Part 5: Transformation
Introduction
While the desire to transform society through the power of art is a fundamental characteristic of art practice at least as far back as the Romantic art movement of the nineteenth century, we today still struggle with the question of how art can effectively change society. Now we know from Karl Marx that it is primarily work that changes society and the world as a whole. So the best way to investigate the transformative power of art in contemporary society is by looking at the specific position of art production in our current societal context. [...] As the traditional dichotomy between intellectual and manual work is gradually erased, artistic labor is becoming more and more representative of the functioning of society as a whole. This raises new questions concerning the role of the artist in society and the political dimensions of art.’ (Groys, 2013)
You have examined how artists attempt to critique the institutions of art and the art world and their shift into non-art spaces and disciplines. In this part, you will focus on different types of attempts to affect change. You will examine particular works by artists who seek to challenge, question and transform society.
- What different ways are there to do this and what if anything is transformed?
- Can art promote equality, empower the marginalized and disenfranchised, or challenge the social order? Can art be useful and should it be useful?
- What are the implications of such expectations?
- What is the relationship between usefulness and value?
In this topic, you will be encouraged to conduct research more independently and bring critical thinking to works and ideas in order to prepare you for assignment five which asks you to write 1000 words describing the motivations that you can identify within your own art practice and your final assignment in topic 6. Think about the types of writing and thinking you have encountered on the course and the different ways in which they engage with the work. Remember to continue to think about how the artworks and ideas introduced here could feed into your Parallel Project and to update your glossary.
While the desire to transform society through the power of art is a fundamental characteristic of art practice at least as far back as the Romantic art movement of the nineteenth century, we today still struggle with the question of how art can effectively change society. Now we know from Karl Marx that it is primarily work that changes society and the world as a whole. So the best way to investigate the transformative power of art in contemporary society is by looking at the specific position of art production in our current societal context. [...] As the traditional dichotomy between intellectual and manual work is gradually erased, artistic labor is becoming more and more representative of the functioning of society as a whole. This raises new questions concerning the role of the artist in society and the political dimensions of art.’ (Groys, 2013)
You have examined how artists attempt to critique the institutions of art and the art world and their shift into non-art spaces and disciplines. In this part, you will focus on different types of attempts to affect change. You will examine particular works by artists who seek to challenge, question and transform society.
- What different ways are there to do this and what if anything is transformed?
- Can art promote equality, empower the marginalized and disenfranchised, or challenge the social order? Can art be useful and should it be useful?
- What are the implications of such expectations?
- What is the relationship between usefulness and value?
In this topic, you will be encouraged to conduct research more independently and bring critical thinking to works and ideas in order to prepare you for assignment five which asks you to write 1000 words describing the motivations that you can identify within your own art practice and your final assignment in topic 6. Think about the types of writing and thinking you have encountered on the course and the different ways in which they engage with the work. Remember to continue to think about how the artworks and ideas introduced here could feed into your Parallel Project and to update your glossary.
Topic 1: Political dimensions
In this topic, you will examine the practices of artists who use their work explicitly or implicitly to address social and political concerns using visual means. They may seek to uncover past or present injustices or shift personal or societal attitudes. Rather than analysing these works through different texts you will critically look at them and bring your own analysis to them.
Gender
Gender
Exercise 5: 1970’s feminist art
Jo Spence, Helen Chadwick, Ewa Partum, Karin Mack, Valie Export, Hannah Wilke, Cindy Sherman, Renate Eisenegger, Mary Kelly, Lorna Simpson are but a few of the artists that address female identity in their work. Choose a particular artist to focus on and choose three works by them. Make a list for each work in your learning log of exactly what you see in the image of the work. Be as specific as you can and include as many details as possible.
In previous parts of the course I researched works by Spence, Chadwick, Sherman and Kelly. Of those remaining I have chosen to focus on Hannah Wilke.
In previous parts of the course I researched works by Spence, Chadwick, Sherman and Kelly. Of those remaining I have chosen to focus on Hannah Wilke.
Hannah Wilke
She is an American artist who creates confrontational photography and performance pieces which look at feminism, sexuality and politics. Like so many other feminist artists during the 60s and 70s, they were challenging the male gaze and art and taking back the female form. In her work she especially highlighted the connection between the "female experience and the image of the vagina", by creating various abstract sculptures of the vagina with organic materials like gum, latex, clay etc. (Artsy 2020).
"The chewing gum interrupts the viewer's desiring gaze, calling attention to the objectification of woman's bodies." (Guggenheim, 2020)
She is an American artist who creates confrontational photography and performance pieces which look at feminism, sexuality and politics. Like so many other feminist artists during the 60s and 70s, they were challenging the male gaze and art and taking back the female form. In her work she especially highlighted the connection between the "female experience and the image of the vagina", by creating various abstract sculptures of the vagina with organic materials like gum, latex, clay etc. (Artsy 2020).
