice in general which are applicable to an artist. It is inferred the the amount of times you practice something is not as important as the effort with which you practice. If you don't put the same necessary focus and determination in each attempt, it does not serve a purpose. It is also mentioned that practice should be relentless and a part of every day routine. Finally, you should always have the target in mind and imagine that your practice is already part of reaching that final target.
These points once again confirm what I observed in my previous reflections about the art of practice (praxis) being as important as the final product (poiesis).
Works Cited
Bellini, A. (2015) Raphael Hefti, Or, Or, Or? [online] At: https://centre.ch/en/exhibitions/raphael-hefti-or-or-or/ (Accessed on 2 November 2019)
Goodwin, A. (2018) Post-Partum Document. Documentation III: Analysed Markings And Diary Perspective Schema (Experimentum Mentis III: Weaning from the Dyad), 1975. [online] At: https://www.tate.org.uk/art/artworks/kelly-post-partum-document-documentation-iii-analysed-markings-and-diary-perspective-t03925 (Accessed on 3 November 2019)
Guggenheim (2019) Bruce Nauman. [online] At: https://www.guggenheim.org/artwork/artist/bruce-nauman (Accessed on 3 November 2019)
Fiesel, L. (2019) Yoko Ono. [online] At: https://www.theartstory.org/artist/ono-yoko/life-and-legacy/#biography_header (Accessed on 4 November 2019)
Fowler, W. (2015) 10,000 revolutions: meet Mary Kelly, the mother of all feminist artists. [online] At: https://www.theguardian.com/artanddesign/2015/may/18/mary-kelly-meet-the-mother-of-all-feminist-artists (Accessed on 3 November 2019)
Guggenheim (2009) Hanne Darboven. [online] At: https://www.guggenheim.org/artwork/artist/hanne-darboven (Accessed on 6 November 2019)
Guggenheim (2019) Paintings: Today Series/ Date Paintings. [online] At: https://www.guggenheim.org/arts-curriculum/topic/paintings-today-seriesdate-paintings (Accessed on 15 November 2019)
Kent (2016) Buried Treasure. [online] At: https://www.kent.edu/magazine/shed (Accessed on 3 November 2019)
Mundy, J. (2012) Lost Art: Robert Smithson. [online] At: https://www.tate.org.uk/art/artists/robert-smithson-4541/lost-art-robert-smithson (Accessed on 3 November 2019)
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Phaidon (2019) On Kawara's date paintings explained. [online] https://uk.phaidon.com/agenda/art/articles/2014/july/14/on-kawaras-date-paintings-explained/ (Accessed on 19 November 2019)
Phaidon (2019) Yoko Ono’s Cut Piece explained. [online] At: https://uk.phaidon.com/agenda/art/articles/2015/may/18/yoko-ono-s-cut-piece-explained/ (Accessed on 4 November 2019)
Whitecube (2012) Raphael Hefti. [online] At: https://artmap.com/whitecube/exhibition/raphael-hefti-2012?print=do (Accessed on 2 November 2019)
Wolf, J. (2019) Joseph Buys. [online] At: https://www.theartstory.org/artist/beuys-joseph/ (Accessed on 2 November 2019)
Wolf, J. (2019) Robert Smithson. [online] At: https://www.theartstory.org/artist/smithson-robert/ (Accessed on 3 November 2019)
Goodwin, A. (2018) Post-Partum Document. Documentation III: Analysed Markings And Diary Perspective Schema (Experimentum Mentis III: Weaning from the Dyad), 1975. [online] At: https://www.tate.org.uk/art/artworks/kelly-post-partum-document-documentation-iii-analysed-markings-and-diary-perspective-t03925 (Accessed on 3 November 2019)
Guggenheim (2019) Bruce Nauman. [online] At: https://www.guggenheim.org/artwork/artist/bruce-nauman (Accessed on 3 November 2019)
Fiesel, L. (2019) Yoko Ono. [online] At: https://www.theartstory.org/artist/ono-yoko/life-and-legacy/#biography_header (Accessed on 4 November 2019)
Fowler, W. (2015) 10,000 revolutions: meet Mary Kelly, the mother of all feminist artists. [online] At: https://www.theguardian.com/artanddesign/2015/may/18/mary-kelly-meet-the-mother-of-all-feminist-artists (Accessed on 3 November 2019)
Guggenheim (2009) Hanne Darboven. [online] At: https://www.guggenheim.org/artwork/artist/hanne-darboven (Accessed on 6 November 2019)
Guggenheim (2019) Paintings: Today Series/ Date Paintings. [online] At: https://www.guggenheim.org/arts-curriculum/topic/paintings-today-seriesdate-paintings (Accessed on 15 November 2019)
Kent (2016) Buried Treasure. [online] At: https://www.kent.edu/magazine/shed (Accessed on 3 November 2019)
Mundy, J. (2012) Lost Art: Robert Smithson. [online] At: https://www.tate.org.uk/art/artists/robert-smithson-4541/lost-art-robert-smithson (Accessed on 3 November 2019)
Oxford Dictionary (2019) Practice. [online] At: https://www.lexico.com/en/definition/practice (Accessed on 1 November 2019)
Phaidon (2019) On Kawara's date paintings explained. [online] https://uk.phaidon.com/agenda/art/articles/2014/july/14/on-kawaras-date-paintings-explained/ (Accessed on 19 November 2019)
Phaidon (2019) Yoko Ono’s Cut Piece explained. [online] At: https://uk.phaidon.com/agenda/art/articles/2015/may/18/yoko-ono-s-cut-piece-explained/ (Accessed on 4 November 2019)
Whitecube (2012) Raphael Hefti. [online] At: https://artmap.com/whitecube/exhibition/raphael-hefti-2012?print=do (Accessed on 2 November 2019)
Wolf, J. (2019) Joseph Buys. [online] At: https://www.theartstory.org/artist/beuys-joseph/ (Accessed on 2 November 2019)
Wolf, J. (2019) Robert Smithson. [online] At: https://www.theartstory.org/artist/smithson-robert/ (Accessed on 3 November 2019)
assignment 1
Dedicate a period of time each day, (it could be 5 mins, or an hour) over a period of time from 3 days up to a maximum of 7 days (however, you could continue as part of your practice, if you choose to) to perform a repetitive task or activity. It could be a purely studio-based activity or related to something in your everyday life. Keep notes on what you are doing, how it progresses and how your relationship to the task changes. Document your progress in a form that suits your activity and reflect on this in your learning log in relation to a text from this part of the course that particularly resonates with your practice.
