Introduction
In this part, you will examine the ideological function of the white cube space and the subsequent critiques of the institution that led to the site-specific/oriented, project-based and nomadic practices that are prevalent today.
In order for the work to have exposure artists develop relationships with curators, critics, collectors, galleries etc. – the apparatus of art. Whilst artists increasingly take a more active role in the dissemination of the work – taking part in artist-led projects and initiatives, even these frequently require public or private support. How are divergent agendas determined and who has power in these structures? Who decides what is good, what is shown and who sees it?
In order for the work to have exposure artists develop relationships with curators, critics, collectors, galleries etc. – the apparatus of art. Whilst artists increasingly take a more active role in the dissemination of the work – taking part in artist-led projects and initiatives, even these frequently require public or private support. How are divergent agendas determined and who has power in these structures? Who decides what is good, what is shown and who sees it?
Topic 1: The white cube
Methods of display
The ubiquitous white cube gallery, now the dominant model for showing art, is a fairly recent invention. From the 18 century until the Modern period, Western painting and sculpture were often shown in a salon – a large mixed exhibition. The salon was originally the name of exhibitions organised by the French Royal Academy of Painting and Sculpture (Académie Royale de Peinture et de Sculpture) succeed by the Academy of Fine Arts (Académie des Beaux-Arts) in Paris. In these exhibitions, the artist would not be involved in the decisions regarding how the work would be presented or viewed – the distance between one work and another, what the work was shown next to, or the space in which it was shown were not considered relevant to its meaning. The hermetically sealed artwork created an illusion that absorbed and transported the spectator from the space in which the work was viewed into the subject of the work. The context was thus irrelevant to what was being represented.
The ubiquitous white cube gallery, now the dominant model for showing art, is a fairly recent invention. From the 18 century until the Modern period, Western painting and sculpture were often shown in a salon – a large mixed exhibition. The salon was originally the name of exhibitions organised by the French Royal Academy of Painting and Sculpture (Académie Royale de Peinture et de Sculpture) succeed by the Academy of Fine Arts (Académie des Beaux-Arts) in Paris. In these exhibitions, the artist would not be involved in the decisions regarding how the work would be presented or viewed – the distance between one work and another, what the work was shown next to, or the space in which it was shown were not considered relevant to its meaning. The hermetically sealed artwork created an illusion that absorbed and transported the spectator from the space in which the work was viewed into the subject of the work. The context was thus irrelevant to what was being represented.
Exercise 4: Display
To the contemporary artist, this is quite an unfamiliar approach. Look at your work in the studio, Choose a work – it could be finished or in progress, if it is on a table, place it on the floor, or if on a wall, or in a sketchbook, isolate it and give it its own space. Think about the colour of the floor/ wall, how much space is around the work and what is near it. How does the work change? What do you notice about it that you hadn’t before? Document your process and reflections in your learning log.
Reflection
This is an oil painting I created a few years ago. As I am in a smaller rental apartment there was only so much I could experiment with. All the walls and floors are an off-white cream colour which don't really have too much control over. In the images where the art work is isolated to the blank wall it does give it greater sense of importance. As that is the only thing in that area, your eyes are drawn to it without distractions. I could see how that would be valuable in a museum or even a gallery, especially if you wanted the viewer to contemplate the work. My experiments with lighting it in different ways was also interesting. The direct natural light when the painting is on the floor had the most illuminating effect which allows the vibrant colour and impasto knife strokes to stand out. Experimenting with specific spot lights also showed good results and it is useful to see how changing the spot light from a high to a low angle changes the mood of the painting slightly. The low angled light makes the image feel more intimate in a way, as though the viewer is sneaking a peak at the subject from below. As the composition is already lighter at the top, lighting it from above feels too amplified and harsh. The warm light from the incandescent room lamp also worked well on the painting, as it enhanced the warm reds and pinks on the canvas well. When the painting is placed with other objects or as a decorative piece on the wall, it does take on a slightly different meaning. I still see it's importance here, as most of will be quite considerate when choosing art for the walls of our homes. So even though it is surrounded by other decorative items, the fact that it was chosen to accompany them ads to the aesthetic as a whole and I believe it would still capture the eye of the viewer, but as the context is now different, they may not spend as much time contemplating the meaning or intentions of the painting as much.
I think it is important to not that each piece of art may require a more individual or nuanced touch when displayed. This may be where O'Doherty has a point about the white cube, as this often not the case.
The Salon Method
In the salon method of display larger paintings were placed higher up and smaller ones lower down arranged floor to ceiling. Despite some attention to the mode of display, this model did not radically alter until the late 1930’s. In his now classic text Inside the White Cube, the Irish artist Brian O’Doherty argues that attitudes, began to shift in the 19th century as the edge of the painting began to draw attention to itself.
‘The frame of the easel picture is as much a psychological container for the artist as the room in which the viewer stands is for him or her. The perspective positions everything within the picture along a cone of space, against which the frame acts like a grid, echoing those cuts of foreground, middleground and distance within. One “steps” firmly into such a picture or glides effortlessly, depending on its tonality and color. the greater the illusion, the greater the invitation to the spectator’s eye. The eye is abstracted from the anchored body and projected as a miniature proxy into the picture to inhabit and test the articulation of its space. For this process, the stability of the frame is as necessary as an oxygen tank is to a diver. Its limiting security completely defines the experience within. The border as absolute limit is confirmed in easel art up to the nineteenth century. Where it curtails or elides subject matter. It does so in a way that strengthens the edge. The classic package of perspective enclosed by the Beaux-Arts frame makes it possible for pictures to hang like sardines. There is no suggestion that the space within the picture is continuous with the space on either side of it.’ (O’Doherty, 1986:18-19)
In the salon method of display larger paintings were placed higher up and smaller ones lower down arranged floor to ceiling. Despite some attention to the mode of display, this model did not radically alter until the late 1930’s. In his now classic text Inside the White Cube, the Irish artist Brian O’Doherty argues that attitudes, began to shift in the 19th century as the edge of the painting began to draw attention to itself.
‘The frame of the easel picture is as much a psychological container for the artist as the room in which the viewer stands is for him or her. The perspective positions everything within the picture along a cone of space, against which the frame acts like a grid, echoing those cuts of foreground, middleground and distance within. One “steps” firmly into such a picture or glides effortlessly, depending on its tonality and color. the greater the illusion, the greater the invitation to the spectator’s eye. The eye is abstracted from the anchored body and projected as a miniature proxy into the picture to inhabit and test the articulation of its space. For this process, the stability of the frame is as necessary as an oxygen tank is to a diver. Its limiting security completely defines the experience within. The border as absolute limit is confirmed in easel art up to the nineteenth century. Where it curtails or elides subject matter. It does so in a way that strengthens the edge. The classic package of perspective enclosed by the Beaux-Arts frame makes it possible for pictures to hang like sardines. There is no suggestion that the space within the picture is continuous with the space on either side of it.’ (O’Doherty, 1986:18-19)
Reading point 1
Read some reviews or critiques of Brian O’Doherty’s Inside the White Cube. Begin with the link suggested below and continue to seek out further reviews or critiques:
How the White Cube Came to Dominate the Art World, by Cain (2017)
Summary notes:
- Public museums gained popularity during the 18th century, bringing focus to art, artists and exhibitions
- In the beginning, walls were cluttered with paintings and viewers clambering for a space
- Museums realized that they need to provide a better quality experience and should isolate works to accentuate them
- One of the first changes was to hang works at eye level- As works were isolated, it meant that there was more wall space and thus the colour of the wall became an important feature
- At first reds and grey-ish yellows were favored by museums as it created a good tone against the cooler tones of the paintings
- It was in 1936, with Barr’s “Cubism and Abstract Art” exhibition that the White Cube became a real institution
- This created a shift in focus from the architecture of the building, to the actual art hanging in the building
Reflection
I can understand the ideas of a complete white space providing the opportunity for work to be highlighted. The idea of not having windows, so the work becomes isolated from the outside world seems a little strange to me. Having been to many different museums and galleries I can honestly say that I enjoy the experience more when there is something special about the building. I prefer the use of colour and where possible the inclusion of natural light as I don't believe art should be in isolation of the world, but this is just my opinion.
Summary Review by Garage (2015)
In this article the writer notes the importance of what O'Doherty wrote about the white space removing context from the artwork and how this alienates the viewer. They also point out the importance of how the space has become more about the gallery owner/ curator rather than the artist and how this creates a space that becomes about capitalist or consumerist ideas.
Reflection
As this is not really a review, but rather a summary it mostly seems to agree with what was written in the book. It is still note worthy to see which specific points from the book the choose to highlight as a means to get the reader interested. While I understand what is being said about society in general becoming more driven by consumerism and how the white cube is adding to this, it is important to remember that these gallery spaces need to survive. Whether we like it or not, we all need money in order to make a living. we no longer live in a world (or ever did) where you were simply able to just pursue your passions in your own way. In many industries this means compromise. You may have to compromise on the integrity of your work as an artist in order to 'play the game', especially if your art is your source of income. I certainly agree that this could take away from the original authenticity or intentions of the work and what the artist truly wanted to achieve, but I am not sure if this makes the art produced, less art.
Inside The White Cube: The Ideology of the Gallery Space (1986) by Brian O'Doherty.
These are some of my own quick take-aways from the book:
- The gallery space often shuts out the world and tries to isolate the art and estrange the artist
- Paintings become frozen in time, taking on an eternal nature
- Similarly to when you are in a religious building, you tend to change your behavior when in an art gallery
- As the white space transcends time, it gains power
- When a painting is hung, something is being said about it. The chosen position and frame can change the perception of it.
- The eye is the most important thing to consider when arranging a space. What will it perceive, where will its gaze go, how do you maintain its interest?
- While you want to engage the eye first, how can the art and space also engage the mind?
- The gallery space had potentially taken away the artists control over the content of their art. When a spectator views a piece they will invariably create their own conclusions surrounding the art works and their discussions may become the content of the work.
Thinking about the last point made above, it really makes me consider the importance of providing some context when displaying your art in a gallery, especially if you won't necessarily have control of how it is displayed. Either through a well produced statement or by choosing the work with meticulous editing to find the thread that binds your work. It is also important to consider the value in having the white cube. Despite what the author says about alienation or the loss of the artist, there is also the potential that it will actually enhance the work. So allow me to consider an aposing view for a moment. When a viewer enter's a gallery space they tend to be more considerate and focused on what they are viewing. The stillness of the space allows the viewer time for quiet contemplation. As they think more deeply about the work, they are more likely to make connections to the meaning behind pieces and the possible intentions of the artist. In other words, I believe the viewer may tak the work more seriously due to what the gellery space represents.
How the White Cube Came to Dominate the Art World, by Cain (2017)
Summary notes:
- Public museums gained popularity during the 18th century, bringing focus to art, artists and exhibitions
- In the beginning, walls were cluttered with paintings and viewers clambering for a space
- Museums realized that they need to provide a better quality experience and should isolate works to accentuate them
- One of the first changes was to hang works at eye level- As works were isolated, it meant that there was more wall space and thus the colour of the wall became an important feature
- At first reds and grey-ish yellows were favored by museums as it created a good tone against the cooler tones of the paintings
- It was in 1936, with Barr’s “Cubism and Abstract Art” exhibition that the White Cube became a real institution
- This created a shift in focus from the architecture of the building, to the actual art hanging in the building
Reflection
I can understand the ideas of a complete white space providing the opportunity for work to be highlighted. The idea of not having windows, so the work becomes isolated from the outside world seems a little strange to me. Having been to many different museums and galleries I can honestly say that I enjoy the experience more when there is something special about the building. I prefer the use of colour and where possible the inclusion of natural light as I don't believe art should be in isolation of the world, but this is just my opinion.
Summary Review by Garage (2015)
In this article the writer notes the importance of what O'Doherty wrote about the white space removing context from the artwork and how this alienates the viewer. They also point out the importance of how the space has become more about the gallery owner/ curator rather than the artist and how this creates a space that becomes about capitalist or consumerist ideas.
Reflection
As this is not really a review, but rather a summary it mostly seems to agree with what was written in the book. It is still note worthy to see which specific points from the book the choose to highlight as a means to get the reader interested. While I understand what is being said about society in general becoming more driven by consumerism and how the white cube is adding to this, it is important to remember that these gallery spaces need to survive. Whether we like it or not, we all need money in order to make a living. we no longer live in a world (or ever did) where you were simply able to just pursue your passions in your own way. In many industries this means compromise. You may have to compromise on the integrity of your work as an artist in order to 'play the game', especially if your art is your source of income. I certainly agree that this could take away from the original authenticity or intentions of the work and what the artist truly wanted to achieve, but I am not sure if this makes the art produced, less art.
Inside The White Cube: The Ideology of the Gallery Space (1986) by Brian O'Doherty.
These are some of my own quick take-aways from the book:
- The gallery space often shuts out the world and tries to isolate the art and estrange the artist
- Paintings become frozen in time, taking on an eternal nature
- Similarly to when you are in a religious building, you tend to change your behavior when in an art gallery
- As the white space transcends time, it gains power
- When a painting is hung, something is being said about it. The chosen position and frame can change the perception of it.
- The eye is the most important thing to consider when arranging a space. What will it perceive, where will its gaze go, how do you maintain its interest?
- While you want to engage the eye first, how can the art and space also engage the mind?
- The gallery space had potentially taken away the artists control over the content of their art. When a spectator views a piece they will invariably create their own conclusions surrounding the art works and their discussions may become the content of the work.
Thinking about the last point made above, it really makes me consider the importance of providing some context when displaying your art in a gallery, especially if you won't necessarily have control of how it is displayed. Either through a well produced statement or by choosing the work with meticulous editing to find the thread that binds your work. It is also important to consider the value in having the white cube. Despite what the author says about alienation or the loss of the artist, there is also the potential that it will actually enhance the work. So allow me to consider an aposing view for a moment. When a viewer enter's a gallery space they tend to be more considerate and focused on what they are viewing. The stillness of the space allows the viewer time for quiet contemplation. As they think more deeply about the work, they are more likely to make connections to the meaning behind pieces and the possible intentions of the artist. In other words, I believe the viewer may tak the work more seriously due to what the gellery space represents.
Works Cited
Cain, A (2017) ‘How the White Cube Came to Dominate the Art World’ [online] At: https://www.artsy.net/article/artsy-editorial-white-cube-dominate-art (Accessed on 10 March 2020)
Garage (2015) Inside the White Cube: The Ideology of the Gallery Space. [online] At: https://garagemca.org/en/publishing/brian-o-doherty-inside-the-white-cube-the-ideology-of-the-gallery-space (Accessed on 10 March 2020)
O'Doherty, B. (1999) Inside the white cube the ideology of the gallery space. University of California Press.
Cain, A (2017) ‘How the White Cube Came to Dominate the Art World’ [online] At: https://www.artsy.net/article/artsy-editorial-white-cube-dominate-art (Accessed on 10 March 2020)
Garage (2015) Inside the White Cube: The Ideology of the Gallery Space. [online] At: https://garagemca.org/en/publishing/brian-o-doherty-inside-the-white-cube-the-ideology-of-the-gallery-space (Accessed on 10 March 2020)
O'Doherty, B. (1999) Inside the white cube the ideology of the gallery space. University of California Press.
According to O’Doherty, (O’Doherty, 1986:19) landscape paintings by artists such as Jean Désiré Gustave Courbet and Caspar David Friedrich begin to test the limit of the frame. In these works flatness, which can also be read as pattern, leads the eye to the frame and what lies beyond it. Additionally, the advent of photography affected how the viewer conceived the frame, becoming aware that a photograph depicts an extract from a wider scene, which delineates a frame. Artists become increasingly interested in the environment in which art is shown and its presentation. The construction of the context becomes a subject as the conditions of perception become intellectual and integral to the work.
research point 1
Research some of the artists that subsequently emerge as a result of these shifts. Look up Kurt Schwitters, Merzbau, 1937; Marcel Duchamp, 1200 Bags of Coal, 1938; Roy Lichtenstein, Stretcher Frame, 1968. Look at installation images of exhibitions by Frank Stella, Kenneth Noland and Helen Frankenthaler.