"The chewing gum interrupts the viewer's desiring gaze, calling attention to the objectification of woman's bodies." (Guggenheim, 2020)
Venus Pareve (1982-83)
Context This is a bust sculpture of Wilke's body. The original bust sculpture was made with chocolate, but later she produced several coloured replicas with painted plaster. The use of the chocolate in the original was to involve the audience in her performance art, as they were able to consume the chocolate bust. She also saw this as a commentary on taste as well as a feminist statement of how women are 'eaten' away by society (Souter, 2020). Venus was the Roman goddess of love. She was one of the few females portrayed in Classical art along with Aphrodite. Wilke offers herself as the goddess, there for the audience to consume. What do I see I see the life-sized bust of a female form. The form is petite and reminiscent of classical sculpture. If I had not found out through my research that the piece was chocolate, I would have thought this was done with terracotta, as the colouring and texture of material looks similar. The bulk of the colouring has warm tones of dark brown and burnt orange. It almost looks as though the materials have withered or experienced some decay, especially the white-grey areas. The bust is willfully only shaped to the upper thigh, however at the top it appears that parts have been chipped away or damaged. Again, knowing what I do from the research, these are likely the areas where the viewers took pieces off. |
S.O.S. Starification Object Series, Performalist Self-Portrait with Les Wollam (1974)
Context Wilke's comment on the use of gum “I chose gum because it’s the perfect metaphor for the American woman—chew her up, get what you want out of her, throw her out and pop in a new piece.” (Wilke cited on Williams, 2019). It also draws attention to the objectification of the female body. their placement around the body become a depiction of wounds, which represent the prejudice faced by women (Manchester, 2008). There were those who criticized the work, noting that they way in which her nude body was used was considered distasteful and narcissistic. Wilke however meant to make a specific comment on how the use of the nude female body is deemed acceptable when considered attractive. The constant use of the vagina was also seen as way of reducing women to their reproductive organs (Williams, 2019). What do I see? This is a black and white photograph of a young, atrractive female who is a brunette. The pose, angle and close-up nature of the composition is similar to modelling or glamour shots. The woman is wearing a pair of round sun glasses with a white rim. Her chest is exposed as she is wearing a scantily embroidered dungaree. Both her hands are holding tight onto a plastic Micky Mouse figure, roughly 30cm tall. Attached to parts of her upper body and face are small pieces that look like clay. If I had not done the research before, I would have thought they resembled really large warts. I would have considered that to be some type of comment on the 'ugly truth' behind beauty. From the research, I know these are actually small vagina shapes formed with gum. |
Marxism and Art: Beware of Fascist Feminism (1977)
Context This poster was created for the Center for Feminist Art Historical Studies (Los Angeles) who asked her to create an art piece for a project entitled What is Feminist Art? The work is a response to the criticism she received about using her naked body in her art (Manchester, 2008) "she exposes the hypocrisy of feminists who would police how she uses her own body (as men had always policed women's bodies) by referring to these critics as fascists" (Scouter, 2020) What do I see This is black and white poster combining words and a photograph. The photograph is of a young attractive brunette woman in a confrontational pose that looks straight at the viewer. She is wearing a collared shirt which is buttoned open and pulled over to their shoulders. Her breasts and stomach are revealed and below she is wearing low-slung jeans. Her hands are placed on her hips and she has a type of smug expression. Around her neck is a large patterned tie. Scattered around her stomach, chest and face are the small pieces we know know are vagina shapes made with gum. Framing the photograph is a large black border. Above the image are the words "Marxism and Art" and below the image are the words "Beware of Fascist Feminism". |
Works Cited
Artsy (2020) Hannah Wilke. [online] At: https://www.artsy.net/artist/hannah-wilke (Accessed on 11 May 2020)
Guggenheim (2020) Hannah Wilke. [online] At: https://www.guggenheim.org/artwork/artist/hannah-wilke (Accessed on 11 May 2020)
Manchester, E. (2008) Hannah Wilke Marxism and Art: Beware of Fascist Feminism 1977 [online] At: https://www.tate.org.uk/art/artworks/wilke-marxism-and-art-beware-of-fascist-feminism-p79357 (Accessed on 13 May 2020)
Souter, A. (2020) Hannah Wilke. [online] At: https://www.theartstory.org/artist/wilke-hannah/artworks/ (Accessed on 13 May 2020)
Williams, H. (2019) Hannah Wilke’s Naked Crusade to Subvert the Patriarchy. [online] At: https://www.artsy.net/article/artsy-editorial-hannah-wilkes-naked-crusade-subvert-patriarchy (Accessed on 13 May 2020)
Artsy (2020) Hannah Wilke. [online] At: https://www.artsy.net/artist/hannah-wilke (Accessed on 11 May 2020)
Guggenheim (2020) Hannah Wilke. [online] At: https://www.guggenheim.org/artwork/artist/hannah-wilke (Accessed on 11 May 2020)
Manchester, E. (2008) Hannah Wilke Marxism and Art: Beware of Fascist Feminism 1977 [online] At: https://www.tate.org.uk/art/artworks/wilke-marxism-and-art-beware-of-fascist-feminism-p79357 (Accessed on 13 May 2020)
Souter, A. (2020) Hannah Wilke. [online] At: https://www.theartstory.org/artist/wilke-hannah/artworks/ (Accessed on 13 May 2020)
Williams, H. (2019) Hannah Wilke’s Naked Crusade to Subvert the Patriarchy. [online] At: https://www.artsy.net/article/artsy-editorial-hannah-wilkes-naked-crusade-subvert-patriarchy (Accessed on 13 May 2020)
Exercise 5.1: Silvia Kolbowski
Refer back to feminist practices covered in the course so far. Look up the work of Silvia Kolbowski. How do feminist critical practices today differ from those from earlier generations? Write 250 words in your learning log identifying the differences and their significance.
Feminist Art
After the women’s suffrage movements in the US and Britain around the 1920s, where women fought for the right to vote and other forms of equality in society, we saw a rise in female artists producing work that was concerned with their role in society. There was a particular focus in how women have been overlooked professionally, as artists, but also within other areas of society due to stereotypical gender roles and a male dominated environment. During the 1970s female artists were fighting for equal representation in the art sector. By starting organizations like, Art Worker's Coalition, Women Artists in Revolution (WAR), they wanted to, “rewrite male-established criteria of art criticism and aesthetics” (The Art Story Contributors, 2020). They were taking on an entire history of Western art where women were only represented as objects and for pleasure through the male gaze.
In Part 1 I researched the work of Yoko Ono. Her performance piece, Cut Piece (1964) brings to light the use of the female body in art and the relationship between the body as 'object'. Performance art was a popular means for women to create a voice in the world of conceptual art, as it “foregrounded the degree to which experience is based in bodies that are differentiated by gender, as well as race, class, and other such socially divisive categories” (Grayson-Knoth, 2020). In Part 2 I researched the work of Helen Chadwick whose conceptual series Meat Abstract (1989) uses raw meat as a commentary on women being a consumable product. Another artist concerned with the role of women in society, was Mierle Laderman Ukeles, whose series Maintenance Work (1973), I researched in Part 4, which addresses the domestic expectations on women.
Though it has been a long and continuous journey, these earlier female artists helped to establish women as professionals in the art world and give us a voice. This means that a new generation of female artists are able to concern themselves with other ideas and more individual work, though sexual equality and de-objectification remain strong themes, like in Silvia Kolbowski’s Model Pleasure (1982-1983) series, where she particularly addresses the male gaze still prevalent in the media. It seems that a new generation of female artists no longer have to “identify” as female, but can instead focus on their skill as an artist which is now more recognized. However, as a female, I am aware that there are still gaps in media and social hierarchy in the representation of women, this is why exploring gender roles and behavioural stereotypes continue to be a strong means of questioning our identity and views of society. The work of Barbara Kruger and Cindy Sherman continue to be iconic in this regard as both their work questions authentic identity.
Feminist Art
After the women’s suffrage movements in the US and Britain around the 1920s, where women fought for the right to vote and other forms of equality in society, we saw a rise in female artists producing work that was concerned with their role in society. There was a particular focus in how women have been overlooked professionally, as artists, but also within other areas of society due to stereotypical gender roles and a male dominated environment. During the 1970s female artists were fighting for equal representation in the art sector. By starting organizations like, Art Worker's Coalition, Women Artists in Revolution (WAR), they wanted to, “rewrite male-established criteria of art criticism and aesthetics” (The Art Story Contributors, 2020). They were taking on an entire history of Western art where women were only represented as objects and for pleasure through the male gaze.