Performing a repetitive task
I understand that as an artist with in interest in figures it is important that I continually engage in observing the figure and practice my sketching skills. I wanted to push this task a little further and incorporate the new sketching technique that I started playing with in exercise 1. Considering the art of practice, I am especially drawn to a quote by Allan Kaprow, "the past can only be created (not recreated)" (cited on Dezeuze 2007). He is of course referring to reconstructing a participation piece in a new environment which would be impossible to replicate. However, it is an intriguing idea as there surely is some truth to the fact that you may not ever be able to exactly replicate and action. Sure there will be many arguments now towards they idea that an athlete could replicate an exact shot, or an artist could create the same piece over an over, that is why we have such good replications of works. But are all the factors that make up the piece truly the same. And if the art work was your own, would you really want it to be?
Thus, through my sketches I want to see how the act of repetition evolves. In other words, I want to be able to recognize new nuisances within each new piece, a development.
For the actual task I will be observing a figure and creating an observational pencil sketch in order to lay a foundation for understanding the shape and dimension. I will then repeat the same composition using the new pen technique and compare the impact and results.
For the pencil sketches I spent around 30-40 minutes to create them. The pen sketch which immediately followed was completed in around 15-20 minutes. It is important to note that while creating the pencil sketch I was much more attentive in first finding the right proportions and positioning of the figure and building it p with more detail. As the pen sketch immediately followed, I did not really block out proportions first. Instead I worked more free-hand in order to create a more spontaneous interpretation.
I understand that as an artist with in interest in figures it is important that I continually engage in observing the figure and practice my sketching skills. I wanted to push this task a little further and incorporate the new sketching technique that I started playing with in exercise 1. Considering the art of practice, I am especially drawn to a quote by Allan Kaprow, "the past can only be created (not recreated)" (cited on Dezeuze 2007). He is of course referring to reconstructing a participation piece in a new environment which would be impossible to replicate. However, it is an intriguing idea as there surely is some truth to the fact that you may not ever be able to exactly replicate and action. Sure there will be many arguments now towards they idea that an athlete could replicate an exact shot, or an artist could create the same piece over an over, that is why we have such good replications of works. But are all the factors that make up the piece truly the same. And if the art work was your own, would you really want it to be?
Thus, through my sketches I want to see how the act of repetition evolves. In other words, I want to be able to recognize new nuisances within each new piece, a development.
For the actual task I will be observing a figure and creating an observational pencil sketch in order to lay a foundation for understanding the shape and dimension. I will then repeat the same composition using the new pen technique and compare the impact and results.
For the pencil sketches I spent around 30-40 minutes to create them. The pen sketch which immediately followed was completed in around 15-20 minutes. It is important to note that while creating the pencil sketch I was much more attentive in first finding the right proportions and positioning of the figure and building it p with more detail. As the pen sketch immediately followed, I did not really block out proportions first. Instead I worked more free-hand in order to create a more spontaneous interpretation.
day 1
Day 2
Day 3
Looking at the three examples above I think there is good evidence of how the act of repetition enhances technique. As the pen sketch immediately follows the pencil sketch, the eye and hand have stored the memory of the figure in a way, making it easier to create the second sketch. The first sketch has also allowed for a build up of confidence in composing the proportions of the figure, making it easier for me to express the pen sketch more spontaneously. You can also notice this when comparing the pen sketches from day one to three. The third pen sketch feels more confident as well. It show that I am more conscious of when to use the scribbled lines and they are placed more thoughtfully.
Reflecting on what I wrote about Kaprow earlier, though I have replicated the same figure, it is not a repeat, as it carries its own expression. It is clear that the more routine and foundational sketch at the start has helped me develop a more expressive depicting in the end. This is worth noting for my practice in particular, as I consider my works to fall within the expressionist style, in that I want to create more emotive depictions of what I observe in the world around me. It remains clear that the continual practice of foundational skills, will help me be more successful in developing my style.
Reflecting on what I wrote about Kaprow earlier, though I have replicated the same figure, it is not a repeat, as it carries its own expression. It is clear that the more routine and foundational sketch at the start has helped me develop a more expressive depicting in the end. This is worth noting for my practice in particular, as I consider my works to fall within the expressionist style, in that I want to create more emotive depictions of what I observe in the world around me. It remains clear that the continual practice of foundational skills, will help me be more successful in developing my style.
Reflecting on Tutor Feedback for part 1
The tutor generally had a positive response to how I approached Part 1. Encouraging comments were made about my willingness to try new ideas and work in multiple mediums. They also appreciated the manner in which I reflect on my own practice and what I am trying to achieve and they mentioned that I can delve deeper into how I describe my style and intentions for my pieces. I was encouraged to consider how I might combine my drama and film background in my paint work and this is something I certainly think about, as I enjoy working with the camera, whether still or moving. I am also aware that my next course will be a painting course, and I want to make sure that I continue building those skills as well.