Kurt Schwitters
He is a German dada artist, well known for his constructions and collages. The dada movement was all about breaking the rules of aesthetics and questioning the traditional definition of art. They also questioned the consumer nature of society. Schwitters created his constructed pieces by assembling an array of everyday objects and referred to his pieces as Merz, which is derived form the German word Kommerz and refers to consumerism. For his piece Merzbau, he used an assemblage of found objects to construct a cathedral inside his home. It is a work he started around 1920 and worked on for 16 years. This piece was destroyed during WW2 (Encyclopædia Britannica, 2020). The work had a great influence on redefining art and especially the instillation work. |
Marcel Duchamp
He is consider the father of the dada movement and was the first to truly revolt against the aesthetic nature of what art had become. "Subverting traditional or accepted modes of artistic production with irony and satire is a hallmark of Duchamp’s legendary career" (Rosenthal, 2004). His art was a means to question and critique the nature of art itself, the space in which it is viewed as well the 'eye' of the viewer. 1200 Bags of Coal is an instillation pieces created specifically for the Exposition internationale du surréalisme held at the Galerie Beaux-Arts in Paris in 1938. The piece consisted of a fire drum in the center and hanging from the roof above the viewers were 1200 bags of coal. They wer actually filled with newspaper, but coal dust still managed to drop down from above. The whole exhibition itself was mean to be disorienting, as the floor was filled with a layer of sand and leaves. There was little light in the space, as viewers were given flashlights to view the work. While much of the exhibition was meant to usher viewers into their dreams, Duchamp's piece had a more serious and present tone, concerning the coal miner strikes at that time in France. The bags of coal was also interpreted by others as a social commentary on the destruction and oppression of over consumption and capatalism that was taking over society (Hopkins, 2014) |
Roy Lichtenstein
He is an American pop artist and one of the most prominent figures in the pop art movement. He makes use of popular American culture, especially commercial products and comic books to point out the consumer nature of society and and the commercial aspects of art. Strecher Frame (1968) is prime example of this. A typical feature in many of his pieces are the recognizable (comic print) dots and vibrant colours.Pieces tend to be light hearted and satirical. He also draws on the works of other artists by creating appropriation pieces that further comment on the role art and artist are playing in an environment driven my money and fame. |
Frank Stella
This American sculptor and painter uses shapes and colour to create dynamic narrative installations. His pieces also broke away from the flat, conveyed space of the canvas by expanding and reshaping what was once traditional. "His shaped canvases underscored the "object-like" nature of a painting" (Gershman, 2020). This is seen very well in his Experiment and Change exhibition held in 2018 at the NSU Museum of Art in Fort Lauderdale, United States, pictured below. The exhibition show the span of his career and his journey from minimalism to maximalism. It is clear he is an artist who takes risks. Though his aware of how his intricate pieces begin to shape a narative, he himself says the work is what it is, there is no deeper philosophical meaning behind it (NSU Museum of Art, 2018)
This American sculptor and painter uses shapes and colour to create dynamic narrative installations. His pieces also broke away from the flat, conveyed space of the canvas by expanding and reshaping what was once traditional. "His shaped canvases underscored the "object-like" nature of a painting" (Gershman, 2020). This is seen very well in his Experiment and Change exhibition held in 2018 at the NSU Museum of Art in Fort Lauderdale, United States, pictured below. The exhibition show the span of his career and his journey from minimalism to maximalism. It is clear he is an artist who takes risks. Though his aware of how his intricate pieces begin to shape a narative, he himself says the work is what it is, there is no deeper philosophical meaning behind it (NSU Museum of Art, 2018)
Kennith Nolan
He was a prominent figure during the abstract expressionist movement. Like Stella, he played with geometric lines and colour as a means to question the canvas space. Compositions were kept simple and relied on the repetition of colourful stripes or chevrons.
He was a prominent figure during the abstract expressionist movement. Like Stella, he played with geometric lines and colour as a means to question the canvas space. Compositions were kept simple and relied on the repetition of colourful stripes or chevrons.
Helen Frankenthaler
She was an American painter and print maker. Like Stella and Nolan she was also a prominent figure during the abstract expressionist movement and explored the canvas space through use of colour. Her work however makes use of a softer colour palette as she often stained her canvas by using paint and turpentine. A technique she refined from that of Jackson Pollock. This meant her work was not as harsh and geometric, but had a more atmospheric and fluid feeling and created the impression of being unfinished. She took much of her inspiration form landscapes, especially the ocean, which one can easily spot in the fluid motion of the works.(Glueck, 2011). |
Works Cited
Encyclopædia Britannica (2020) Kurt Schwitters: German artist. [online] At: https://www.britannica.com/biography/Kurt-Schwitters (Accessed 10 March 2020)
Gershman, R. (2020) Frank Stella Artist Overview and Analysis. [online} At: https://www.theartstory.org/artist/stella-frank/ (Accessed 13 March 2020)
Glueck, G. (2011) Helen Frankenthaler, Abstract Painter Who Shaped a Movement, Dies at 83. [online] At: https://www.nytimes.com/2011/12/28/arts/helen-frankenthaler-abstract-painter-dies-at-83.html (Accessed 13 March 2020)
Hopkins, D. (2014) Duchamp, Childhood, Work and Play: The Vernissage for First Papers of Surrealism, in Tate Papers, no.22 [online] At: https://www.tate.org.uk/research/publications/tate-papers/22/duchamp-childhood-work-and-play-the-vernissage-for-first-papers-of-surrealism-new-york-1942, (Accessed 10 March 2020)
NSU Museum of Art (2018) Frank Stella: Experiment and Change. [online] At: https://wsimag.com/art/39114-frank-stella-experiment-and-change (Accessed 13 March 2020)
Rosenthal, N. (2004) Marcel Duchamp (1887-1968). [online] At: https://www.metmuseum.org/toah/hd/duch/hd_duch.htm
Encyclopædia Britannica (2020) Kurt Schwitters: German artist. [online] At: https://www.britannica.com/biography/Kurt-Schwitters (Accessed 10 March 2020)
Gershman, R. (2020) Frank Stella Artist Overview and Analysis. [online} At: https://www.theartstory.org/artist/stella-frank/ (Accessed 13 March 2020)
Glueck, G. (2011) Helen Frankenthaler, Abstract Painter Who Shaped a Movement, Dies at 83. [online] At: https://www.nytimes.com/2011/12/28/arts/helen-frankenthaler-abstract-painter-dies-at-83.html (Accessed 13 March 2020)
Hopkins, D. (2014) Duchamp, Childhood, Work and Play: The Vernissage for First Papers of Surrealism, in Tate Papers, no.22 [online] At: https://www.tate.org.uk/research/publications/tate-papers/22/duchamp-childhood-work-and-play-the-vernissage-for-first-papers-of-surrealism-new-york-1942, (Accessed 10 March 2020)
NSU Museum of Art (2018) Frank Stella: Experiment and Change. [online] At: https://wsimag.com/art/39114-frank-stella-experiment-and-change (Accessed 13 March 2020)
Rosenthal, N. (2004) Marcel Duchamp (1887-1968). [online] At: https://www.metmuseum.org/toah/hd/duch/hd_duch.htm
The innocent space
‘The ideal gallery subtracts from the artwork all cues that interfere with the fact that it is “art.” The work is isolated from everything that would detract from its own evaluation of itself. This gives the space a presence possessed by other spaces where conventions are preserved through repetition of a closed system of values. Some of the sanctity of the church, the formality of the courtroom, the mystique of the experimental laboratory joins with the chic design to produce a unique chamber of esthetics. So powerful are the perceptual fields of force within this chamber that, once outside it, art can lapse into secular status. Conversely, things become art in a space where powerful ideas about art focus on them.’ (O’Doherty, 1986:14)
The white cube is a Modernist project that seeks to remove all traces of the outside world, of time or change in pursuit of pure form. Within this artificial construct designed to be ‘innocent’ every detail is scrutinised and considered visually. There are expectations as soon as you walk in – the space will be windowless, have particular lighting, and require specific behaviour. According to O’Doherty this context is not neutral, but very much coded:
‘Esthetics are turned into a kind of social elitism – the gallery space is exclusive. Isolated in plots of space, what is on display looks a bit like valuable scarce goods, jewelry, or silver: esthetics are turned into commerce – the gallery space is expensive. What it contains is without initiation, well-nigh incomprehensible – art is difficult. Exclusive audience, rare objects difficult to comprehend – here we have a social, financial, and intellectual snobbery which models (and at its worst parodies) our system of limited production, our modes of assigning value, our social habits at large. never was a space, designed to accommodate the prejudices and enhance the self-image of the upper middle classes, so efficiently codified.’ (O’Doherty, 1986:76)
‘The ideal gallery subtracts from the artwork all cues that interfere with the fact that it is “art.” The work is isolated from everything that would detract from its own evaluation of itself. This gives the space a presence possessed by other spaces where conventions are preserved through repetition of a closed system of values. Some of the sanctity of the church, the formality of the courtroom, the mystique of the experimental laboratory joins with the chic design to produce a unique chamber of esthetics. So powerful are the perceptual fields of force within this chamber that, once outside it, art can lapse into secular status. Conversely, things become art in a space where powerful ideas about art focus on them.’ (O’Doherty, 1986:14)
The white cube is a Modernist project that seeks to remove all traces of the outside world, of time or change in pursuit of pure form. Within this artificial construct designed to be ‘innocent’ every detail is scrutinised and considered visually. There are expectations as soon as you walk in – the space will be windowless, have particular lighting, and require specific behaviour. According to O’Doherty this context is not neutral, but very much coded:
‘Esthetics are turned into a kind of social elitism – the gallery space is exclusive. Isolated in plots of space, what is on display looks a bit like valuable scarce goods, jewelry, or silver: esthetics are turned into commerce – the gallery space is expensive. What it contains is without initiation, well-nigh incomprehensible – art is difficult. Exclusive audience, rare objects difficult to comprehend – here we have a social, financial, and intellectual snobbery which models (and at its worst parodies) our system of limited production, our modes of assigning value, our social habits at large. never was a space, designed to accommodate the prejudices and enhance the self-image of the upper middle classes, so efficiently codified.’ (O’Doherty, 1986:76)
Exercise 4.1: The gallery experience
How much of this view describes your own? Discuss with a friend or student your experience of visiting galleries and record your conversation in your learning log. These can be general memories and recollections, or if you have been to a number of different galleries, consider how they differ and the effect they have on you.
This is a record of a conversation between myself and a friend who is not an artist, but someone who appreciates art and regularly attends art shows or galleries walks with me. We have both traveled a fair bit and visited art museums and galleries around the world.
Me: Firstly, I want to comment on what O'Doherty talks mentions about the 'white cube' being a space for the upper middle class and a means of assigning value to work and of pieces loosing all trace of the outside world. I think the point about galleries being geared to a certain class is true. Though it is not only because art is expensive, it is also because of the intellectual nature of what art has become.
Friend: Yes, I think there is a certain expectation that someone who enters a gallery has some existing knowledge or idea of what to look for. People will also generally assume that if you are of a certain class, that will imply a certain level of education. So I think the word 'snobbery' is aptly used.
Me: My issue though, is that there is a gap between the intellectual side of art and the actual craft. This is especially true when you consider artists who bush on the streets in Europe. Standing and watching their creations you realize the talent, skill and potential that is there, but due to the context of where it is viewed it will never reach the same figures as in a gallery.
Friend: I know, what shame! Even though the Impressionists and Expressionists went a long way in breaking some of the Academic rules, the intellectual nature of art has stood true and possibly escalated.
Me: But let's be honest. When you and I go to a gallery, is this what you are thinking about when you are in the space?
Friend: No, not really. If you had not brought this up and forced me to consider it, I would just consider a gallery visit as an opportunity to appreciate art. Maybe if I am lucky I find something I like and might want to purchase.
Me: I suppose for me that is true too, though I generally don't go to galleries to buy art. I go there for inspiration and ideas. I definitely think the price of art is too high and would like rather attempt to recreate something I saw and liked, than buy it.
Friend: Well, we have been to a few galleries together here, which one was your favorite and why?
Me: My favorite one, which I visit regularly, is the Opera Gallery. Hong Kong has limited space, but as this one takes up 3 floors it doesn't feel as cramped. They also change exhibitions every 3 to 4 months and as it has galleries around the world, you get see well know contemporary work from all over.
Friend: I liked that one too. The staff were especially passionate and knowledgeable about the pieces and artists featured. But I guess that is because they are hoping to make a sale.
Me: I also like their 'black room' feature, where they display the work of modern masters. It gives you a chance to view well known works up close, as though you were in a museum. Any comments on other galleries.
Friend: As you said, they tend to be quite small in Hong Kong, so they often only feature the work of one feature artist. The ones that have a bit more space make an effort to connect the space to the work, and those are the ones where I tend to pay more attention, as I feel like the space is supporting the visions and intentions of the artist.
Me: I agree, I also prefer it when the gallery makes an effort to incorporate the theme or context of the work within the space. So, final verdict of galleries? do we think they play an important role or would we like to see some changes?
Friend: They play an important role in reminding society that art is important and that the work artists do should have value, but some changes definitely need to be made to make them feel more accessible and perhaps less pretentious.
Me: Well said.
This is a record of a conversation between myself and a friend who is not an artist, but someone who appreciates art and regularly attends art shows or galleries walks with me. We have both traveled a fair bit and visited art museums and galleries around the world.
Me: Firstly, I want to comment on what O'Doherty talks mentions about the 'white cube' being a space for the upper middle class and a means of assigning value to work and of pieces loosing all trace of the outside world. I think the point about galleries being geared to a certain class is true. Though it is not only because art is expensive, it is also because of the intellectual nature of what art has become.
Friend: Yes, I think there is a certain expectation that someone who enters a gallery has some existing knowledge or idea of what to look for. People will also generally assume that if you are of a certain class, that will imply a certain level of education. So I think the word 'snobbery' is aptly used.
Me: My issue though, is that there is a gap between the intellectual side of art and the actual craft. This is especially true when you consider artists who bush on the streets in Europe. Standing and watching their creations you realize the talent, skill and potential that is there, but due to the context of where it is viewed it will never reach the same figures as in a gallery.
Friend: I know, what shame! Even though the Impressionists and Expressionists went a long way in breaking some of the Academic rules, the intellectual nature of art has stood true and possibly escalated.
Me: But let's be honest. When you and I go to a gallery, is this what you are thinking about when you are in the space?
Friend: No, not really. If you had not brought this up and forced me to consider it, I would just consider a gallery visit as an opportunity to appreciate art. Maybe if I am lucky I find something I like and might want to purchase.
Me: I suppose for me that is true too, though I generally don't go to galleries to buy art. I go there for inspiration and ideas. I definitely think the price of art is too high and would like rather attempt to recreate something I saw and liked, than buy it.
Friend: Well, we have been to a few galleries together here, which one was your favorite and why?
Me: My favorite one, which I visit regularly, is the Opera Gallery. Hong Kong has limited space, but as this one takes up 3 floors it doesn't feel as cramped. They also change exhibitions every 3 to 4 months and as it has galleries around the world, you get see well know contemporary work from all over.
Friend: I liked that one too. The staff were especially passionate and knowledgeable about the pieces and artists featured. But I guess that is because they are hoping to make a sale.
Me: I also like their 'black room' feature, where they display the work of modern masters. It gives you a chance to view well known works up close, as though you were in a museum. Any comments on other galleries.
Friend: As you said, they tend to be quite small in Hong Kong, so they often only feature the work of one feature artist. The ones that have a bit more space make an effort to connect the space to the work, and those are the ones where I tend to pay more attention, as I feel like the space is supporting the visions and intentions of the artist.