In Part 1 I researched the work of Yoko Ono. Her performance piece, Cut Piece (1964) brings to light the use of the female body in art and the relationship between the body as 'object'. Performance art was a popular means for women to create a voice in the world of conceptual art, as it “foregrounded the degree to which experience is based in bodies that are differentiated by gender, as well as race, class, and other such socially divisive categories” (Grayson-Knoth, 2020). In Part 2 I researched the work of Helen Chadwick whose conceptual series Meat Abstract (1989) uses raw meat as a commentary on women being a consumable product. Another artist concerned with the role of women in society, was Mierle Laderman Ukeles, whose series Maintenance Work (1973), I researched in Part 4, which addresses the domestic expectations on women.
Though it has been a long and continuous journey, these earlier female artists helped to establish women as professionals in the art world and give us a voice. This means that a new generation of female artists are able to concern themselves with other ideas and more individual work, though sexual equality and de-objectification remain strong themes, like in Silvia Kolbowski’s Model Pleasure (1982-1983) series, where she particularly addresses the male gaze still prevalent in the media. It seems that a new generation of female artists no longer have to “identify” as female, but can instead focus on their skill as an artist which is now more recognized. However, as a female, I am aware that there are still gaps in media and social hierarchy in the representation of women, this is why exploring gender roles and behavioural stereotypes continue to be a strong means of questioning our identity and views of society. The work of Barbara Kruger and Cindy Sherman continue to be iconic in this regard as both their work questions authentic identity.
Works Cited
Grayson-Knoth, S. (2020) Feminism and Art. [online] At: http://arthistoryteachingresources.org/lessons/feminism-art/ (Accessed on 21 May 2020)
The Art Story Contributors (2020) Feminsit Art. [online] At: https://www.theartstory.org/movement/feminist-art/history-and-concepts/#concepts_styles_and_trends_header (Accessed on 21 May 2020)
Grayson-Knoth, S. (2020) Feminism and Art. [online] At: http://arthistoryteachingresources.org/lessons/feminism-art/ (Accessed on 21 May 2020)
The Art Story Contributors (2020) Feminsit Art. [online] At: https://www.theartstory.org/movement/feminist-art/history-and-concepts/#concepts_styles_and_trends_header (Accessed on 21 May 2020)
Exercise 5.2: Current feminist art
Research two other artists that are currently dealing with gender identity in their work. Describe their work and the different approaches that they take in your learning log.
During my Painting 2 course I completed some pieces that also dealt with gender roles and stereotyping. During my research of these pieces I came across these two artists, ORLAN and Claude Cahun.
During my Painting 2 course I completed some pieces that also dealt with gender roles and stereotyping. During my research of these pieces I came across these two artists, ORLAN and Claude Cahun.
Claude Cahun
Cahun was a French photographer, sculptor, writer and political activist. Her greatest topic of inspiration was herself. Exploring her own nature, integrity, gender and outlook. She purposefully rejected societal views of gender and used her own appearance to advocate gender neutrality. Much of her works are a testament to how we agonize over our identity and gender and how these are dictated by societal views. Her work is ambiguous and dream-like at times, tying it to the feminist and surrealist movements. I think there have been great strides made in since the creation of these works. Androgyny and gender fluidity are terms that are becoming more and more used. A women shaving her head or wearing a man's suit wouldn't nearly draw as much attention today. Her explorations of gender and identity is still very relevant though as I doubt there are any men or women out there who have not questioned their sexuality or looked in a mirror and asked 'Who am I?' |
ORLAN
She is a contemporary French artist who uses radical methods, including multiple plastic surgeries and skin removals, to explore the relationship we have with bodies. As a feminist, she has always been concerned with how women are represented in art, media, advertising and Christendom and so she decided to use and modify her own body as a statement against society. She describes her work as a ""struggle against the innate, the inexorable, the programmed, nature, DNA – and God" (ORLAN cited on Jeffries, 2009). Her body is used as a political statement in a way. Inspired by the Art History, which is particularity rich with Christian imagery, she embarked on reinventing images by adding her own historical and cultural contexts. This can be seen in some of her earlier works like St. Orlan (1947). Through her self portraits and surgical performance art pieces, like Omniprésence (1993), she takes control of her body and her image, without it having to be dictated by society, especially the male viewer. "If identity is constructed on the surface of a woman’s body, on the skin, ORLAN will peel it back to show us what lies beneath, or dramatically alter it so as to participate in the creation of her own identity" (Leddy, 2017) |
Comparisons
Both of these artists use their own bodies as a way of exploring art. This in combination with performance and photography brings their ideas to life. Cahun's approach is more subtle and certainly does not have such a large invasive and 'performance' aspect to it. But it is clear that both are grappling with how they are viewed by others in society, as many of us do.
Both of these artists use their own bodies as a way of exploring art. This in combination with performance and photography brings their ideas to life. Cahun's approach is more subtle and certainly does not have such a large invasive and 'performance' aspect to it. But it is clear that both are grappling with how they are viewed by others in society, as many of us do.
Works Cited
Jeffries, S. (2009) Orlan's art of sex and surgery. [online] At: https://www.theguardian.com/artanddesign/2009/jul/01/orlan-performance-artist-carnal-art (Accessed on 21 May 2020)
Leddy S. (2017) At 70, Body Modification Artist ORLAN Is Still Reinventing Herself. [online] At: https://www.artsy.net/article/artsy-editorial-70-body-modification-artist-orlan-reinventing (Accessed on 21 May 2020)
Jeffries, S. (2009) Orlan's art of sex and surgery. [online] At: https://www.theguardian.com/artanddesign/2009/jul/01/orlan-performance-artist-carnal-art (Accessed on 21 May 2020)
Leddy S. (2017) At 70, Body Modification Artist ORLAN Is Still Reinventing Herself. [online] At: https://www.artsy.net/article/artsy-editorial-70-body-modification-artist-orlan-reinventing (Accessed on 21 May 2020)
Cultural identity
Cultural identity can often be a subject matter for artists that find themselves to be considered an ethnic minority within a dominant culture. Their minority status may be a result of immigration, displacement for various reasons, or historical factors such as colonisation or the Atlantic slave trade.