Me: I agree, I also prefer it when the gallery makes an effort to incorporate the theme or context of the work within the space. So, final verdict of galleries? do we think they play an important role or would we like to see some changes?
Friend: They play an important role in reminding society that art is important and that the work artists do should have value, but some changes definitely need to be made to make them feel more accessible and perhaps less pretentious.
Me: Well said.
The first state-sponsored museums in Europe built in the 1830s housed national collections in order to glorify the national artistic heritage and the wealth of the nation. Those wielding power were able to accumulate and display artifacts from around the world in order to show the accomplishments of the bourgeois. The advent of the white cube space where art could be shown in an ‘impartial’ dehistoricized setting masks a history which had previously been visible. Despite the desire for neutrality, O’Doherty asserts that it cannot, in fact, be achieved.
further reading
Birkett, W B. (2012) ‘To Infinity and Beyond, A Critique of the Aesthetic White Cube’ [online] At:
https://scholarship.shu.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=1211&context=theses (Accessed on 16 March 2020)
Notable points from reading:
- The time has come to encourage audience engagement rather than passive consumption
- Some blame museums for the rise in prices of art or for advancing certain artists over others, but Birkett points out that there are more factors involved.
- Museums generally aim to serve the public and entertain them. They have set missions and ideals by which they make their choices.
- Some member of the general public may still feel intimidated to go to a museum.
- There is a need for museums and galleries to change as the demographics of the societies around them do. If people are feeling intimidated, they spaces need to focus on how to change this and become more accessible to the general public as they rely on them to continue.
- Different hanging methods - isolating piece to take away distraction. Grouping piece that are not connected to create comparison. Hanging pieces chronologically if they build to create a narrative. Asymmetrical or symmetrical. with many adornments or with few.
- The idea behind small gallery spaces was that the viewer could feel intimate, as though viewing art in their own home.
- White was considered a sign of freedom and infinity.
- Art became an object of aesthetic education and desire.
- The white cube was focused on aesthetics and form
"The authoritative history of art presented within the gallery space supported traditional power relationships, portraying the curators as the ultimate purveyors of knowledge and visitors as lowly consumer peons" (This is what alienates many visitors)
- Modern and Contemporary art is often unintelligible to the average person with no prior knowledge of art.
- "Although there has yet to be a truly revolutionary and widely embraced alternative to the aesthetic white cube, many museums and galleries have been searching for alternate ways of presenting artistic content" - for example, introducing current trends, colours, decor, tiered hanging, patterned wall paper, furniture, the integration of technology or other media, clever lighting and interesting juxtapositions.
- Another big impact is allowing the artist to work on the display or with the curator.
- "Always sticking to the same display methods is limiting and does not take into account the ever-shifting nature of institutional and social needs"
- Museums need to shift away from the ideas of 'open interpretations' and provide contextual knowledge to visitors.
- "Art was not created in a void. No matter how fantastical or abstract, all works of art are the products of their creators, the subject presented, the school of art, the techniques used, the location in which they were created, their era, the social, and its social, political, and cultural environment.
- Be considerate in choice of test, how it is displayed and even the font used when creating context.
Simple steps to enhance any display:
https://scholarship.shu.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=1211&context=theses (Accessed on 16 March 2020)
Notable points from reading:
- The time has come to encourage audience engagement rather than passive consumption
- Some blame museums for the rise in prices of art or for advancing certain artists over others, but Birkett points out that there are more factors involved.
- Museums generally aim to serve the public and entertain them. They have set missions and ideals by which they make their choices.
- Some member of the general public may still feel intimidated to go to a museum.
- There is a need for museums and galleries to change as the demographics of the societies around them do. If people are feeling intimidated, they spaces need to focus on how to change this and become more accessible to the general public as they rely on them to continue.
- Different hanging methods - isolating piece to take away distraction. Grouping piece that are not connected to create comparison. Hanging pieces chronologically if they build to create a narrative. Asymmetrical or symmetrical. with many adornments or with few.
- The idea behind small gallery spaces was that the viewer could feel intimate, as though viewing art in their own home.
- White was considered a sign of freedom and infinity.
- Art became an object of aesthetic education and desire.
- The white cube was focused on aesthetics and form
"The authoritative history of art presented within the gallery space supported traditional power relationships, portraying the curators as the ultimate purveyors of knowledge and visitors as lowly consumer peons" (This is what alienates many visitors)
- Modern and Contemporary art is often unintelligible to the average person with no prior knowledge of art.
- "Although there has yet to be a truly revolutionary and widely embraced alternative to the aesthetic white cube, many museums and galleries have been searching for alternate ways of presenting artistic content" - for example, introducing current trends, colours, decor, tiered hanging, patterned wall paper, furniture, the integration of technology or other media, clever lighting and interesting juxtapositions.
- Another big impact is allowing the artist to work on the display or with the curator.
- "Always sticking to the same display methods is limiting and does not take into account the ever-shifting nature of institutional and social needs"
- Museums need to shift away from the ideas of 'open interpretations' and provide contextual knowledge to visitors.
- "Art was not created in a void. No matter how fantastical or abstract, all works of art are the products of their creators, the subject presented, the school of art, the techniques used, the location in which they were created, their era, the social, and its social, political, and cultural environment.
- Be considerate in choice of test, how it is displayed and even the font used when creating context.
Simple steps to enhance any display:
- Consider the placement of art in relation to each other (contrast and comparison)
- Clever juxtapositions can eliminate the need for textual descriptions.
- Use appropriate adornments to break the large white walls and to provide context
- If you use technology (QR codes, audio/ video clips/ projections), make sure it enhances the work and still remains subordinate to it.
- If possible, provide opportunities for engagement or interaction
- Assess the exhibition: Who is the target audience? What are their expectations? What do they already know about a selected topic?
- Produce text and label mockups, exhibition prototypes, and other sample components.
- Test components that may require interaction. Check mock ups and decide whether the viewer will get your overarching theme?
- Remember to leave room for higher critical thought
- Create visitor surveys
Topic 2: Institutional Critique
Underlying structures
In 1855 aggrieved that none of his paintings had been selected by the jury to be included in the Paris Salon, (an annual exhibition sponsored by the French government and the Academy of Fine Arts) Courbet organised his own exhibition, called Le Realism, at a private gallery. O’Doherty considers Courbet as the first Modern artist as he would have been involved in the decisions regarding the presentation and context of the work. (O’Doherty, 1986:24) Courbet was also challenging the conservative artists and academicians on the jury that had rejected not only him but two-thirds of the artists that had applied that year. Institutional critique is a long-standing tradition that has found expression in different forms throughout the history of art. Hans Holbein the Younger and Johannes Vermeer, for example, both critiqued their patrons while they painted for them.
A more sustained and self-aware form of institutional critique emerges at the beginning of the twentieth century, however, it is in the 1960’s that artists systematically critique the institutions that represent them. These artists include Marcel Broodthaers, Hans Haacke, Michael Asher, Christopher D’Arcangelo, Mierle Laderman Ukeles, Adrian Piper, and Martha Rosler. The baton was taken up in the 1980s amongst others by Louise Lawler, Antoni Muntadas, Fred Wilson, Renée Green, Group Material, Andrea Fraser, Fred Forest, Christian Philipp Müller, Aaron Flint Jamison, and Mark Dion. Many of these artists and subsequent generations continue to interrogate the underlying structures of the art world.
The German-born American artist Hans Haacke has drawn attention to the often hidden connections behind society, politics, business and art throughout his artistic career. For a solo exhibition at the Guggenheim Museum in New York Shapolsky et al. Manhattan Real Estate Holdings, a Real-Time System, as of May 1, 1971, 1971 Hans Haacke took 142 photographs of New York apartment buildings, to show alongside two maps of New York’s Lower East Side and Harlem with properties marked and six charts outlining business relations within the real estate group owned by Harry Shapolsky, one of the Museum’s sponsors. The show was abruptly cancelled six weeks before it was due to open and the curator Edward Fry was fired leading to a series of protests at the museum staged by the art community. The piece describes the shady dealings of Shapolsky’s real estate firm from 1951-1971 and it is speculated that he was able to influence his friends on the Guggenheim’s board of trustees who were responsible for the cancellation. The museum’s line was that the show deals with ‘specific social situations’ that this was not considered to be art.
In 1855 aggrieved that none of his paintings had been selected by the jury to be included in the Paris Salon, (an annual exhibition sponsored by the French government and the Academy of Fine Arts) Courbet organised his own exhibition, called Le Realism, at a private gallery. O’Doherty considers Courbet as the first Modern artist as he would have been involved in the decisions regarding the presentation and context of the work. (O’Doherty, 1986:24) Courbet was also challenging the conservative artists and academicians on the jury that had rejected not only him but two-thirds of the artists that had applied that year. Institutional critique is a long-standing tradition that has found expression in different forms throughout the history of art. Hans Holbein the Younger and Johannes Vermeer, for example, both critiqued their patrons while they painted for them.
A more sustained and self-aware form of institutional critique emerges at the beginning of the twentieth century, however, it is in the 1960’s that artists systematically critique the institutions that represent them. These artists include Marcel Broodthaers, Hans Haacke, Michael Asher, Christopher D’Arcangelo, Mierle Laderman Ukeles, Adrian Piper, and Martha Rosler. The baton was taken up in the 1980s amongst others by Louise Lawler, Antoni Muntadas, Fred Wilson, Renée Green, Group Material, Andrea Fraser, Fred Forest, Christian Philipp Müller, Aaron Flint Jamison, and Mark Dion. Many of these artists and subsequent generations continue to interrogate the underlying structures of the art world.
The German-born American artist Hans Haacke has drawn attention to the often hidden connections behind society, politics, business and art throughout his artistic career. For a solo exhibition at the Guggenheim Museum in New York Shapolsky et al. Manhattan Real Estate Holdings, a Real-Time System, as of May 1, 1971, 1971 Hans Haacke took 142 photographs of New York apartment buildings, to show alongside two maps of New York’s Lower East Side and Harlem with properties marked and six charts outlining business relations within the real estate group owned by Harry Shapolsky, one of the Museum’s sponsors. The show was abruptly cancelled six weeks before it was due to open and the curator Edward Fry was fired leading to a series of protests at the museum staged by the art community. The piece describes the shady dealings of Shapolsky’s real estate firm from 1951-1971 and it is speculated that he was able to influence his friends on the Guggenheim’s board of trustees who were responsible for the cancellation. The museum’s line was that the show deals with ‘specific social situations’ that this was not considered to be art.
research point 2
Hans Haacke
He is a German born artist who mostly works in America. As a conceptual artist he uses his work to criticize social and political structures, especially within the artworld by examining corporate interests. The topical matter and venues also play a big role, which often makes his work controversial (Artnet, 2020). It is important to Haacke that the viewer understands what is at steak when entering a museum or gallery space. They need to be well informed about the 'cost' of art. His instillation pieces often feature natural materials and photographs. He requires interaction from the audience in a way which, "has contributed to contemporary conversations about access and political responsibility still going on in museums and galleries today" (Groom 2020). As part of his statement on how art is market driven, he does not rely on sales of his art to support himself and considers carefully which items to sell.
He is a German born artist who mostly works in America. As a conceptual artist he uses his work to criticize social and political structures, especially within the artworld by examining corporate interests. The topical matter and venues also play a big role, which often makes his work controversial (Artnet, 2020). It is important to Haacke that the viewer understands what is at steak when entering a museum or gallery space. They need to be well informed about the 'cost' of art. His instillation pieces often feature natural materials and photographs. He requires interaction from the audience in a way which, "has contributed to contemporary conversations about access and political responsibility still going on in museums and galleries today" (Groom 2020). As part of his statement on how art is market driven, he does not rely on sales of his art to support himself and considers carefully which items to sell.
Condensation Cube is a 'ready-made' acrylic box with a small amount of water in it. Haacke describes it as a type of living organism that reacts tot he environment it is in. Depending on the temperature of the space, the water will respond differently. The condensation on the sides of the glass begin to develop patters or imagery which will be unpredictable and free to change according to its environment. The work questions, "the relationship between humans, nature and the institution by highlighting the lack of attention usually afforded to these natural processes, and the artificiality of the space of the institution" (Groom, 2020).
Buddick (2019) summarized the message of Haacke's work well into the following points: - art is not pure, - creativity can quickly become a commodity - taste and virtue are not related - art is valued by its sale price - the museum is just another product peddler |
Reflection
I think artists are often in a good position to create awareness. It is becoming more an more popular for us as consumers to consider where our products come from and at what real cost. With art being such a commodity, it should be treated the same. Part of the problem that arises is what was discussed earlier in Topic 1, which is that the museum or gallery space has become so elite and unaccessable to the every day visitor that artists who make these type of statement are often not heard my the masses. Unless you create a controversial uproar, your ethcial questions may not fall on many ears. If the avaerage person with little contemporary art background was to look at this cube without context, it is highly doubful they would understand that it is making a commentary on the 'controlled museum space'.
That being said, in every industry we need these individuals who will take the first stand or ask the type of ethical questions that others are afraid to, as that is the only way we might head towards change.
I think artists are often in a good position to create awareness. It is becoming more an more popular for us as consumers to consider where our products come from and at what real cost. With art being such a commodity, it should be treated the same. Part of the problem that arises is what was discussed earlier in Topic 1, which is that the museum or gallery space has become so elite and unaccessable to the every day visitor that artists who make these type of statement are often not heard my the masses. Unless you create a controversial uproar, your ethcial questions may not fall on many ears. If the avaerage person with little contemporary art background was to look at this cube without context, it is highly doubful they would understand that it is making a commentary on the 'controlled museum space'.
That being said, in every industry we need these individuals who will take the first stand or ask the type of ethical questions that others are afraid to, as that is the only way we might head towards change.
Works Cited
Artnet (2020) Hans Haacke (American/German, born 1936). [online] At: http://www.artnet.com/artists/hans-haacke/ (Accessed on 17 March 2020)
Groom, V.H. (2020) Hans Haacke Art. [online] At: https://www.theartstory.org/artist/haacke-hans/ (Accessed on 17 March 2020)
Tateshots (2014) Hans Haacke: Exposing systems of power. [online] At: http://www.tate.org.uk/art/artists/hans-haacke-2217/hans-haacke-exposing-systems-power (Accessed on 17 March 2020)
Artnet (2020) Hans Haacke (American/German, born 1936). [online] At: http://www.artnet.com/artists/hans-haacke/ (Accessed on 17 March 2020)
Groom, V.H. (2020) Hans Haacke Art. [online] At: https://www.theartstory.org/artist/haacke-hans/ (Accessed on 17 March 2020)
Tateshots (2014) Hans Haacke: Exposing systems of power. [online] At: http://www.tate.org.uk/art/artists/hans-haacke-2217/hans-haacke-exposing-systems-power (Accessed on 17 March 2020)
Exercise 4.2: Transparency
Research the types of galleries and cultural institutions where you live. What are you able to find out about them? Are they privately or publicly funded; who runs them; who sits on the board; who works for them and on what kind of contracts; what roles do they have – curator, janitor, cleaner, technician; what is the gender, ethnicity, class, age of these people? Record your findings in your sketchbook in a form you find appropriate.
The Hong Kong Museum of Art
The Hong Kong Museum of art is run by the Leisure and Cultural Services Department (LCSD) of Hong Kong, as are most of the museums and other public facilities in Hong Kong. The LCSD is a department in the government of Hong Kong that aims to provide quality leisure and cultural services. The Director of LCSD appoints a Museum Expert Adviser for a period of two years to provide professional advice on matters pertaining to the promotion of art. As this is a Government run facility, the staff working there would be civil servants, but it according to the government civil service website, it seems that appointments and contacts may vary according to qualifications. Most employees are likely to be local as you must be a permanent resident and generally would be expected to speak Chinese. Ages of employees may vary, though there certainly is a trend in Hong for cleaners or ground staff to be the older section of the population. |
It seem that the Museum Experts will play the biggest role in acquisition of collections and that there is potential to make proposals. According to the Government Website, this is the criteria for choosing collections:
- Artistic merit
- Historical value
- Relevance to current collections
- Authenticity
- Physical condition
- Price
- Durability
- Display value
- Educational value
- Reputation of the artist
Exhibitions vary and draw from local and international sources. Sometimes exhibitions are free and other times you need to pay an entry and these amounts vary depending on the size or reputation of it. They also established the Friends of Hong Kong Museum of Art, which is a non-profit-making organization that helps to promote art and enhance public interest. I assume these are people who work as volunteers.