Cultural identity can often be a subject matter for artists that find themselves to be considered an ethnic minority within a dominant culture. Their minority status may be a result of immigration, displacement for various reasons, or historical factors such as colonisation or the Atlantic slave trade.
research point 1
Look up interviews with and texts about the British artist Lubaina Himid. Begin with the suggestion below:
https://www.youtube.com/watch?v=PKiN2FHqYFU
Listen to the discussion between Kerry James Marshall and Helen Molesworth at The Museum of Contemporary Art. If you cannot access it, find an alternative interview, or text regarding the work of Kerry James Marshall.
Kerry James Marshall and Helen Molesworth in Conversation [online] At:
https://www.moca.org/program/kerry-james-marshall-and-helen-molesworth-in-conversation (Accessed on 16.08.18)
Reflect in your learning log in writing or in the form of an audio piece on how these two interviews differ from the experience of reading a text about an artist or their work.
https://www.youtube.com/watch?v=PKiN2FHqYFU
Listen to the discussion between Kerry James Marshall and Helen Molesworth at The Museum of Contemporary Art. If you cannot access it, find an alternative interview, or text regarding the work of Kerry James Marshall.
Kerry James Marshall and Helen Molesworth in Conversation [online] At:
https://www.moca.org/program/kerry-james-marshall-and-helen-molesworth-in-conversation (Accessed on 16.08.18)
Reflect in your learning log in writing or in the form of an audio piece on how these two interviews differ from the experience of reading a text about an artist or their work.
Lubaina Himid
She is an artist based in the UK and her work mainly deals with issues of race. She explores the history of black people in Britain, from the more violent past to the more subtle forms of racism in society today. Her work takes on a very narrative role as she engages in the stories of real people and tries to convey their experiences with an emotional intensity. She makes paintings, prints, drawings and installations which celebrate Black creativity and the people of the African diaspora while challenging institutional invisibility.
Kerry James
He is an American contemporary painter who explores the lives of African Americans during the Civil Rights movement. He creates narrative pieces using scenes and objects from black culture and present them in old Western painting traditions.
Reflection
Before watching the interviews I did some quick research to gain a bit of context about the artists (as seen above). There is clear difference in reading biographical/ review style information about an artist compared to hearing the artists authentic responses. The contextual reading was good, as it allowed me to understand the typical themes or practices of the artist, but there is something a bit more personal about an interview. You get a better sense of the artist's feelings towards their work. Seeing their gestures and facial expressions when discussing their pieces adds to the audience experience. In the interviews where Himid talks about her work, for example, you get a greater sense of her process when she is creating, as she shares where the idea began and the steps that follow in her creation. Often during interviews, we are also able to learn a bit more about the artists history and what inspires and influences them. Of course we can read this in a bio, but the personality and explanation that comes from the artist has more layers. In James' interview for example, you appreciate the emotion with which he shares his journey as an artist. He once again addresses particular concerns and thought processes that helped him find his voice. It was especially interesting to hear about his struggles with what he learned in art school, and how to marry this with a more modern world. He is also has a very natural and sincere approach in his interviews, which again makes the artist more relatable. It also helps that he has a good sense of humour. In short, interviews are more personable, which allows for greater insight and relatability.
She is an artist based in the UK and her work mainly deals with issues of race. She explores the history of black people in Britain, from the more violent past to the more subtle forms of racism in society today. Her work takes on a very narrative role as she engages in the stories of real people and tries to convey their experiences with an emotional intensity. She makes paintings, prints, drawings and installations which celebrate Black creativity and the people of the African diaspora while challenging institutional invisibility.
Kerry James
He is an American contemporary painter who explores the lives of African Americans during the Civil Rights movement. He creates narrative pieces using scenes and objects from black culture and present them in old Western painting traditions.
Reflection
Before watching the interviews I did some quick research to gain a bit of context about the artists (as seen above). There is clear difference in reading biographical/ review style information about an artist compared to hearing the artists authentic responses. The contextual reading was good, as it allowed me to understand the typical themes or practices of the artist, but there is something a bit more personal about an interview. You get a better sense of the artist's feelings towards their work. Seeing their gestures and facial expressions when discussing their pieces adds to the audience experience. In the interviews where Himid talks about her work, for example, you get a greater sense of her process when she is creating, as she shares where the idea began and the steps that follow in her creation. Often during interviews, we are also able to learn a bit more about the artists history and what inspires and influences them. Of course we can read this in a bio, but the personality and explanation that comes from the artist has more layers. In James' interview for example, you appreciate the emotion with which he shares his journey as an artist. He once again addresses particular concerns and thought processes that helped him find his voice. It was especially interesting to hear about his struggles with what he learned in art school, and how to marry this with a more modern world. He is also has a very natural and sincere approach in his interviews, which again makes the artist more relatable. It also helps that he has a good sense of humour. In short, interviews are more personable, which allows for greater insight and relatability.
Exercise 5.3: Changing identity (Part 1)
Choose one work by John Akomfrah and research how he approaches and communicates the subject of identity in his work.
John Akomfrah
The artist John Akomfrah explores identity, memory, post-colonialism, temporality and aesthetics. His richly layered films which often depict the experiences of migrant, particularly African, diasporas globally, combine found and archive footage with film shot on location. Akomfrah was a founding member of the influential Black Audio Film Collective, which started in London in 1982.
John Akomfrah
The artist John Akomfrah explores identity, memory, post-colonialism, temporality and aesthetics. His richly layered films which often depict the experiences of migrant, particularly African, diasporas globally, combine found and archive footage with film shot on location. Akomfrah was a founding member of the influential Black Audio Film Collective, which started in London in 1982.
Vertigo Sea (2015)
This was a 3 panel video instillation that featured a combination of archival material, readings from classical sources and new footage shot by the artist. It explores our history on the oceans, from the shackled slaves of the transatlantic slave trade, to the cruelty of the whaling industry, to present day scenes of migrants crossing the ocean in hopes of a better life. Footage shows the ocean as a source of life and wonder and juxtaposes it with terror and hardship. Sound is also used to further enhance this contrast. Breathy and majestic strings are combined with whale song and then interrupted by echoing shots of hunting rifles and harpoon cannons. Though there is a narrative element to the work, it is not presented chronologically, with images and sounds being blended intermittently (Demos, 2015) |
In terms of identity, Akomfrah explores the role that history plays in how our perceptions of self is cultivated. In Vertigo (2015), he is asking the audience to reflect on their role in destroying the beauty of nature and how our desires to dominate nature and thrive in a capitalist society has made us greedy and cold-hearted. He also explores our relationship with documenting history, particularly through the use of images, noting that, "you capture something in an image because you want it to live" (Akomfrah cited on Tate, 2015). This places the artist in the role of caretaker and custodian of the future" (The Potter, 2017). He uses the philosophy of montage to provide meaning through his chosen images. In this way the artist places pieces of his own identity in the work as he considers what to include and reflects on what it means to him. An audience member in turn, will add new meaning and understandings to these images which mean they have the potential to become infinite in their narrative.
Art can certainly be a powerful way in holding up a mirror to society. It allows us to see things from another perspective. I the case of Akomfrah's work, it allows us to consider where we came from and where we are headed. Life is made up of the beautiful and the ugly moments, which is why we should pause and reflect on how these moments define us.
Art can certainly be a powerful way in holding up a mirror to society. It allows us to see things from another perspective. I the case of Akomfrah's work, it allows us to consider where we came from and where we are headed. Life is made up of the beautiful and the ugly moments, which is why we should pause and reflect on how these moments define us.
Works Cited
Demos, T.J. (2015) On Terror and Beauty: John Akomfrah: Vertigo Sea. [online] At: http://www.revistaatlantica.com/en/contribution/on-terror-and-beauty-john-akomfrahs-vertigo-sea/ (Accessed on 26 May 2020)
Tate (2015) John Akomfrah – Why History Matters: TateShots. [online] At: https://www.youtube.com/watch?v=jDJYyG7jKV0 (Accessed on 26 May 2020)
The Potter Museum of Art (2017) John Akomfrah: Vertigo Sea. [online] At: https://art-museum.unimelb.edu.au/exhibitions/john-akomfrah-vertigo-sea/ (Accessed on 26 May 2020)
Demos, T.J. (2015) On Terror and Beauty: John Akomfrah: Vertigo Sea. [online] At: http://www.revistaatlantica.com/en/contribution/on-terror-and-beauty-john-akomfrahs-vertigo-sea/ (Accessed on 26 May 2020)
Tate (2015) John Akomfrah – Why History Matters: TateShots. [online] At: https://www.youtube.com/watch?v=jDJYyG7jKV0 (Accessed on 26 May 2020)
The Potter Museum of Art (2017) John Akomfrah: Vertigo Sea. [online] At: https://art-museum.unimelb.edu.au/exhibitions/john-akomfrah-vertigo-sea/ (Accessed on 26 May 2020)
Exercise 5.3: Changing identity (Part 2)
Choose one of the artists from the list below, or an artist of your choice with a mature body of work that addresses cultural identity. Research the artist’s work produced over their career and observe how the work has changed in terms of subject, form, style, approach. Write your observations in your learning log using a mode of writing of your choice – it could be descriptive, poetic, analytical, theoretical, etc.
Ingrid Pollard, Claudette Johnson, Donald Rodney, Keith Piper, Hurvin Anderson, Sonia Boyce, Maud Sulter, Kerry James Marshall, Yinka Shonibare, Eddie Chambers, Zarina Bhimji, Chris Ofili, Sutapa Biswas, are some artists that deal with cultural identity in Britain and the U.S.
Ingrid Pollard, Claudette Johnson, Donald Rodney, Keith Piper, Hurvin Anderson, Sonia Boyce, Maud Sulter, Kerry James Marshall, Yinka Shonibare, Eddie Chambers, Zarina Bhimji, Chris Ofili, Sutapa Biswas, are some artists that deal with cultural identity in Britain and the U.S.
I have chosen Yinka Shonibare and representing my findings on a timeline that showcases key moments in his development as an artist.
Reflection
Considering my research, here are some final thoughts.
Subject
In terms of subject, there seems to be a consistent exploration into identity. Who we represent in society or how we are seen by others. This is mostly addressed by looking at migration and the impact of one culture onto another.
Form
Shonibare has certainly explored with his themes in many forms. He worked on canvas, combined photography and performance, created sculptural pieces and produced films. His pieces definitely take a multi-media approach.
Style
there is a general cohesion in his work which makes it recognizable. Pieces are generally colourful and playful. He wants the audience to be entertained, but also provoked.
Approach
In some of of the earlier pieces, Shonibare allowed the materials to guide his approach to the work, especially the use of the fabric. Later he used a more research-based approach and began by investigating history to find the essence of an event and present that in way that has whimsy and meaning.
References for research above
https://www.britannica.com/biography/Yinka-Shonibare
https://www.nytimes.com/2009/06/21/arts/design/21sont.html
https://www.apollo-magazine.com/interview-yinka-shonibare/
https://www.artlyst.com/reviews/yinka-shonibare-end-of-empire-conflict-and-dominion-at-turner-contemporary/
Considering my research, here are some final thoughts.
Subject
In terms of subject, there seems to be a consistent exploration into identity. Who we represent in society or how we are seen by others. This is mostly addressed by looking at migration and the impact of one culture onto another.
Form
Shonibare has certainly explored with his themes in many forms. He worked on canvas, combined photography and performance, created sculptural pieces and produced films. His pieces definitely take a multi-media approach.
Style
there is a general cohesion in his work which makes it recognizable. Pieces are generally colourful and playful. He wants the audience to be entertained, but also provoked.
Approach
In some of of the earlier pieces, Shonibare allowed the materials to guide his approach to the work, especially the use of the fabric. Later he used a more research-based approach and began by investigating history to find the essence of an event and present that in way that has whimsy and meaning.
References for research above
https://www.britannica.com/biography/Yinka-Shonibare
https://www.nytimes.com/2009/06/21/arts/design/21sont.html
https://www.apollo-magazine.com/interview-yinka-shonibare/
https://www.artlyst.com/reviews/yinka-shonibare-end-of-empire-conflict-and-dominion-at-turner-contemporary/
Inequality and Status Quo
research point 2
You examined attempts by fluxus artists to challenge the status quo in the previous topic. Look up the ways in which Dada and the Situationists made provocations.
Dada
The carnage and mass killings of WWI drove many artists to despair. In response Marcel Duchamp and a number of other artists, including poets and writers with shared attitudes ,launched a movement called Dada. It is an ideology based around mocking the modern world and what it had become. Our thirst for material things and power had driven us to destruction, rendering all our values, morals and aesthetic tastes meaningless. They intended on creating pieces that would attack and shock society. Duchamp baffled critics with a series called 'Ready Mades'. The most controversial of which was his Fountain. "It asserts the value of the work of art as a 'sign, as a 'machine for producing meanings' and for compelling the active contemplation and creative participation of the viewer" (Honor and Fleming, 2003). The anarchist and anti-art notions of this Dadaist opened up the idea of art being a voyage to the unknown provinces of the creative mind (Janson, 1973).