References:
https://hk.art.museum/en_US/web/ma/about-us.html
https://www.lcsd.gov.hk/en/index.html
https://web.archive.org/web/20150122201809/http://www.lcsd.gov.hk/CE/Museum/Arts/en_US/web/ma/about05.html
Opera Gallery (Hong Kong)
The First Opera Gallery was founded in Paris in 1994 and they now have locations in many major cities, including Hong Kong. The deal in Modern and Contemporary art through well curated exhibitions and by attending high profile art fairs. Each Gallery has a director who helps curate the work shown. As there is a network of galleries, this means that curated exhibits can also rotate between them. They also collaborate with museums and other organisations. Of all the times I have been there the staff seem very young. There is usually 2 or 3 people manning the front, 1 of whom seems to be more knowledgeable about pieces, artists and market prices. So, if I had to guess I would say that one takes on more of an administrative role, while the other is a salesperson (dealer). I was not able to find much information about where there finances come form or how galleries are run, though I imagine as they call themselves art dealers, much of their income would rely on sales. References: https://www.operagallery.com/about http://www.hk-aga.org/gallery/opera-gallery/ https://thehoneycombers.com/hong-kong/sharlane-foo-opera-gallery-hong-kong-curating-art/ |
research point 3
For her first performance of Maintenance Art, 1973 at Wadsworth Atheneum Museum, Hartford, Connecticut Mierle Laderman Ukeles washed the entry plaza and steps of the museum for four hours on her hands and knees and then scrubbed the floors inside the gallery for another four hours. In Mining the Museum, 1992, Fred Wilson made an intervention at the Maryland Historical Society using fabricated objects together with museum-style labels, lighting, wall colour and display cases to curate the Museum’s collection items.
Research the work of Fred Wilson and Mierle Laderman Ukeles using the links below and your own sources:
Research the work of Fred Wilson and Mierle Laderman Ukeles using the links below and your own sources:
Fred Wilson
He is an American conceptual artist who's interdisciplinary work, "challenges assumptions of history, culture, race, and conventions of display" (Pace, 2020). In his works Mining the Museum, he particularly questions museum conventions on how they display and describe work as these systems create the potential for biased narratives or missed information. Through his own manipulations of the museum space he is able to subvert perceptions and reveal the narratives missing from historical discourse. The museums who approach him, are often interested in re-examining their own practices and Wilson tends not to hold back in addressing issues through his work. Despite the work seeming that it may be antagonizing to the space, the museums quickly realize that Wilson works from a place of respect for the staff and the purpose of the museum with the purpose of highlighting the shared humanity of everyone who enters the space, whether you are a security guard, curator or visitor (Garfield, 1993).
In his work Mining the Museum, he worked in collaboration with The Contemporary to set up an instillation at the Maryland Historical Society, that questions the validity of museum displays.He deconstructed the space by removing some of the boundaries set. As mentioned above, he also seeks to restore the untold stories in history by reminding museum goers of the minorities or stories that are not featured.
He is an American conceptual artist who's interdisciplinary work, "challenges assumptions of history, culture, race, and conventions of display" (Pace, 2020). In his works Mining the Museum, he particularly questions museum conventions on how they display and describe work as these systems create the potential for biased narratives or missed information. Through his own manipulations of the museum space he is able to subvert perceptions and reveal the narratives missing from historical discourse. The museums who approach him, are often interested in re-examining their own practices and Wilson tends not to hold back in addressing issues through his work. Despite the work seeming that it may be antagonizing to the space, the museums quickly realize that Wilson works from a place of respect for the staff and the purpose of the museum with the purpose of highlighting the shared humanity of everyone who enters the space, whether you are a security guard, curator or visitor (Garfield, 1993).
In his work Mining the Museum, he worked in collaboration with The Contemporary to set up an instillation at the Maryland Historical Society, that questions the validity of museum displays.He deconstructed the space by removing some of the boundaries set. As mentioned above, he also seeks to restore the untold stories in history by reminding museum goers of the minorities or stories that are not featured.
Mierle Laderman Ukeles
She is an American Artist whose work is classified as conceptual, feminist and service minded. Many of her pieces are often a collaboration. She especially documents her encounters with care-workers. She refers to these collaborative pieces as "maintenance art", as care work involves being creative while being challenging and emotional work, just like making art (Duncan, 2020). After the birth of her child she struggled with finding the balance of being a mom and an artist, it was during this time that she wrote a manifesto, Manifesto for Maintenance Art 1969. In it she highlights the problems between developing art and maintaining it. She then makes a proposal for a show titled Care. The conceptual show was a collaboration of performance, audience participation and instillation, though the manifesto was not realized as the museums rejected the proposal. Even so, is an important moment in her career and in the conceptual viewing of art (Steinhauer, 2017). As a piece of written art it highlights the importance of the idea behind the art rather than the actual final product. Other well known works include, Washing/Tracks/Maintenance: Outside (1973), where she washed the steps of the Wadsworth Atheneum and Touch Sanitation Performance (1979–80), where she spent 11 months shaking the hand of every sanmen worker in New York City.
She is an American Artist whose work is classified as conceptual, feminist and service minded. Many of her pieces are often a collaboration. She especially documents her encounters with care-workers. She refers to these collaborative pieces as "maintenance art", as care work involves being creative while being challenging and emotional work, just like making art (Duncan, 2020). After the birth of her child she struggled with finding the balance of being a mom and an artist, it was during this time that she wrote a manifesto, Manifesto for Maintenance Art 1969. In it she highlights the problems between developing art and maintaining it. She then makes a proposal for a show titled Care. The conceptual show was a collaboration of performance, audience participation and instillation, though the manifesto was not realized as the museums rejected the proposal. Even so, is an important moment in her career and in the conceptual viewing of art (Steinhauer, 2017). As a piece of written art it highlights the importance of the idea behind the art rather than the actual final product. Other well known works include, Washing/Tracks/Maintenance: Outside (1973), where she washed the steps of the Wadsworth Atheneum and Touch Sanitation Performance (1979–80), where she spent 11 months shaking the hand of every sanmen worker in New York City.
Reflection
It is clear that both of these artist are not merely considering the art work itself, but the many other elements that come together in the creation and viewing of the piece. Wilson is considering the role that the museum or gallery plays while Ukeles is highlighting the important role of those who help maintain our cities, thus allowing us to continue with our productions. It is great way of getting the viewers and peers in the art community to consider how they view and define art. It also broadens the scope of what goes into creating a piece. This is something we see done a bit better in film. There is a bit more time and effort going into crediting every person who played a role in the creation of a film, not just the actor, or director (though they often get the most praise). It is good for artists to reflect on the systems and areas put in place to allow us to work and showcase.
It is clear that both of these artist are not merely considering the art work itself, but the many other elements that come together in the creation and viewing of the piece. Wilson is considering the role that the museum or gallery plays while Ukeles is highlighting the important role of those who help maintain our cities, thus allowing us to continue with our productions. It is great way of getting the viewers and peers in the art community to consider how they view and define art. It also broadens the scope of what goes into creating a piece. This is something we see done a bit better in film. There is a bit more time and effort going into crediting every person who played a role in the creation of a film, not just the actor, or director (though they often get the most praise). It is good for artists to reflect on the systems and areas put in place to allow us to work and showcase.
Works Cited
Duncan, A. (2020) Ukeles, Art, Bio, Ideas. [online] At: https://www.theartstory.org/artist/ukeles-mierle-laderman/#nav (Accessed on 30 March 2020)
Garfield, D, Wilson, F (1993) In: Museum News (193) [online] At: https://msu.edu/course/ha/452/wilsoninterview.htm (Accessed on 19 March 2020)
Pace (2020) Fred Wilson. [online] At: https://www.pacegallery.com/artists/fred-wilson/ (Accessed on 19 March 2020)
Steinhauer, J. (2017) ‘How Mierle Laderman Ukeles Turned Maintenance Work into Art’ In: Hyperallergic 10.02.17 [online] At:
https://hyperallergic.com/355255/how-mierle-laderman-ukeles-turned-maintenance-work-into-art/ (Accessed on 19.07.18)
Duncan, A. (2020) Ukeles, Art, Bio, Ideas. [online] At: https://www.theartstory.org/artist/ukeles-mierle-laderman/#nav (Accessed on 30 March 2020)
Garfield, D, Wilson, F (1993) In: Museum News (193) [online] At: https://msu.edu/course/ha/452/wilsoninterview.htm (Accessed on 19 March 2020)
Pace (2020) Fred Wilson. [online] At: https://www.pacegallery.com/artists/fred-wilson/ (Accessed on 19 March 2020)
Steinhauer, J. (2017) ‘How Mierle Laderman Ukeles Turned Maintenance Work into Art’ In: Hyperallergic 10.02.17 [online] At:
https://hyperallergic.com/355255/how-mierle-laderman-ukeles-turned-maintenance-work-into-art/ (Accessed on 19.07.18)
Failures of Institutional critique
Critics of Institutional critique point to some of its failings. One of the main ones is that the artist works with the institution at the same time as critiquing it. Both the artist and institution are necessary to each other, which makes the artist equally complicit. During the 1990s it was prevalent for critical discussions to be held by curators and directors within art galleries and museums that centred on this subject, identifying the institution as the problem but also the solution. Institutional critique can be a commodity in the same way as painting, however, it gives the impression that the institution is self-critical and receptive to change.
Related to this, is the argument that the work hasn’t managed to challenge these structures in terms of their transparency or diversity. In fact, museums and galleries have adopted a business model defining themselves in terms of audience numbers and cultural capital by working closely with private sponsors. The corporatization of institutions both private and public places them within a culture industry which produces goods, such as, exhibitions and education programmes. Art remains a thriving commodity more than ever tied to the market and the institution still decides what is legitimate. And to that effect artists continue to attempt to make transparent the mechanisms that determine art’s definition and value from within the institution and from outside it.
Critics of Institutional critique point to some of its failings. One of the main ones is that the artist works with the institution at the same time as critiquing it. Both the artist and institution are necessary to each other, which makes the artist equally complicit. During the 1990s it was prevalent for critical discussions to be held by curators and directors within art galleries and museums that centred on this subject, identifying the institution as the problem but also the solution. Institutional critique can be a commodity in the same way as painting, however, it gives the impression that the institution is self-critical and receptive to change.
Related to this, is the argument that the work hasn’t managed to challenge these structures in terms of their transparency or diversity. In fact, museums and galleries have adopted a business model defining themselves in terms of audience numbers and cultural capital by working closely with private sponsors. The corporatization of institutions both private and public places them within a culture industry which produces goods, such as, exhibitions and education programmes. Art remains a thriving commodity more than ever tied to the market and the institution still decides what is legitimate. And to that effect artists continue to attempt to make transparent the mechanisms that determine art’s definition and value from within the institution and from outside it.
Exercise 4.3: Constructions of knowledge
Images of artworks to include within these course materials have been sourced from Bridgeman Education. It has been difficult to find the work by many important women/ethnically diverse artists. The organisation is a subscription service to educational establishments. Knowledge on Wikipedia, on the other hand, is created by the public for free universal access. Do you use Wikipedia? Currently, the majority of the contributors and editors that determine its content are white men based in Europe or North America. This particular demographic determines what is included and the interpretation of knowledge. Use Wikipedia to search for artists where you live. What observations can you make? Record your observations in your learning log.
Observations:
To be honest, I generally don't use Wikipedia if I am writing pieces that require accurate information. I usually view the overview information given at the start of the Wikipedia article, as this helps to give me a context for the artist. It is useful to have short burst of info in one space, as it helps to give you names or ideas to research further and that will be more credible. After that, I tend to go to other sites that I have learned to be more reliable in order to dig deeper. These usually include museum or gallery sites, published books (where accessible) and well know sites that provide bios, like Khan Academy, Art Story, Artsy etc.
For the purpose of the exercise I am looking up a local Hong Kong based artist, Linda Lai Chiu-Han. the first thing I noticed was a notification on the top of the page, which is pictured below.
Observations:
To be honest, I generally don't use Wikipedia if I am writing pieces that require accurate information. I usually view the overview information given at the start of the Wikipedia article, as this helps to give me a context for the artist. It is useful to have short burst of info in one space, as it helps to give you names or ideas to research further and that will be more credible. After that, I tend to go to other sites that I have learned to be more reliable in order to dig deeper. These usually include museum or gallery sites, published books (where accessible) and well know sites that provide bios, like Khan Academy, Art Story, Artsy etc.
For the purpose of the exercise I am looking up a local Hong Kong based artist, Linda Lai Chiu-Han. the first thing I noticed was a notification on the top of the page, which is pictured below.
I'm not quite sure what Wikipedia's regulations are, but they seem to have a problem with the biographical nature, which I assume would be better suited to an artist's own profile pages, rather than this setting. On the one hand you would want information from primary sources, but on the other it may create a biased view.
Lai is a curator and artist. Her pieces are often conceptual and combine video and instillation. Other than this there is little information about the artist's specific works or influences. Thee are however links provided where you can find additional information. A useful one is to her profile on the CityU website. this site would be more trustworthy as it is providing information to students and parents regarding the staff. This space gives a bit more detail of her work and some of her specific documentary style pieces. There is also a link to her vimeo channel were final pieces can be seen.
Reflection
I did not expect to find much information on local Hong Kong artists on Wikipedia, as many of these artist would work and communicate in Cantonese. Once again, galleries or venues that have had these artists exhibit work would probably better for finding accurate and detailed information regarding the artists, but I may again face the problem of finding these in English.
As I mentioned above. Wikipedia is generally not my first port of call for research. As an educator myself, I always encourage my students not to rely on this site. As such, I have never really considered who might be in control of editing or creating pages, let alone the fact that they are a group of white men, because I am generally weary of the fact that anyone can edit it.
Lai is a curator and artist. Her pieces are often conceptual and combine video and instillation. Other than this there is little information about the artist's specific works or influences. Thee are however links provided where you can find additional information. A useful one is to her profile on the CityU website. this site would be more trustworthy as it is providing information to students and parents regarding the staff. This space gives a bit more detail of her work and some of her specific documentary style pieces. There is also a link to her vimeo channel were final pieces can be seen.
Reflection
I did not expect to find much information on local Hong Kong artists on Wikipedia, as many of these artist would work and communicate in Cantonese. Once again, galleries or venues that have had these artists exhibit work would probably better for finding accurate and detailed information regarding the artists, but I may again face the problem of finding these in English.
As I mentioned above. Wikipedia is generally not my first port of call for research. As an educator myself, I always encourage my students not to rely on this site. As such, I have never really considered who might be in control of editing or creating pages, let alone the fact that they are a group of white men, because I am generally weary of the fact that anyone can edit it.
Exercise 4.4: Inside/outside the institution
Many artists attempt to challenge the status quo from outside the institution. In 2009 James Brett founded the Museum of Everything in North London showing ‘outsider art’ or ‘non-academic art’. The exhibition was so popular that it drew enormous queues on the streets and has since toured the world. Initially a non-profit museum, it currently manifests in Marylebone as a commercial gallery. Occupy Museums was created in the first month of Occupy Wall Street in New York in 2011 to highlight economic inequality within cultural institutions. It stages campaigns and actions at galleries and art fairs. The Exhibitionist organise uncomfortable art tours in major U.K. institutions as an alternative to the tours that might be provided by them. However, unlike Fred Wilson’s Mining the Museum, these are not interventions that are sanctioned by the institutions. The tours have attracted significant attention and museums are increasingly trying to avoid embarrassment by including them in their programmes.