Situationist International
"A group of left-wing artists and activists whose practices were designed to unsettle and disrupt the systems of consumerist homogeneity" (Church, 2020)
Dada
The carnage and mass killings of WWI drove many artists to despair. In response Marcel Duchamp and a number of other artists, including poets and writers with shared attitudes ,launched a movement called Dada. It is an ideology based around mocking the modern world and what it had become. Our thirst for material things and power had driven us to destruction, rendering all our values, morals and aesthetic tastes meaningless. They intended on creating pieces that would attack and shock society. Duchamp baffled critics with a series called 'Ready Mades'. The most controversial of which was his Fountain. "It asserts the value of the work of art as a 'sign, as a 'machine for producing meanings' and for compelling the active contemplation and creative participation of the viewer" (Honor and Fleming, 2003). The anarchist and anti-art notions of this Dadaist opened up the idea of art being a voyage to the unknown provinces of the creative mind (Janson, 1973).
Situationist International
"A group of left-wing artists and activists whose practices were designed to unsettle and disrupt the systems of consumerist homogeneity" (Church, 2020)
Works Cited
Church, L. (2020) Situationist International. [online] At: https://www.theartstory.org/movement/situationist-international/ (Accessed on 28 May 2020)
Honour, H and Fleming, J. (2009) A world history of art. London: Laurence King Publishing.
Janson, H.W. et al. (1981) History of art for young people. H.N. Abrams.
Church, L. (2020) Situationist International. [online] At: https://www.theartstory.org/movement/situationist-international/ (Accessed on 28 May 2020)
Honour, H and Fleming, J. (2009) A world history of art. London: Laurence King Publishing.
Janson, H.W. et al. (1981) History of art for young people. H.N. Abrams.
research point 3
Untitled, (public sculpture for a redundant space), 2016 by Mike Nelson
The work consists of a prototype for a series of three works made on site for the High Line in New York. The High Line is a former elevated railway line that once fed the industries of the western edge of Manhattan. These are long defunct, like most of the industries that once thrived in the area. Any signs of this recent past will disappear once the redevelopment of the former factories and warehouses is completed. For this work in New York Nelson uses the rubble from these sites to fill sleeping bags; at the Royal Academy in London, the sculpture contains debris from a site close to Nelson’s London studio. |
PHYSICAL QUALITIES:
The sculpture is bright red-orange sleeping bag filled with debris. It has been filled with debris up to the head space and zipped up as though someone was sleeping in it. The have been placed around various construction sights and often in slightly hidden positions, though the bright red colour certainly catches the eye.
CONTENT:
The sleeping bag could be symbolic of how the structure that previously inhabited that area, has now been laid to rest and will soon be forgotten. A sleeping bag is generally used when camping and enjoying the great outdoors. There could also be a message here about how societies constant need to expand, takes away natural spaces. And so the person in the bag is replaced with rubble. The rubble itself can also refer to the amount of waste we produce during constructions and the damage that comes with that. A person seeing the sleeping bag from a distance, might think it was the bed of a homeless person, this could also make a reference to the inequalities in society. While money is spent on new things, we don't bother taking care of what was already there.
PRESENTATION:
This work is not presented in a gallery, but rather near the sites that the artist is trying to draw attention to. They would be considered site-specific pieces and much of their meaning is tied to the site. They are placed on the ground and often slightly hidden. This means that the viewer needs to discover them, the same way you might find a hidden treasure or more aptly in this case, old items that have been discarded and forgotten.
reading point 1
Hsieh, T. (2018) ‘In Conversation with Adrian Heathfield/2009’ In: Boon, Levine (eds.) Practice, Documents of Contemporary Art. Cambridge: The MIT Press. pp. 193-197 (provided in resources)
This conversation is regarding the One Year Performance. Th artist isolated himself. Not only from people, but also from any other form of stimulus like text radio and television. The audience was allowed to observe him every 19 public days. The artist says that he created the work for himself but he also acknowledges how important it is that there is an audience watching the work. The most important part of the piece was thinking, in order to keep the mind busy. Though he also was not allowed to write, did make marks on the walls to count the days. The artist was 'trapped' in a cage, but still free to think. Even when the body is confined, the mind is free.
Interesting statement made by the artist: "I don't think art can change the world. But at least art can help us to unveil life"
This conversation is regarding the One Year Performance. Th artist isolated himself. Not only from people, but also from any other form of stimulus like text radio and television. The audience was allowed to observe him every 19 public days. The artist says that he created the work for himself but he also acknowledges how important it is that there is an audience watching the work. The most important part of the piece was thinking, in order to keep the mind busy. Though he also was not allowed to write, did make marks on the walls to count the days. The artist was 'trapped' in a cage, but still free to think. Even when the body is confined, the mind is free.
Interesting statement made by the artist: "I don't think art can change the world. But at least art can help us to unveil life"
research point 4
Look up the works by the artists below and consider the kinds of concerns the work is addressing, how visual language is adapted to communicate them and the relationship between the form and the subject/content? How much does the artist rely upon the power of the visual to convince the viewer?