In this topic, you have examined challenges made from inside and outside the institution such as Occupy Museums. Can you find examples of artists making interventions where you live, or close to where you live? In your learning log record your observations regarding the types of challenges being made. Compare the objectives and achievements of those made within the institution and those made from outside it.
In this topic, you have examined challenges made from inside and outside the institution such as Occupy Museums. Can you find examples of artists making interventions where you live, or close to where you live? In your learning log record your observations regarding the types of challenges being made. Compare the objectives and achievements of those made within the institution and those made from outside it.
My Observations
As the whole world is in the midst of a pandemic and either encouraged to stay inside or on lockdown, it would be quite apt to look at how this has impacted museums, galleries and artists alike. There is no more apt time to document change (whether within or without) than now. When the announcements came at the end of February 2020 that the Arts Festival was going to be cancelled there was a great sense of disappointment by all. The Hong Kong Arts Festival has been running since 1973 and brings together international performances and visual arts of all genres. Even before this outbreak, the festival organizers and participants have continued to find new ways for the public to view and engage with art (HKAF, 2020). One such example is a performance art piece I attended called Choreography Walk. Participants are asked to take a silent walk through urban Hong Kong and reflect on how their body responds to the environment. You are asked to consider what you feel when your body feelings when moving through this vast urban environment and how it may impact your identity and relationship to others. When reaching certain destinations there are performance art pieces that start to unfold as you walk by. There were 6 different performances that happened along the walk with movements often reflecting the rhythm or shape of the area the performers are in.
Other big event that I usually attend at this time of year is Art Basel, Art Central, The Asia Contemporary Art Show and the Affordable Art Fair. What I thought was really great about the Art community and organizers, is that they quickly jumped in to provide virtual settings for these to still happen. Now this is nothing new. Many museums around the world have already embraced creating virtual spaces so everyone may be able to appreciate and learn about art works and they have certainly upped their game during the last few months. Google art teamed up with over 2500 museums to provide the world with virtual tours and online exhibitions (Romano 2020).
Another example of how curators and museums noticed that their visitors needed a new type of interaction, is from the MONA museum in Tasmania. They have included electronic codes, referred to as "O" that provide viewers with additional information to their devices. The viewer can choose to opt in or out as they move along, or even save information to view later. These are also used now at the Art Gallery of New South Wales, the Smithsonian Institution's Freer, Sackler Galleries in Washington and the Sydney Jewish Museum (Stephens, 2019). I recently experienced a similar technology during a visit to the Banksy exhibition in Hong Kong.
In November 2019 I attended Christie's Art and Tech Summit in Hong Kong, where Todd Eckert was a speaker. He shared some great insights about how the art world needs to embrace technology as we move forward. He also spoke about his first art exhibition, The Life. It is a 19 minute mixed media performance piece featuring Marina Abramovic. Viewer wear augmented reality sets to watch and experience it. The viewer feels realistically close to the performer , even though she is not there (Kik, 2020).
Reflection
It is clear that as art moves forward that all stakeholders need to be considerate of the viewing experience. New generations have a different relationship with technology and museums, galleries, curators, artists and critics (inside or outside) will need to be considerate of these changes. If we consider that art is created to be viewed, enjoyed and reflected upon then we need to provide platforms where viewers are enticed to do so.
As the whole world is in the midst of a pandemic and either encouraged to stay inside or on lockdown, it would be quite apt to look at how this has impacted museums, galleries and artists alike. There is no more apt time to document change (whether within or without) than now. When the announcements came at the end of February 2020 that the Arts Festival was going to be cancelled there was a great sense of disappointment by all. The Hong Kong Arts Festival has been running since 1973 and brings together international performances and visual arts of all genres. Even before this outbreak, the festival organizers and participants have continued to find new ways for the public to view and engage with art (HKAF, 2020). One such example is a performance art piece I attended called Choreography Walk. Participants are asked to take a silent walk through urban Hong Kong and reflect on how their body responds to the environment. You are asked to consider what you feel when your body feelings when moving through this vast urban environment and how it may impact your identity and relationship to others. When reaching certain destinations there are performance art pieces that start to unfold as you walk by. There were 6 different performances that happened along the walk with movements often reflecting the rhythm or shape of the area the performers are in.
Other big event that I usually attend at this time of year is Art Basel, Art Central, The Asia Contemporary Art Show and the Affordable Art Fair. What I thought was really great about the Art community and organizers, is that they quickly jumped in to provide virtual settings for these to still happen. Now this is nothing new. Many museums around the world have already embraced creating virtual spaces so everyone may be able to appreciate and learn about art works and they have certainly upped their game during the last few months. Google art teamed up with over 2500 museums to provide the world with virtual tours and online exhibitions (Romano 2020).
Another example of how curators and museums noticed that their visitors needed a new type of interaction, is from the MONA museum in Tasmania. They have included electronic codes, referred to as "O" that provide viewers with additional information to their devices. The viewer can choose to opt in or out as they move along, or even save information to view later. These are also used now at the Art Gallery of New South Wales, the Smithsonian Institution's Freer, Sackler Galleries in Washington and the Sydney Jewish Museum (Stephens, 2019). I recently experienced a similar technology during a visit to the Banksy exhibition in Hong Kong.
In November 2019 I attended Christie's Art and Tech Summit in Hong Kong, where Todd Eckert was a speaker. He shared some great insights about how the art world needs to embrace technology as we move forward. He also spoke about his first art exhibition, The Life. It is a 19 minute mixed media performance piece featuring Marina Abramovic. Viewer wear augmented reality sets to watch and experience it. The viewer feels realistically close to the performer , even though she is not there (Kik, 2020).
Reflection
It is clear that as art moves forward that all stakeholders need to be considerate of the viewing experience. New generations have a different relationship with technology and museums, galleries, curators, artists and critics (inside or outside) will need to be considerate of these changes. If we consider that art is created to be viewed, enjoyed and reflected upon then we need to provide platforms where viewers are enticed to do so.
Works Cited
HKAF (2020) About HKAF. [online] At: https://www.hk.artsfestival.org/en/about-us/index.html (Accessed on 31 March 2020)
Kik (2020) TODD ECKERT, preserving presence into infinity. [online] At: https://www.clotmag.com/interviews/todd-eckert-preserving-presence-into-infinity (Accessed on 31 March 2020)
Romano, A. (2020) Stuck at Home? These 12 Famous Museums Offer Virtual Tours You Can Take on Your Couch. [online] At: https://www.travelandleisure.com/attractions/museums-galleries/museums-with-virtual-tours (Accessed on 31 March 2020)
Stephens, A. (2019) How Technology Is Changing The Way We View Art. [online] At: https://www.smh.com.au/culture/art-and-design/how-technology-is-changing-the-way-we-view-art-20191218-p53l67.html (Accessed on 31 March 2020)
HKAF (2020) About HKAF. [online] At: https://www.hk.artsfestival.org/en/about-us/index.html (Accessed on 31 March 2020)
Kik (2020) TODD ECKERT, preserving presence into infinity. [online] At: https://www.clotmag.com/interviews/todd-eckert-preserving-presence-into-infinity (Accessed on 31 March 2020)
Romano, A. (2020) Stuck at Home? These 12 Famous Museums Offer Virtual Tours You Can Take on Your Couch. [online] At: https://www.travelandleisure.com/attractions/museums-galleries/museums-with-virtual-tours (Accessed on 31 March 2020)
Stephens, A. (2019) How Technology Is Changing The Way We View Art. [online] At: https://www.smh.com.au/culture/art-and-design/how-technology-is-changing-the-way-we-view-art-20191218-p53l67.html (Accessed on 31 March 2020)
Further reading
The Museum of Everything (2020) [online] At: http://musevery.com/exhibition7/ (Accessed on 31 March 2020)
"The Museum of Everything is the world’s only wandering institution for the untrained, unintentional, undiscovered and unclassifiable artists of modern times."
These exhibitions travel all over the world, moving to new venues. The website it set up with fun little animations and illustrations and includes many great links to artists and exhibitions. An interesting page is the Gallery of Everything which is a show in London that looks at non-academic art and private art making. Another great page is the movie section which has a few behind the scenes looks at work. It seems like they are really trying to include the greater community by expanding the definition of art. They also make connections to galleries and charities as another way to show how art can impact the greater community.
Wroe, N. (2015) ‘Horseplay: What Hans Haacke’s fourth plinth tells us about art and the City’, The Guardian [online] At:
https://www.theguardian.com/artanddesign/2015/feb/27/hans-haacke-horseplay-city (Accessed on 31 March 2020)
The article is about Haacke's sculptural piece Gift Horse (2015), which will be on display in London's Trafalgar Square’s fourth plinth. I had already found through my previous research that Haacke uses his pieces as a way to criticize certain social practices, particularly the political practices of specific places. It is therefore interesting to consider his work when exploring the idea of site-specific work. The sculpture directly references the equestrian statue of William IV originally planned for the plinth and signifies the connection between wealth, power, and history.
A quote from the article that especially stood out to me:
"For better or worse, museums and institutions are the channel through which you can reach, even in a superficial way, very large audiences. And that can also be picked up by the press and others, and then it has a chance to become part of the public discourse."
The above is a fair point. While we often create structures in society that are flawed or take longer to change, they still play a role in connecting communities.
"The Museum of Everything is the world’s only wandering institution for the untrained, unintentional, undiscovered and unclassifiable artists of modern times."
These exhibitions travel all over the world, moving to new venues. The website it set up with fun little animations and illustrations and includes many great links to artists and exhibitions. An interesting page is the Gallery of Everything which is a show in London that looks at non-academic art and private art making. Another great page is the movie section which has a few behind the scenes looks at work. It seems like they are really trying to include the greater community by expanding the definition of art. They also make connections to galleries and charities as another way to show how art can impact the greater community.
Wroe, N. (2015) ‘Horseplay: What Hans Haacke’s fourth plinth tells us about art and the City’, The Guardian [online] At:
https://www.theguardian.com/artanddesign/2015/feb/27/hans-haacke-horseplay-city (Accessed on 31 March 2020)
The article is about Haacke's sculptural piece Gift Horse (2015), which will be on display in London's Trafalgar Square’s fourth plinth. I had already found through my previous research that Haacke uses his pieces as a way to criticize certain social practices, particularly the political practices of specific places. It is therefore interesting to consider his work when exploring the idea of site-specific work. The sculpture directly references the equestrian statue of William IV originally planned for the plinth and signifies the connection between wealth, power, and history.
A quote from the article that especially stood out to me:
"For better or worse, museums and institutions are the channel through which you can reach, even in a superficial way, very large audiences. And that can also be picked up by the press and others, and then it has a chance to become part of the public discourse."
The above is a fair point. While we often create structures in society that are flawed or take longer to change, they still play a role in connecting communities.
Topic 3: Site-specificity
Phenomenological
Minimalism emerged in late 1950’s America as a response to the gestural practices of the previous generation. Using industrial materials in a reduced manner, artists sought to rid the work of any content beyond what could be seen and experienced through form and material. Sculpture was no longer presented on a plinth enabling the space occupied by the work to be considered as integral to it. This meant that the artwork was not an autonomous self-contained object and the space of the gallery and the viewer within it became increasingly significant. Viewers nowadays are habituated to the idea of their body being incorporated into the space of the work, but in the 1960’s this was a radical proposition. The British Art Historian Alex Potts proposes that the work ‘staged such a direct physical encounter between the viewing self and the obdurate otherness of the object, and seemed to lack internal articulations that might keep at one remove the irrational, highly charged responses such encounters could provoke.’ (Potts, 2000:193)
The viewer, no longer a disembodied eye, is confronted by a sensory experience, which intersects with the construction of meaning. The immediacy of the interaction between the embodied viewer and another physical presence makes the viewer aware of themselves. The work unfolds as it is apprehended and moved through, and this experience cannot be separated from the subject of the work.
Minimalism emerged in late 1950’s America as a response to the gestural practices of the previous generation. Using industrial materials in a reduced manner, artists sought to rid the work of any content beyond what could be seen and experienced through form and material. Sculpture was no longer presented on a plinth enabling the space occupied by the work to be considered as integral to it. This meant that the artwork was not an autonomous self-contained object and the space of the gallery and the viewer within it became increasingly significant. Viewers nowadays are habituated to the idea of their body being incorporated into the space of the work, but in the 1960’s this was a radical proposition. The British Art Historian Alex Potts proposes that the work ‘staged such a direct physical encounter between the viewing self and the obdurate otherness of the object, and seemed to lack internal articulations that might keep at one remove the irrational, highly charged responses such encounters could provoke.’ (Potts, 2000:193)
The viewer, no longer a disembodied eye, is confronted by a sensory experience, which intersects with the construction of meaning. The immediacy of the interaction between the embodied viewer and another physical presence makes the viewer aware of themselves. The work unfolds as it is apprehended and moved through, and this experience cannot be separated from the subject of the work.
Exercise 4.5: Phenomenology and Minimalism
Look up the writings of Edmund Husserl and Maurice Merleau-Ponty and summarise three of their main points in relation to Minimalism in your learning log.
Minimalism
Minimalism emerged in New York in the 1960s and was a way for artists to call attention back to the materials used to produce work, rather than a display of emotion and symbolism. The aim was to maintain the purity and integrity of the work. The 'understanding of art as an experience that unfolds in the relationship between viewer and work in actual space and over time is central to the challenge Minimalism presented' (Honor and Fleming, 2009). Artists like Carl Andre and Frank Stella broke with traditional conventions, by avoiding the representation of anything in particular, through the use of sleek lines, repetition, industrial materials and abnormal scales. Many referred to this movement as the 'death of painting' as it was implied that the constraints of the canvas did not allow for true freedom and that sculptures were the only way to truly break away from restraints and celebrate form. Jo Baer is great example of how one can still use minimalist principles while using paint and incorporating form.
Edmund Husserl (1859– 1938)
He is considered a central figure in the philosophical movement known as phenomenology. "Phenomenology can be roughly described as the sustained attempt to describe experiences (and the “things themselves”) without metaphysical and theoretical speculations." (Sawicki, 2020) It is a study of consciousness. "Literally, phenomenology is the study of “phenomena”: appearances of things, or things as they appear in our experience, or the ways we experience things, thus the meanings things have in our experience" (Woodriff Smith, 2013). The focus here lies mostly on our specific experience of something. However, Husserl also wrote about intersubjective experience which focuses on our experiences in relation to other and that their is an inherent connection between people. Intersubjectivity can be further explained as our ability to be empathetic. However, for a person to place themself in the shoes of another they have to consider that that perspective of the world around them will be different. Therefore Husserl pruposes that an objective reality be formed of the world around us, so that we and the 'object' become independant, which brings us to transcendental subjectivity, “the pure act-process with its own essence” (Beyer, 2016).
Reflection
Interesting terms to ponder on from above are consciousness and experience.
Consciousness is the state of being aware of your surroundings or how you receive and respond to it. It does require a sense of reflection, as you are often not acutely aware of what you are experiencing at a particular time. It is often only after we sit and contemplate an experience that we can truly begin to unravel the truth of what we perceived. There is the supposition that an individual can rationally and logically contemplate their experiences and categorize them in a meaningful way.
Experience is considered as something that you are involved in or has happened to you and you felt it directly. Or it can be something you observed or were affected by. In the study of phenomenology, experience is looked at according to its intentionality. In analyzing the intentionality of a person, we need to consider their actions, habits, social background and often language (Woodriff Smith, 2013).
In considering these factors as an artist and/ or viewer of art it helps you reflect on your intentions when creating. It is useful to consider that there will be those who can look at your art and find commonality in experience, especially if they perceive and categorize the work in a similar way that you do. It is even more important to note, that no individual can truly experience anything in the exact same way you can as our constructed consciousness will never be exactly the same. So while the study of phenomenology encourages you to consider 'objects or 'experiences' outside of consciousness, it also inderectly urges you to analyze those aspect in order to gain understanding of what you are looking it.