Jananne Al-Ani, Shadow Sites, 2010
This is a film shot in Jordan using aerial film to capture desert landscapes, archaeological sites, farms, mines and military training sites. It explores the search for archaeological features known as 'shadow sites', which at ground level remain undetected. However, when the sun is low in the sky, these features are revealed (Art Council Collection 2010). The project came out of the aftermath of the 2003 gulf war and an article that Al-Ani read in 2004 by Margaret Cox that explains how the search for butterflies, you often find a dark history, as they are often found at sites where there have been mass graves, as the bodies feed the weeds or plants that lure the butterflies. Some of the concepts here for the artist is the relationship between the body and the landscape and how the body has been hidden by the landscape or has 'disappeared'. |
Al-Ani was also interested in the aerial aspect of how the war took place and this type of view from above. The Iraqi landscape photography medium was particularly important in creating the piece. She followed a similar process that an archaeologist would, in that she also had to do archival research and convey the area. She looked into old photographic methods in particular areal views and considers how this type of perspective changes the way we view the battlefield (Jananne Al-Ani, 2015). When viewing a conflict from this perspective, you erase the people and suffering that happened there. In this way the landscape really represent the form of the piece, while the aerial capture of it using photography is purely the method to help use appreciate the form. But then the aerial footage itself also become part of the form, as the methodology of how it is captures is what allows for a new perspective of these landscapes and thus reinforces the message the author is trying to convey about the body 'disappearing' into the landscape
Works Cited
Art Council Collection (2010) Shadow sites I. [online] At: http://www.artscouncilcollection.org.uk/artwork/shadow-sites-i (Accessed on 9 June 2020)
Jananne Al-Ani (2015) SONIC ACTS FESTIVAL – THE GEOLOGIC IMAGINATION: Jananne Al-Ani: Shadow Sites. [online] At: https://www.youtube.com/watch?v=bOm_jJuAIEM (Accessed on 9 June 2020)
Art Council Collection (2010) Shadow sites I. [online] At: http://www.artscouncilcollection.org.uk/artwork/shadow-sites-i (Accessed on 9 June 2020)
Jananne Al-Ani (2015) SONIC ACTS FESTIVAL – THE GEOLOGIC IMAGINATION: Jananne Al-Ani: Shadow Sites. [online] At: https://www.youtube.com/watch?v=bOm_jJuAIEM (Accessed on 9 June 2020)
Amie Siegel, Quarry, 2015
Quarry is a 34 minute film that traces the source and journey of marble. From the underground quarry in Vermont, to one of the largest high-end real estate developments in Manhattan. It is accompanied by an orchestral soundtrack that enhances an emotive and grand feeling. The film shows us two space. The quarry, where marble is mined. It lives in a dark space and is still shapeless. The artist then takes us to the interiors of the high end properties, where the marble is shaped to represent the epitone of sophistication. "Ultimately the representation of living or life exposes a complex economy of production and speculation." (Siegel, 2015) |
Shilpa Gupta, In your tongue, I can not fit, 2018
The work is a multi-channel sound installation consisting of one-hundred speaking microphones. They have been placed above corresponding stakes that each pierce a page of poetry. The words of different poets during the centuries are recited from each microphone in a synchronized chorus. The piece runs for around an hour and includes English, Spanish, Arabic, Russian, Azeri and Hindi and more. The writers who are represented were all once imprisoned for their words and the installation gives voice to their forced silence. When one is incarcerated, they become voiceless and invisible. This instillation looks at the boundary between prisoners and the free world, especially freedom of expression (Curios India, 2019). The piece also engages with the power of language, the written word, and the mechanisms that try to condemn and control them. |
The title is based on a poem by 14th century Azerbaijani poet Nesimi. the artist has stated that the sound instillation is meant to be immersive and that the orchestra of voices are meant to mimic a "state of histeria" (Miller, 2018).
The form of this piece is multi-disciplinary. there are the poems suck on stakes on the floor, as well as the microphones playing the vocal recordings of poems in various languages. The 'pierced' written work takes on a symbolic meaning for how their words got them into trouble and the were 'pierced' in order to keep the quiet, while the recordings are the ideal audio form these words to be given life again.
Overall Reflection Of The Three Pieces
It is clear that the relationship between form and content here is significant. The way in which the work is presented ads great meaning to each piece. It takes on additional symbolic meaning and elevates the potential understanding of the audience when viewed.
The form of this piece is multi-disciplinary. there are the poems suck on stakes on the floor, as well as the microphones playing the vocal recordings of poems in various languages. The 'pierced' written work takes on a symbolic meaning for how their words got them into trouble and the were 'pierced' in order to keep the quiet, while the recordings are the ideal audio form these words to be given life again.
Overall Reflection Of The Three Pieces
It is clear that the relationship between form and content here is significant. The way in which the work is presented ads great meaning to each piece. It takes on additional symbolic meaning and elevates the potential understanding of the audience when viewed.
Works Cited
Curios India (2019) Kochi Biennale 2018: Shilpa Gupta - "For In Your Tongue, I Can Not Fit -100 Jailed Poets". [online] At: https://www.youtube.com/watch?v=bM3IeaXslpE (Accessed on 9 June 2020)
Miller, M. (2018) “For, in your tongue I cannot fit”: India’s Shilpa Gupta at YARAT Contemporary Art Space, Baku. [online] At: https://artradarjournal.com/2018/09/24/for-in-your-tongue-i-cannot-fit-indias-shilpa-gupta-at-yarat-contemporary-art-space-baku/ (Accessed on 9 June 2020)
Curios India (2019) Kochi Biennale 2018: Shilpa Gupta - "For In Your Tongue, I Can Not Fit -100 Jailed Poets". [online] At: https://www.youtube.com/watch?v=bM3IeaXslpE (Accessed on 9 June 2020)
Miller, M. (2018) “For, in your tongue I cannot fit”: India’s Shilpa Gupta at YARAT Contemporary Art Space, Baku. [online] At: https://artradarjournal.com/2018/09/24/for-in-your-tongue-i-cannot-fit-indias-shilpa-gupta-at-yarat-contemporary-art-space-baku/ (Accessed on 9 June 2020)
reading point 4
Dhar, J. (2017) ‘Art as a Place-Where the site becomes the city’ In: The Sunday Times. [online] At: http://www.sundaytimes.lk/170430/plus/art-as-a-place-where-the-site-becomes-the-city-238394.html (Accessed on 11.08.18)
The article is about the work of Pradeep Thalawatta, a Sri Lankan artist who produces performance/ film/ photographic pieces about specific sites in his home country. He particularly looks at our relationships with our urban environment and the history of how they came to be, though this is never overt, but rather poetic and symbolic. He wants the audience to contemplate the site and consider the hidden memories and stories within them.
Roadscape (2012) is a photographic installation of Jaffna, an area that was devastated by war and this is what most artist tend to focus on when depicting this area. But Pradeep chose to focus on the reconstruction of the city and the constant movement in the streets.
The article is about the work of Pradeep Thalawatta, a Sri Lankan artist who produces performance/ film/ photographic pieces about specific sites in his home country. He particularly looks at our relationships with our urban environment and the history of how they came to be, though this is never overt, but rather poetic and symbolic. He wants the audience to contemplate the site and consider the hidden memories and stories within them.
Roadscape (2012) is a photographic installation of Jaffna, an area that was devastated by war and this is what most artist tend to focus on when depicting this area. But Pradeep chose to focus on the reconstruction of the city and the constant movement in the streets.
Exercise 5.4: Intersectionality
The three subheadings: Gender, Cultural identity, Inequality/the status quo are very much interconnected and artists may be addressing all three in addition to other concerns. There are many examples of this in this part of the course. Choose one work by an artist of your choice that demonstrates this and write a short paragraph in your learning log. What is your reading of it? How do the 3 categories interconnect? How does the work affect you?
I have chosen to look at a movement and not just a singular piece, in particular the Riot Grrrl Movement.
Riot Grrrl
Riot Grrrl was started by a group of musicians and writers in the early 90s. It started as a type of manifesto, published in several 'fanzines', with women joining in to a new wave (3rd wave) of feminism. It took many forms, but mostly permeated through the angry-girl post-punk rock scene, lead by bands like Bikini Kill, Hole, Babes in Toyland, Calamity Jane, as they were sick of trying to make it in a music scene dominated and controlled my males. Their goal is described in the Riot Girl Manifesto, which states: "We seek to create revolution in our own lives every day by envisioning and creating alternatives to the bullshit christian capitalist way of doing things." (White, 1992).