Minimalism
Minimalism emerged in New York in the 1960s and was a way for artists to call attention back to the materials used to produce work, rather than a display of emotion and symbolism. The aim was to maintain the purity and integrity of the work. The 'understanding of art as an experience that unfolds in the relationship between viewer and work in actual space and over time is central to the challenge Minimalism presented' (Honor and Fleming, 2009). Artists like Carl Andre and Frank Stella broke with traditional conventions, by avoiding the representation of anything in particular, through the use of sleek lines, repetition, industrial materials and abnormal scales. Many referred to this movement as the 'death of painting' as it was implied that the constraints of the canvas did not allow for true freedom and that sculptures were the only way to truly break away from restraints and celebrate form. Jo Baer is great example of how one can still use minimalist principles while using paint and incorporating form.
Edmund Husserl (1859– 1938)
He is considered a central figure in the philosophical movement known as phenomenology. "Phenomenology can be roughly described as the sustained attempt to describe experiences (and the “things themselves”) without metaphysical and theoretical speculations." (Sawicki, 2020) It is a study of consciousness. "Literally, phenomenology is the study of “phenomena”: appearances of things, or things as they appear in our experience, or the ways we experience things, thus the meanings things have in our experience" (Woodriff Smith, 2013). The focus here lies mostly on our specific experience of something. However, Husserl also wrote about intersubjective experience which focuses on our experiences in relation to other and that their is an inherent connection between people. Intersubjectivity can be further explained as our ability to be empathetic. However, for a person to place themself in the shoes of another they have to consider that that perspective of the world around them will be different. Therefore Husserl pruposes that an objective reality be formed of the world around us, so that we and the 'object' become independant, which brings us to transcendental subjectivity, “the pure act-process with its own essence” (Beyer, 2016).
Reflection
Interesting terms to ponder on from above are consciousness and experience.
Consciousness is the state of being aware of your surroundings or how you receive and respond to it. It does require a sense of reflection, as you are often not acutely aware of what you are experiencing at a particular time. It is often only after we sit and contemplate an experience that we can truly begin to unravel the truth of what we perceived. There is the supposition that an individual can rationally and logically contemplate their experiences and categorize them in a meaningful way.
Experience is considered as something that you are involved in or has happened to you and you felt it directly. Or it can be something you observed or were affected by. In the study of phenomenology, experience is looked at according to its intentionality. In analyzing the intentionality of a person, we need to consider their actions, habits, social background and often language (Woodriff Smith, 2013).
In considering these factors as an artist and/ or viewer of art it helps you reflect on your intentions when creating. It is useful to consider that there will be those who can look at your art and find commonality in experience, especially if they perceive and categorize the work in a similar way that you do. It is even more important to note, that no individual can truly experience anything in the exact same way you can as our constructed consciousness will never be exactly the same. So while the study of phenomenology encourages you to consider 'objects or 'experiences' outside of consciousness, it also inderectly urges you to analyze those aspect in order to gain understanding of what you are looking it.
Works Cited
Beyer, C. (2016) Edmund Husserl. [online] At: https://plato.stanford.edu/entries/husserl/ (Accessed on 2 April 2020)
Honour, H and Fleming, J. (2009) A world history of art. London: Laurence King Publishing.
Sawicki, M. (2020) Edmund Husserl (1859 - 1938). [online] At: https://www.iep.utm.edu/husserl/ (Accessed on 2 April 2020)
Woodriff Smith, D. (2013) Phenomonology. [online] At: https://plato.stanford.edu/entries/phenomenology/ (Accessed on 2 April 2020)
Beyer, C. (2016) Edmund Husserl. [online] At: https://plato.stanford.edu/entries/husserl/ (Accessed on 2 April 2020)
Honour, H and Fleming, J. (2009) A world history of art. London: Laurence King Publishing.
Sawicki, M. (2020) Edmund Husserl (1859 - 1938). [online] At: https://www.iep.utm.edu/husserl/ (Accessed on 2 April 2020)
Woodriff Smith, D. (2013) Phenomonology. [online] At: https://plato.stanford.edu/entries/phenomenology/ (Accessed on 2 April 2020)
Emerging out of the lessons of minimalism, site-specific art was initially based in a phenomenological or experiential understanding of the site [...] Whether inside the white cube or out in the Nevada desert, whether architectural or landscape-oriented, site-specific art initially took the site as an actual location, a tangible reality, its identity composed of a unique combination of physical elements: length, depth, height, texture, and shape of walls and rooms; scale and proportion of plazas, buildings, or parks; existing conditions of lighting, ventilation, traffic patterns; distinctive topographical features and so forth. [...] And the space of art was no longer perceived as a blank slate, a tabula rasa, but a real place.’ (Kwon, 2004: 3,11)
When site-specific work emerged in the late 1960’s the physical conditions of the location of the work were considered integral to its production, presentation and reception. In fact, the work relied upon the viewer to complete the work with their physical presence. The shift of attention to the frame had brought awareness to the context of the work and now, site-specific art collapsed this distinction altogether. Meaning no longer resided in the art object, but was created through the lived bodily experience of the viewer within the site. (Kwon, 2004:12)
When site-specific work emerged in the late 1960’s the physical conditions of the location of the work were considered integral to its production, presentation and reception. In fact, the work relied upon the viewer to complete the work with their physical presence. The shift of attention to the frame had brought awareness to the context of the work and now, site-specific art collapsed this distinction altogether. Meaning no longer resided in the art object, but was created through the lived bodily experience of the viewer within the site. (Kwon, 2004:12)
research point 4
Richard Serra famously asserted that his 120-foot Cor-Ten steel sculpture Tilted Arc made for the Federal Plaza could not be relocated as this would destroy the work. Research the sculpture and the controversy surrounding it.The fact that site-specific work could not be moved also posed a challenge to the growing commodification of art. Some of the works created for specific locations have since become iconic and artists and curators have had to decide whether they can be re-fabricated. If they can (some may no longer exist or be too fragile to move) under what conditions and what are the implications in terms of the originality, and authenticity of the piece? Write 200 words in your learning log.
Richard Serra
He is an American artist who mostly creates sculptures that would be classified as post abstract expressionist. the particular sites of his sculptures played an important role in the meaning of the pieces as well as the viewers experience. His sculpture and views on the sites that hold them has created much debate regarding the role of art in public spaces. He believes that his large scale pieces should evoke interaction from the viewers and become a part of their every day modern life (The Arts Story, 2020).
Richard Serra
He is an American artist who mostly creates sculptures that would be classified as post abstract expressionist. the particular sites of his sculptures played an important role in the meaning of the pieces as well as the viewers experience. His sculpture and views on the sites that hold them has created much debate regarding the role of art in public spaces. He believes that his large scale pieces should evoke interaction from the viewers and become a part of their every day modern life (The Arts Story, 2020).
Titled Arc is large metal curved sculpture that cuts across Federal Plaza in Lower Manhattan. The 12ft tall structure is meant to be unavoidable to passers by as they have to walk around the structure to get through the plaza (Dosh, 2020). The piece has sparked much debate, especially regarding art in public spaces. As Serra's work generally means to critique the site it is in, and is therefore often misunderstood, especially by the general public. In this instance Serra was commenting on how Lower Manhattan consisted of many interruptive experiences like trains, ferries and giant industrial buildings. The curved shape is also a contradiction to the rigid 90 degree angle aspects of the architecture (The Art Story, 2020). The public responded quite negatively to the piece as they said it was ugly and intrusive with over 1300 people signing a petition for the piece to be removed. After a 3 day public hearing it was finally ruled that the piece be removed in 1989. Serra and many other prominent figures of the art community argued that removing the piece would mean destroying it, as its significance and meaning is tied to the
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site where it was placed. Serra argued that the act of destroying this piece showed that art had lost its social function (Mundy, 2020).
The piece also brings up some other important points:
- The role of government funding in commissioning art,
- An artist's rights to their work (The U.S. General Services Administration said the piece belonged to them)
- The role of the general public in determining the value of a work of art
Reflection
Reading about Titled Arc made me think back to Part 2 and the writings of Sontag on interpretation. Art has a language, but some parts of its language are more universal than others. when it comes to pieces like those of Serra, that take on a more symbolic and abstract nature, it would be easy for the general public to misunderstand it. Artists generally learn more about the 'language' of art and we are therefore able to recognize the intellectual value of a piece above whether it is considered beautiful. This also connects to the writings of Love that we covered in Part 3, as he argues that viewers cannot truly experience what the artist has set our to create, but that they view pieces as entities of their own. In this case it certainly seems that the viewers were not able to connect with Serra's purpose. I think that if a public space commissioned me to create a piece for them, there would be some responsibility from my side to understand what type of piece they are looking for or what type of statement they want to make. Any any other client-customer relationships, both parties would set clear expectations and deliver accordingly.
Think of it this way; A parent/ teacher teaches a child that there is a time and a place for certain language to be used in a conversation. they have to learn what is considered appropriate tone and timing. We grow up and still navigate society this way. We try to be considerate of the situation, the venue, the people or context in the way we behave. If art is a language, I think there is a case to be made for the artist to be considerate of the type of 'language' they use in different settings. A site specific piece should consider the people that frequent that site.
The piece also brings up some other important points:
- The role of government funding in commissioning art,
- An artist's rights to their work (The U.S. General Services Administration said the piece belonged to them)
- The role of the general public in determining the value of a work of art
Reflection
Reading about Titled Arc made me think back to Part 2 and the writings of Sontag on interpretation. Art has a language, but some parts of its language are more universal than others. when it comes to pieces like those of Serra, that take on a more symbolic and abstract nature, it would be easy for the general public to misunderstand it. Artists generally learn more about the 'language' of art and we are therefore able to recognize the intellectual value of a piece above whether it is considered beautiful. This also connects to the writings of Love that we covered in Part 3, as he argues that viewers cannot truly experience what the artist has set our to create, but that they view pieces as entities of their own. In this case it certainly seems that the viewers were not able to connect with Serra's purpose. I think that if a public space commissioned me to create a piece for them, there would be some responsibility from my side to understand what type of piece they are looking for or what type of statement they want to make. Any any other client-customer relationships, both parties would set clear expectations and deliver accordingly.
Think of it this way; A parent/ teacher teaches a child that there is a time and a place for certain language to be used in a conversation. they have to learn what is considered appropriate tone and timing. We grow up and still navigate society this way. We try to be considerate of the situation, the venue, the people or context in the way we behave. If art is a language, I think there is a case to be made for the artist to be considerate of the type of 'language' they use in different settings. A site specific piece should consider the people that frequent that site.
Works cited
Dosh, M. (2020) Richard Serra, Titled Arc. [online] At: https://www.khanacademy.org/humanities/art-1010/post-war-american-art/minimalism-and-earthworks/a/richard-serra-tilted-arc (Accessed on 27 April 2020)
Mundy, J. (2020) Lost Art: Richard Serra. [online] At: https://www.tate.org.uk/art/artists/richard-serra-1923/lost-art-richard-serra (Accessed on 27 April 2020)
The Art Story (2020) Richard Serra Artist Overview and Analysis. [online] At: https://www.theartstory.org/artist/serra-richard/ (Accessed on 27 April 2020)
Dosh, M. (2020) Richard Serra, Titled Arc. [online] At: https://www.khanacademy.org/humanities/art-1010/post-war-american-art/minimalism-and-earthworks/a/richard-serra-tilted-arc (Accessed on 27 April 2020)
Mundy, J. (2020) Lost Art: Richard Serra. [online] At: https://www.tate.org.uk/art/artists/richard-serra-1923/lost-art-richard-serra (Accessed on 27 April 2020)
The Art Story (2020) Richard Serra Artist Overview and Analysis. [online] At: https://www.theartstory.org/artist/serra-richard/ (Accessed on 27 April 2020)
Social
More than just the museum, the site comes to encompass a relay of several interrelated but different spaces and economies, including the studio, gallery, museum, art criticism, art history, the art market, that together constitute a system of practices that is not separate from but open to social, economic, and political pressures. To be “specific” to such a site, in turn, is to decode and/or recode the institutional conventions so as to expose their hidden operations–to reveal the ways in which institutions mold art’s meaning to modulate its cultural and economic value; to undercut the fallacy of art’s and its institutions’ autonomy by making apparent their relationship to the broader socioeconomic and political processes of the day.’ (Kwon, 2004:14)
Institutional critique examined in the last topic, is another form of site-specific work, concerned not with the physical site, but the social frame. It set out to show the historical and cultural specificity of the site rather than accepting the assumption that it is timeless and universal. (Kwon, 2004:19) Many of the earliest of these works began by using the architecture of the space to reveal its ideological functions.
More than just the museum, the site comes to encompass a relay of several interrelated but different spaces and economies, including the studio, gallery, museum, art criticism, art history, the art market, that together constitute a system of practices that is not separate from but open to social, economic, and political pressures. To be “specific” to such a site, in turn, is to decode and/or recode the institutional conventions so as to expose their hidden operations–to reveal the ways in which institutions mold art’s meaning to modulate its cultural and economic value; to undercut the fallacy of art’s and its institutions’ autonomy by making apparent their relationship to the broader socioeconomic and political processes of the day.’ (Kwon, 2004:14)
Institutional critique examined in the last topic, is another form of site-specific work, concerned not with the physical site, but the social frame. It set out to show the historical and cultural specificity of the site rather than accepting the assumption that it is timeless and universal. (Kwon, 2004:19) Many of the earliest of these works began by using the architecture of the space to reveal its ideological functions.
Exercise 4.6: The social frame
Describe in your learning log how the works below critique the institution:
Mel Bochner, Measurement series, 1969
Daniel Buren, Within and Beyond the Frame, 1973
Michael Asher, Untitled installation at Claire Copley Gallery, 1974
Mel Bochner, Measurement series, 1969
Daniel Buren, Within and Beyond the Frame, 1973
Michael Asher, Untitled installation at Claire Copley Gallery, 1974
Mel Bochner
He is an American conceptual artist who incorporates text into his work. His series Measurement Work began in 1969 and explores the characteristics of numerical values, space, and language. The measurements of the space are indicated with notches and numbers layed down with red tape at the eye level of the artist (Bochner, 2020). The artist commented that looking at such a vast space an artist may immediately contemplate how to fill it. Her has always been fascinated with numbers and measurement as a form of communication. Measurements are pure and generally an understandable language in itself. When you look at the measurements of a space, you don't really require additional meaning or context. Even so, he also refers to the space having an imapct on the viewer: "The art is arguably what happens in between and what provokes the viewer to question and corroborate their own perception. All this empty space can be unexpectedly uncomfortable, the tape wrapping around your sense of self like a searing curl of existential dread — a public-pool-size uncanny valley." (Lakin, 2019)
He is an American conceptual artist who incorporates text into his work. His series Measurement Work began in 1969 and explores the characteristics of numerical values, space, and language. The measurements of the space are indicated with notches and numbers layed down with red tape at the eye level of the artist (Bochner, 2020). The artist commented that looking at such a vast space an artist may immediately contemplate how to fill it. Her has always been fascinated with numbers and measurement as a form of communication. Measurements are pure and generally an understandable language in itself. When you look at the measurements of a space, you don't really require additional meaning or context. Even so, he also refers to the space having an imapct on the viewer: "The art is arguably what happens in between and what provokes the viewer to question and corroborate their own perception. All this empty space can be unexpectedly uncomfortable, the tape wrapping around your sense of self like a searing curl of existential dread — a public-pool-size uncanny valley." (Lakin, 2019)
How the work critiques the institution
The artist is simplifying the space. Almost like how you might strip a high-ranking officer of his titles to just see the man. He is taking away the status of the space by reminding us that it once only started as sketch using lines and measurements. Sometimes it can also be interesting to consider what went into creating a space, as viewers could easily neglect thinking about that when looking at displayed art pieces. I suppose viewers may consider the critique differently. On the one hand they might consider that he is highlighting the space and therefore maintaining its importance in the role of art. On the other hand, his simplification of the space could be perceived as taking away its importance and reminding the viewer that this is just another space, no more important than any other.
Daniel Buren
This French conceptual artist created large cite-specific instillations with alternating stripe patterns. His graphic works explore the relationship of art and the structure that hold them. "They are critical tools addressing questions of how we look and perceive, and the way space can be used, appropriated, and revealed in its social and physical nature." (Lisson Gallery, 2020)
Within and Beyond the Frame (1973) e was a set of nineteen black and white striped banners which were suspended on a cable running across the John Weber Gallery and out over the street in New York.strung across the gallery and the street outside the window.
The artist is simplifying the space. Almost like how you might strip a high-ranking officer of his titles to just see the man. He is taking away the status of the space by reminding us that it once only started as sketch using lines and measurements. Sometimes it can also be interesting to consider what went into creating a space, as viewers could easily neglect thinking about that when looking at displayed art pieces. I suppose viewers may consider the critique differently. On the one hand they might consider that he is highlighting the space and therefore maintaining its importance in the role of art. On the other hand, his simplification of the space could be perceived as taking away its importance and reminding the viewer that this is just another space, no more important than any other.
Daniel Buren
This French conceptual artist created large cite-specific instillations with alternating stripe patterns. His graphic works explore the relationship of art and the structure that hold them. "They are critical tools addressing questions of how we look and perceive, and the way space can be used, appropriated, and revealed in its social and physical nature." (Lisson Gallery, 2020)
Within and Beyond the Frame (1973) e was a set of nineteen black and white striped banners which were suspended on a cable running across the John Weber Gallery and out over the street in New York.strung across the gallery and the street outside the window.
How the work critiques the institution
As Buren used his sites as inspiration for the colours or patterns chosen as a way to comment about the site, one might imagine that these veritcal lines represent the skylines. He is also making a comment about how art is not only contained in galleries, which is why some of the work 'framed' inside the art gallery and the other is 'framed' in the urban skyline. It could also be a comment about viewers needing to find art everywhere and expanding their definition of art and where it should be kept. there is value to this as it can allow for more engagement and potentially cultivating a greater appreciation of art, not just in the confines of a gallery.
As Buren used his sites as inspiration for the colours or patterns chosen as a way to comment about the site, one might imagine that these veritcal lines represent the skylines. He is also making a comment about how art is not only contained in galleries, which is why some of the work 'framed' inside the art gallery and the other is 'framed' in the urban skyline. It could also be a comment about viewers needing to find art everywhere and expanding their definition of art and where it should be kept. there is value to this as it can allow for more engagement and potentially cultivating a greater appreciation of art, not just in the confines of a gallery.
Michael Asher
He is an American conceptual instillation artist. His works were very much a critique on the institutions that housed them as they have a "self-conscious awareness of their dependence on the conditions of their exhibition context" (Rorimer, 2012). He explored the hidden conditions of how art was evaluated, viewed and used. According to Archer, art plays an important role in the cultural memory of a community and therefore the museums and galleries that house them do too. His work later also explored the socio-economic factors that affects art and the role public spaces play in this. Another interesting thing about his installations are that they were finite. Once a show was completed, "all that remained ... was the catalogue, installation photographs, drawings and other documents ... ephemeral artifacts that were not afforded the status of artworks in their own right" (Alberro, 2012) |
How the work critiques the institution
It is difficult to find specific research on the Untitled Instillation pictured above, but I can make general assumptions on what the piece is trying to communicate based on what I have learned about Asher thus far. His installations provide a peek behind the curtain and the working spaces that house art. Here we appear to see a type of working station where displays or pieces may still be a work-in-progress. Or possible a 'behind-the-scenes' conversation where choices are being made regarding exhibitions or individual pieces. It may serve the purpose to show the people and processes behind the work we see, so we might appreciate the role these steps play in the final product of display. Asher is praised for the amount of research and detail that goes into his instillation and this intellectual and methodical approach to his instillations have become an important form of institutional critique, though in this particular image it is hard to tell what those exact details might be saying. But here are some critiques I was able to find in Rondeau (2008): filtering daylight (Van Abbemuseum, Eindhoven, 1977), the effect of expansion on affordable housing in surrounding communities (Le Nouveau Musée, Lyon, 1991) or the positioning of the central heating system (Kunsthalle Bern, 1992).
It is difficult to find specific research on the Untitled Instillation pictured above, but I can make general assumptions on what the piece is trying to communicate based on what I have learned about Asher thus far. His installations provide a peek behind the curtain and the working spaces that house art. Here we appear to see a type of working station where displays or pieces may still be a work-in-progress. Or possible a 'behind-the-scenes' conversation where choices are being made regarding exhibitions or individual pieces. It may serve the purpose to show the people and processes behind the work we see, so we might appreciate the role these steps play in the final product of display. Asher is praised for the amount of research and detail that goes into his instillation and this intellectual and methodical approach to his instillations have become an important form of institutional critique, though in this particular image it is hard to tell what those exact details might be saying. But here are some critiques I was able to find in Rondeau (2008): filtering daylight (Van Abbemuseum, Eindhoven, 1977), the effect of expansion on affordable housing in surrounding communities (Le Nouveau Musée, Lyon, 1991) or the positioning of the central heating system (Kunsthalle Bern, 1992).
Works Cited
Alberro, A. (2012) Michael Asher. [online] At: https://www.artnews.com/art-in-america/features/michael-asher-62960/ (Accessed on 28 April 2020)
Bochner, M. (2020) Measurement Room: No Vantage Point, 2019–2020, DIA Beacon, New York. [online] At: http://www.melbochner.net/exhibitions/measurement-room-20192020-dia-beacon/ (Accessed on 27 April 2020)
Lakin, M. (2019) A Conceptual Art Pioneer Who Doesn’t Mince Words. [online] At: https://www.nytimes.com/2019/11/26/t-magazine/mel-bochner.html (Accessed on 27 April 2020)
Lisson Gallery (2020) Daniel Buren. [online] At: https://www.lissongallery.com/artists/daniel-buren (Accessed on 28 April 2020)
Rondeau, J. (2008) Thinking space. [online] At: https://frieze.com/article/thinking-space (Accessed on 28 April 2020)
Rorimer, M. (2012) Michael Asher Kunsthalle Bern 1992. Afterall Books. One Work
Alberro, A. (2012) Michael Asher. [online] At: https://www.artnews.com/art-in-america/features/michael-asher-62960/ (Accessed on 28 April 2020)
Bochner, M. (2020) Measurement Room: No Vantage Point, 2019–2020, DIA Beacon, New York. [online] At: http://www.melbochner.net/exhibitions/measurement-room-20192020-dia-beacon/ (Accessed on 27 April 2020)
Lakin, M. (2019) A Conceptual Art Pioneer Who Doesn’t Mince Words. [online] At: https://www.nytimes.com/2019/11/26/t-magazine/mel-bochner.html (Accessed on 27 April 2020)
Lisson Gallery (2020) Daniel Buren. [online] At: https://www.lissongallery.com/artists/daniel-buren (Accessed on 28 April 2020)
Rondeau, J. (2008) Thinking space. [online] At: https://frieze.com/article/thinking-space (Accessed on 28 April 2020)
Rorimer, M. (2012) Michael Asher Kunsthalle Bern 1992. Afterall Books. One Work
Mierle Laderman Ukeles’ 1973 series of maintenance art performances (examined in the last topic) and Michael Asher’s 1974, Untitled installation at Claire Copley Gallery began to shift the emphasis from the specific location and literal space of art to the wider social and political implications of the institution. The visual significance of the work is less important as the work is dematerialized. It manifests more and more in the form of performances, events and situations that are unique, fleeting and impermanent posing further challenges to the commodification of art. (Kwon, 2004:24) The site is thus conceptual rather than physical, as art produces its own fields of experience it does not have to be an artwork placed in a room.
FOOD was opened in October 1971 by New York artists Gordon Matta-Clark and Carol Goodden in collaboration with other artists. The temporary Soho restaurant was a meeting space for the artistic community and amongst the first relational artworks.
FOOD was opened in October 1971 by New York artists Gordon Matta-Clark and Carol Goodden in collaboration with other artists. The temporary Soho restaurant was a meeting space for the artistic community and amongst the first relational artworks.
reading point
Bourriaud, N. (2002) Relational Aesthetics. Dijon: Les Presse Du Reel. pp. 11-24 [online] At: http://post.thing.net/files/relationalaesthetics.pdf (Accessed on 04.08.18)
Interesting points form the article:
"Otherwise put, the role of artworks is no longer to form imaginary and utopian realties,but to actually be ways of living and models of action within the existing real"
Art takes on a social space - it can enter a relational arena which does not have to be confined by a museum or gallery space.
Art as relational aestetic - this is connected to the theory of form - representing features of the world or things formed in the world
Form should be more than just what we perceive visually but should evolve to include the individual's response to it - this response is needed in order for there to be a relational aestetic
"Each particularartwork is a proposal to live in a shared world, and the work of every artist is a bundle ofrelations with the world, giving rise to other relations, and so on and so forth"
Bourriaud highlights the need for the one who creates form and the one who recieves it. But also that the act of recieving the form creates the potential for that form to be changed based on the individuals reception of it.
Interesting points form the article:
"Otherwise put, the role of artworks is no longer to form imaginary and utopian realties,but to actually be ways of living and models of action within the existing real"
Art takes on a social space - it can enter a relational arena which does not have to be confined by a museum or gallery space.
Art as relational aestetic - this is connected to the theory of form - representing features of the world or things formed in the world
Form should be more than just what we perceive visually but should evolve to include the individual's response to it - this response is needed in order for there to be a relational aestetic
"Each particularartwork is a proposal to live in a shared world, and the work of every artist is a bundle ofrelations with the world, giving rise to other relations, and so on and so forth"
Bourriaud highlights the need for the one who creates form and the one who recieves it. But also that the act of recieving the form creates the potential for that form to be changed based on the individuals reception of it.
Discursive
Since this time in order to defy the elitism of institutions and the commodification of art artists have increasingly explored non-art spaces, venturing into every kind of public and private space, as well as a broad range of disciplines such as sociology, political theory, psychology etc.
‘Beyond these dual expansions of art into culture, which obviously diversify the site, the distinguishing characteristic of today’s site-oriented art is the way in which the art work’s relationship to the actuality of a location (as site) and the social conditions of the institutional frame (as site) are both subordinate to a discursively determined site that is delineated as a field of knowledge, intellectual exchange, or cultural debate. Furthermore, unlike in the previous models, this site is not defined as a precondition. Rather, it is generated by the work (often as “content’), and then verified by its convergence with an existing discursive formation.’
(Kwon, 2004:26)
Since this time in order to defy the elitism of institutions and the commodification of art artists have increasingly explored non-art spaces, venturing into every kind of public and private space, as well as a broad range of disciplines such as sociology, political theory, psychology etc.
‘Beyond these dual expansions of art into culture, which obviously diversify the site, the distinguishing characteristic of today’s site-oriented art is the way in which the art work’s relationship to the actuality of a location (as site) and the social conditions of the institutional frame (as site) are both subordinate to a discursively determined site that is delineated as a field of knowledge, intellectual exchange, or cultural debate. Furthermore, unlike in the previous models, this site is not defined as a precondition. Rather, it is generated by the work (often as “content’), and then verified by its convergence with an existing discursive formation.’
(Kwon, 2004:26)
research point 5
Andrea Kalinová and Martin Zaiček
Photographer Andrea Kalinová and the architect Martin Zaiček are an artistic duo. Through their project Abandoned (re)creation they aim to highlight the significance and value of abandoned herritage sites in the spa town of Trenčianske Teplice, Slovakia. It is a long-standing project that involves several artistic and civil activities where the residents and vistors are encouraged to participate and respond. Many of the sites became spots where talks and lectures where held as a means to draw attentioned to the poor condition of these spaces and to gauge the response visitors have to them (Abandoned (re)Creation, 2020). These projects are an example of artist as activitist and socio-political commentator. |
Andrea Caretto and Raffaella Spagna
Caretto and Soagna work on projects together that "investigate the multiple dimensions of reality: formal, qualitative and physical quantitative aspects of the matter but also philosophical and social aspects". Spagna uses her background in landscape architecture and Caretto his stodueis in science. Projects consist of installations, collective actions, performances and sculptures. They investigate the relationships between humans, other living organisms and inorganic matter. In a larger context, their work explores form. Where form orginates, how it changes and what role the artist plays in this process (Esculenta, 2020)
Caretto and Soagna work on projects together that "investigate the multiple dimensions of reality: formal, qualitative and physical quantitative aspects of the matter but also philosophical and social aspects". Spagna uses her background in landscape architecture and Caretto his stodueis in science. Projects consist of installations, collective actions, performances and sculptures. They investigate the relationships between humans, other living organisms and inorganic matter. In a larger context, their work explores form. Where form orginates, how it changes and what role the artist plays in this process (Esculenta, 2020)
Falsi Frutti (2015) is one of their projects. It is an instillation piece that comprises of 105 apples made of wax that were molded from real apples. They are exhibited as sculptures on glass shelves (Project Marta, 2020). With all apples being the same bronze-like colour, it allows the viewer to focus on the shape of the apple rather than identifying the varietal of the apple by its colour, as you nornally might when grocery shopping.
It is a very interesting way of bringing the focus back to form and to connect that to wat Bourriaud wrote about the arist's role in shaping forms. These are moulds of apples. The moulds were crated by the aritst, but the aplle was created by nature. However, the artist her becomes a the voice in highlihgitng a particular point of view or perspective which could potentially allow the viewer to see these 'forms' in a new way on not their typical function. |
Works Cited
Abandoned (re)Creation (2020) Opustená (re)kreácia 2011-2013. [online] At: https://abandonedrecreation.com/opustena-rekre-2011-2013/ (Accessed on 28 April 2020)
Esculenta (2020) Biography. [online] At: https://www.esculenta.org/biography.htm (Accessed on 28 April 2020)
Project Marta (2020) Falsi Frutti. [online] At: https://www.projectmarta.com/en/opere/falsi-frutti/ (Accessed on 28 April 2020)
Abandoned (re)Creation (2020) Opustená (re)kreácia 2011-2013. [online] At: https://abandonedrecreation.com/opustena-rekre-2011-2013/ (Accessed on 28 April 2020)
Esculenta (2020) Biography. [online] At: https://www.esculenta.org/biography.htm (Accessed on 28 April 2020)
Project Marta (2020) Falsi Frutti. [online] At: https://www.projectmarta.com/en/opere/falsi-frutti/ (Accessed on 28 April 2020)
As artists have moved further into the wider cultural landscape away from the spaces and institutions of art, the site can now be ‘different cultural debates, a theoretical concept, a social issue, a political problem, an institutional framework (not necessarily an art institution) a neighborhood or seasonal event, a historical condition, even particular formations of desire are deemed to function as sites.’ (Kwon, 2004: 28-29) Whilst earlier site-specific work was fixed to a location, today it is fluid, ephemeral and even virtual. Kwon asserts that the discursive site recasts the role of the artist as author and as central to the work, in order for the work to be authentically repeatable. Although the work has dematerialised and resists commodification, as institutions and public bodies line up to commission artists to engage marginalised groups/histories/places, the artist now becomes a service/commodity. Once a piece is regarded successful an artist may be asked to apply the ‘same treatment’ to another situation or place.
The American artist, writer, and filmmaker Renée Green addresses these concerns in her work World Tour, 1993 – four site-specific projects produced in various parts of the world over a three-year period were re-installed as a group. ‘By bringing several distinct projects together, World Tour sought to reflect on the problematic conditions of present-day site-specificity, such as the ethnographic predicament of artists who are frequently imported by foreign institutions and cities as expert/exotic visitors.’
(Kwon, 2004:52)
The American artist, writer, and filmmaker Renée Green addresses these concerns in her work World Tour, 1993 – four site-specific projects produced in various parts of the world over a three-year period were re-installed as a group. ‘By bringing several distinct projects together, World Tour sought to reflect on the problematic conditions of present-day site-specificity, such as the ethnographic predicament of artists who are frequently imported by foreign institutions and cities as expert/exotic visitors.’
(Kwon, 2004:52)
assignment 4: Responding to a site
Create a site-specific work in the medium of your choice. It can be phenomenological, social or discursive in nature. Decide how the work will be disseminated, recorded and documented and show the process and work in your learning log or sketchbook. As you prepare yourself for this assignment reflect on the reading and thinking that you have done so far. Start by developing your ideas and interrogating a number of sites through research and developmental work, before choosing one for your assignment. Send all this work to your tutor for Assignment four together with an outline of your ideas and work for the parallel project and link to connected material on your learning log.
Rationale
I have chosen to create phenomenological pieces for this assignment, as the are based on my experience of Hong Kong. Now when you talk about 'experiencing' a whole country there would certainly be way too much to explore, so I needed to narrow down what 'experience' I wanted to convey. I though about little things that you can do repeatedly in Hong Kong that would never get old. They are new and exciting every time you do them and they will be the types of things that will forever form a part of happy memories during my time living here. One of these things is watching the tram go by, especially as it is set to the towering urban jungle and bustle of people. Considering this, I knew it meant that the pieces needed to be emotive, so it would evoke my sense of nostalgia for those who will look at the pieces.
Impressionis and Expressionism
There was no better movement that captured the notion of 'experience' better than the Impressionists. They focuses on the contemporary modern day life and aimed to capture the momentary experiences that was around them. Monet was the first to experiment with sensations of light and the notion that shapes no longer needed to be clear- cut or solid, but rather experienced as sensations and vibrations through the use of atmospheric colour and light (Honor and Fleming, 2009). For myself, the works of Degas and Renoir create an incredible sense of nostalgia. Though there focus was mainly of the activities of figures, it is the energy in their brush strokes and subtelty in their colour palettes that really evoke emotion. Even though a scene like Renoirs' Luncheon of the Boating Party (1880-81) or Degas' Women on the Terrace (1877) are not in a timeframe or place that I may have been, they evoke memories and sensations that are relatable to me as the viewer. Much of my painting technique also takes influence from the Expressionists. During this movement, artists began to realy more on the emotional responces. Not just to the subject they were painting, but also to the choice of colours and the application of paint. I especially like what Matisse had to say about this emotive method of painting, "choice ... does not rest on any scientific theory; it is based on observation, on feeling, on the very nature of each experience" (Honor and Fleming, 2009: 776). And for him (much like myself) these expressions needed to be spontanious.
Colour choices = Daniel Buren - sites dictate colours (colour theory - experience (socially specific according to my experience
I have chosen to create phenomenological pieces for this assignment, as the are based on my experience of Hong Kong. Now when you talk about 'experiencing' a whole country there would certainly be way too much to explore, so I needed to narrow down what 'experience' I wanted to convey. I though about little things that you can do repeatedly in Hong Kong that would never get old. They are new and exciting every time you do them and they will be the types of things that will forever form a part of happy memories during my time living here. One of these things is watching the tram go by, especially as it is set to the towering urban jungle and bustle of people. Considering this, I knew it meant that the pieces needed to be emotive, so it would evoke my sense of nostalgia for those who will look at the pieces.
Impressionis and Expressionism
There was no better movement that captured the notion of 'experience' better than the Impressionists. They focuses on the contemporary modern day life and aimed to capture the momentary experiences that was around them. Monet was the first to experiment with sensations of light and the notion that shapes no longer needed to be clear- cut or solid, but rather experienced as sensations and vibrations through the use of atmospheric colour and light (Honor and Fleming, 2009). For myself, the works of Degas and Renoir create an incredible sense of nostalgia. Though there focus was mainly of the activities of figures, it is the energy in their brush strokes and subtelty in their colour palettes that really evoke emotion. Even though a scene like Renoirs' Luncheon of the Boating Party (1880-81) or Degas' Women on the Terrace (1877) are not in a timeframe or place that I may have been, they evoke memories and sensations that are relatable to me as the viewer. Much of my painting technique also takes influence from the Expressionists. During this movement, artists began to realy more on the emotional responces. Not just to the subject they were painting, but also to the choice of colours and the application of paint. I especially like what Matisse had to say about this emotive method of painting, "choice ... does not rest on any scientific theory; it is based on observation, on feeling, on the very nature of each experience" (Honor and Fleming, 2009: 776). And for him (much like myself) these expressions needed to be spontanious.
Colour choices = Daniel Buren - sites dictate colours (colour theory - experience (socially specific according to my experience
The Hong Kong Tram Line
The Hong Kong Tram is an iconic figure. The trams started running in 1904 and the connect the East side of Hong Kong Island to the West side, a 13km route. Today there are 165 tramcars in operation with 2 of them still having an antique look. This makes it the world's largest fleet, carrying over 200,000 passengers per day. Another thing that ads to the appeal of the Tram is that it is a cheaper and more environmentally friendly means of travel. Though the earlier wooden materials have been replaced with more lightweight and streamlike materials, the design has maintained it's similar iconice look. They are often affectionaltely refered to as 'Ding-Dings' by the locals. (Hong Kong Tramway, 2020)
The Hong Kong Tram is an iconic figure. The trams started running in 1904 and the connect the East side of Hong Kong Island to the West side, a 13km route. Today there are 165 tramcars in operation with 2 of them still having an antique look. This makes it the world's largest fleet, carrying over 200,000 passengers per day. Another thing that ads to the appeal of the Tram is that it is a cheaper and more environmentally friendly means of travel. Though the earlier wooden materials have been replaced with more lightweight and streamlike materials, the design has maintained it's similar iconice look. They are often affectionaltely refered to as 'Ding-Dings' by the locals. (Hong Kong Tramway, 2020)
Location: Hong Kong Island
I personally live in the new territories and only travel to the Island side of Hong Kong on weekends. Usually to visit friends who stay there or to go and celebrate special occasions. Hong Kong has a population of over 7 million people and on the Island there are 15670 people per sq. km (Census and Statistics Department, 2020). That means that the street on the Island side are alwasy packed and buzzing. To be completely honest, this is one of the reasons why we chose not to live there and only go on occasion. The dnese population in such a small area is also something I would rather forget about and choose not to celebrate. As such, I knew that for my paintings I would focus on the urban landscape and tram. The Hong Kong skyline is very intricate and dense as well, and employing and Impression/Expression technique means that I don't need to be too fussy about capturing every detail or building correctly, but rather evoking a sense of the urban landscape.
I personally live in the new territories and only travel to the Island side of Hong Kong on weekends. Usually to visit friends who stay there or to go and celebrate special occasions. Hong Kong has a population of over 7 million people and on the Island there are 15670 people per sq. km (Census and Statistics Department, 2020). That means that the street on the Island side are alwasy packed and buzzing. To be completely honest, this is one of the reasons why we chose not to live there and only go on occasion. The dnese population in such a small area is also something I would rather forget about and choose not to celebrate. As such, I knew that for my paintings I would focus on the urban landscape and tram. The Hong Kong skyline is very intricate and dense as well, and employing and Impression/Expression technique means that I don't need to be too fussy about capturing every detail or building correctly, but rather evoking a sense of the urban landscape.
Works Cited
Census and Statistics Department (2020) [online] At: https://www.censtatd.gov.hk/hkstat/hkif/index.jsp (Accessed on 1 May 2020)
Honour, H and Fleming, J. (2009) A world history of art. London: Laurence King Publishing.
Hong Kong Tramways (2020) [online] At: https://www.hktramways.com/en/media-coverage-detail/71/1/ (Accessed on 1 May 2020)
Census and Statistics Department (2020) [online] At: https://www.censtatd.gov.hk/hkstat/hkif/index.jsp (Accessed on 1 May 2020)
Honour, H and Fleming, J. (2009) A world history of art. London: Laurence King Publishing.
Hong Kong Tramways (2020) [online] At: https://www.hktramways.com/en/media-coverage-detail/71/1/ (Accessed on 1 May 2020)
Considering Technique
I knew I wanted to work with palette knives to create the pieces as I have used this method before. It is a useful way of blocking in shapes and lines as well as creating texture. I looked into the works of other artists who work with knives to create urban scenes for additional inspiration and to compare their technique.
I first looked at the work of James Kroner. His urban scenes have a fragility. He creates a sense of realism in the scen, but also makes room for atmospheric impressions by leaving edges less defined. You can watch a video of one of his pieces here.
I knew I wanted to work with palette knives to create the pieces as I have used this method before. It is a useful way of blocking in shapes and lines as well as creating texture. I looked into the works of other artists who work with knives to create urban scenes for additional inspiration and to compare their technique.
I first looked at the work of James Kroner. His urban scenes have a fragility. He creates a sense of realism in the scen, but also makes room for atmospheric impressions by leaving edges less defined. You can watch a video of one of his pieces here.
I was particularly drawn to the drippings at the start when he laid down the foundations as well as his warm neutral palette. The fact that certain areas are not exactly distinct also ads to the mood and atmosphere of the piece.
I also looked at the artist Dusan Malobabic who uses palette knives to depict urban scenes with an impressionistic approach. You can watch a video of one of his pieces here.
I also looked at the artist Dusan Malobabic who uses palette knives to depict urban scenes with an impressionistic approach. You can watch a video of one of his pieces here.
I watched a couple of his videos. Mostly it was useful to see how he builds layers and applies the paint with the knife. He works with thick layers and uses paint to cover all surfaces (I did not want to do that). As he starts on a black canvas, I especially noticed the areas of black wher textures came out in the beginning when the paint di not cover anything (Image top right) and it was these textures that I was drawn to. I also aprreciate how he kepr the scene really bright by brining back light paints at the end which really alluminate the image, especially in the way light bounces back from the sky to the roads and buildings. I will try to use this technique in my own work.
Method
As painting in plein air would not be an option (and not really something I do), I would need to work from photographs or sets of phtographs to create my compositions. This can often also be tricky, as you fall in the trap of trying to recreate the photo when really it should just be a starting point of inspiration. I first went looking for some of my own photos I had taken over the years of the tram.
As painting in plein air would not be an option (and not really something I do), I would need to work from photographs or sets of phtographs to create my compositions. This can often also be tricky, as you fall in the trap of trying to recreate the photo when really it should just be a starting point of inspiration. I first went looking for some of my own photos I had taken over the years of the tram.
I have used some of these images before in other paintings, so I wanted a new perspective. As I could not find exactly what I wanted in my own images I went on Instagram and looked at images with #hongkong. I found some lovely images, especially ones that were a bit older and used a couple to composite two ink sketches.
Once I had completed the compositions I uploaded them to Adobe Photoshop so I could play around with colour compositions. I ultimately decided that a more natural looking and muted tone would be most suitable. These are also the colour palettes favored by Degas and Renoir. I also believe that the use of these muted colours will convey a feeling of nostalgia, similar to how sepia or black&white photography evokes that sensation.
Once I had completed the compositions I uploaded them to Adobe Photoshop so I could play around with colour compositions. I ultimately decided that a more natural looking and muted tone would be most suitable. These are also the colour palettes favored by Degas and Renoir. I also believe that the use of these muted colours will convey a feeling of nostalgia, similar to how sepia or black&white photography evokes that sensation.
Composition 1: Daytime Scene with Antique Tram (Ink sketch and colour testing)
Composition 2: Nightime Tram Scene (Ink sketch and colour testing)
I think the ink sketches are quite good in their own right. The graphic contrast of using an ink pen along with the details of the urban landscape and tram already evoke memories of 'island' life (even if just for me). Howeve, as mentioned before, in the paintings I was nor going to focus on exact details, but rather impressions. This would also allow a viewer to fill in their own blanks when it comes to specific details.
Composition 1: Daytime Scene with Antique Tram (Oil Paint on primed canvas)
Composition 2: Nightime Tram Scene (Oil Paint on primed canvas)
I followed the same painting method in both compositions though there is one important difference on the Night Time scene. As I am running out of canvas, I chose to re-use an old canvas for the night time scene.
Step 1: I applied a base layer of a warm neutral colour and while still we I used a large brush to press a turps and linseed oil mixture on the surface from above. This causes it to run down and take layers of paint with it. This dripping sensation and change in pigment starts out the process of evoking an emotive atmosphere.
Step 2: Everything from step 2 is done with palette knives. Once the base had dried I began creating outlines with of shapes with warm neutral colours (combinations of burnt umber, burnt sienna, red and yellow)
Step 3: I would then continue to add slightly cooler tones like sap green and phthalo blue to the neutral mix in order to build depth.
Step 4: I continued layering subtle changes in the colour compositions to build interest.
Step 5: Where needed, additional highlights or areas of light are filled.
Step 6: (only for night time composition) I made a thin wash of payen's grey, turps and linseed oil in order to add more shading in the darker areas of the composition.
Reflection
I believe the pieces work as phenomenological site-pieces. firstly because the use of the iconic tram images can quickly place the viewer in the Hong Kong Island location (or at least viewers that have traveled or lived there). The subtlety in colour composition and texture of the techniques used aid in creating a psychological (emotional) response. I shared the daytime piece on social media and many of my Hong Kong friends commented on the fact that watching the tram in the streets also evokes happy memories for them.
Once again where we notice the ability of art to create strong psychological responses. I know Love argued that no viewer can truly experience what the artist tried to convey or that an artist can never truly capture an exact experience, but we can have collective sensations. I think it is the combination of the real experience (seeing the tram) along with the choice of technique and colour that make the responses more powerful. The memory/ nostalgia/ experience evoked by this specific site is of course more relatable to a viewer who has traveled or lived there. That does not mean that a viewer looking at the work can not make associations or be reminded of similar experience with meaning to them.
Step 1: I applied a base layer of a warm neutral colour and while still we I used a large brush to press a turps and linseed oil mixture on the surface from above. This causes it to run down and take layers of paint with it. This dripping sensation and change in pigment starts out the process of evoking an emotive atmosphere.
Step 2: Everything from step 2 is done with palette knives. Once the base had dried I began creating outlines with of shapes with warm neutral colours (combinations of burnt umber, burnt sienna, red and yellow)
Step 3: I would then continue to add slightly cooler tones like sap green and phthalo blue to the neutral mix in order to build depth.
Step 4: I continued layering subtle changes in the colour compositions to build interest.
Step 5: Where needed, additional highlights or areas of light are filled.
Step 6: (only for night time composition) I made a thin wash of payen's grey, turps and linseed oil in order to add more shading in the darker areas of the composition.
Reflection
I believe the pieces work as phenomenological site-pieces. firstly because the use of the iconic tram images can quickly place the viewer in the Hong Kong Island location (or at least viewers that have traveled or lived there). The subtlety in colour composition and texture of the techniques used aid in creating a psychological (emotional) response. I shared the daytime piece on social media and many of my Hong Kong friends commented on the fact that watching the tram in the streets also evokes happy memories for them.
Once again where we notice the ability of art to create strong psychological responses. I know Love argued that no viewer can truly experience what the artist tried to convey or that an artist can never truly capture an exact experience, but we can have collective sensations. I think it is the combination of the real experience (seeing the tram) along with the choice of technique and colour that make the responses more powerful. The memory/ nostalgia/ experience evoked by this specific site is of course more relatable to a viewer who has traveled or lived there. That does not mean that a viewer looking at the work can not make associations or be reminded of similar experience with meaning to them.
reflecting on the tutor report
The tutor has noted that part 4 is showing a better connection between my theoretical research and my practical work. They have also noted an improvement in how I write about my practice in using more descriptive words. Though this has improved, there are still areas where I can delve deeper and reflect on my motivations and choices more. They were happy with my progress towards the parallel project and encouraged me to consider who my audience would be. They gave me a good tip towards creating a focus for the work "what is it
my work wants to ask, rather than what it wants to say"
my work wants to ask, rather than what it wants to say"