Another big topic was rape-culture, as sexual assault was rife during this time, especially around the university campuses. Many songs explore the violence of this act and how it leads to a loss of innocence and breaking down the inner child. Bands like The 7 Year Bitch addressed these issues through their lyrics and aggressive musical tones, like their song, Dead Men Don't Rape (1992) (MCDONNELL and VINCENTELLI, 2019) ferocious child-like spirit to carry on.This is why they use the word 'girl' in the title, even though they are really women, as it creates a means for that ferocious child-like spirit to carry on.
They also explore privilege and gender, in particular how our gender or looks can be either and obstacle or an opportunity. This is especially true in the beauty industry and the unrealistic expectations of how we should look and what we should wear. As Hanah Kathleen of Bikini Kill noted her own privilege in this regard, "Because I am closer to the thin, white, small nosed idea that advertising racists shove down our throats, I am more of a star than the big girl at the party.” (Havlin, 2016). Understanding this, fashion and image became a large part of the movement, with the band's outfits (costumes) becoming a statement against unrealistic expectations that create eating disorders and poor self esteem.
The self-published Zines also served as a primary form of expression and included various forms of visual communication, including manifestos, drawings, photographs and especially flyers and posters handed out or displayed at gigs, as pictured below.
I have chosen to look at a movement and not just a singular piece, in particular the Riot Grrrl Movement.
Riot Grrrl
Riot Grrrl was started by a group of musicians and writers in the early 90s. It started as a type of manifesto, published in several 'fanzines', with women joining in to a new wave (3rd wave) of feminism. It took many forms, but mostly permeated through the angry-girl post-punk rock scene, lead by bands like Bikini Kill, Hole, Babes in Toyland, Calamity Jane, as they were sick of trying to make it in a music scene dominated and controlled my males. Their goal is described in the Riot Girl Manifesto, which states: "We seek to create revolution in our own lives every day by envisioning and creating alternatives to the bullshit christian capitalist way of doing things." (White, 1992).
Another big topic was rape-culture, as sexual assault was rife during this time, especially around the university campuses. Many songs explore the violence of this act and how it leads to a loss of innocence and breaking down the inner child. Bands like The 7 Year Bitch addressed these issues through their lyrics and aggressive musical tones, like their song, Dead Men Don't Rape (1992) (MCDONNELL and VINCENTELLI, 2019) ferocious child-like spirit to carry on.This is why they use the word 'girl' in the title, even though they are really women, as it creates a means for that ferocious child-like spirit to carry on.
They also explore privilege and gender, in particular how our gender or looks can be either and obstacle or an opportunity. This is especially true in the beauty industry and the unrealistic expectations of how we should look and what we should wear. As Hanah Kathleen of Bikini Kill noted her own privilege in this regard, "Because I am closer to the thin, white, small nosed idea that advertising racists shove down our throats, I am more of a star than the big girl at the party.” (Havlin, 2016). Understanding this, fashion and image became a large part of the movement, with the band's outfits (costumes) becoming a statement against unrealistic expectations that create eating disorders and poor self esteem.
The self-published Zines also served as a primary form of expression and included various forms of visual communication, including manifestos, drawings, photographs and especially flyers and posters handed out or displayed at gigs, as pictured below.
Reflection
The movement explores gender and inequality through the focus of band culture and the fact the males dominated the scene. The also aimed to highlight the inequality of how woman were depicted in the media, especially magazines. There are those that argue that the movement went to far and tried to create a society driven by women, for women and so isolating themselves. I would agree and I feel like this is often the case with feminism. I understand the need for gender equality and using art as a platform to remind the world that female artists are just as worthy of attention as male artists, but shunning the male gender as whole is also not a position of equality. Though they address gender inequality, the movement has been criticized of being a white, middle-class movement not accessible by all. The movement takes a strong stance on identity and female representation. Many of their slogans, lyrics and published pieces explore the dangers of how women are portrayed (or exploited) in the media. This resonates with me as many of my own art pieces reflect on this topic and how we tie our identity to our appearance. Ironically, the media chose to focus mostly on the fashion of the band members, thus perpetuating this idea. I think there are some good ideas within the movement of encouraging women and reminding them that they have value as artists.
The movement explores gender and inequality through the focus of band culture and the fact the males dominated the scene. The also aimed to highlight the inequality of how woman were depicted in the media, especially magazines. There are those that argue that the movement went to far and tried to create a society driven by women, for women and so isolating themselves. I would agree and I feel like this is often the case with feminism. I understand the need for gender equality and using art as a platform to remind the world that female artists are just as worthy of attention as male artists, but shunning the male gender as whole is also not a position of equality. Though they address gender inequality, the movement has been criticized of being a white, middle-class movement not accessible by all. The movement takes a strong stance on identity and female representation. Many of their slogans, lyrics and published pieces explore the dangers of how women are portrayed (or exploited) in the media. This resonates with me as many of my own art pieces reflect on this topic and how we tie our identity to our appearance. Ironically, the media chose to focus mostly on the fashion of the band members, thus perpetuating this idea. I think there are some good ideas within the movement of encouraging women and reminding them that they have value as artists.
Works Cited
Havlin, L. (2016) The Riot Grrrl Style Revolution. [online] At: https://www.anothermag.com/fashion-beauty/8279/the-riot-grrrl-style-revolution (Accessed on 11 June 2020)
White, E. (1992) Revolution Girl-Style Now! Notes From the Teenage Feminist Rock 'n' Roll Underground. [online] At: https://www.chicagoreader.com/chicago/revolution-girl-style-now/Content?oid=880507 (Accessed on 11 June 2020)
Havlin, L. (2016) The Riot Grrrl Style Revolution. [online] At: https://www.anothermag.com/fashion-beauty/8279/the-riot-grrrl-style-revolution (Accessed on 11 June 2020)
White, E. (1992) Revolution Girl-Style Now! Notes From the Teenage Feminist Rock 'n' Roll Underground. [online] At: https://www.chicagoreader.com/chicago/revolution-girl-style-now/Content?oid=880507 (Accessed on 11 June 2020)
Topic 2: Art and activism
A way of living
Art activism is a term that has its origins in the 1970s coming from the counterculture movements and student revolts of the late 1960s. Students used creative aesthetic means to pose political questions to the system from a position outside of political theory (Larsen, 2010:27). Activist artists went out onto the streets seeking to engage with the audience in order to readdress urgent social, political, economic and environmental problems. (Lippard in Larsen, 2010). Alongside this development Art activism also emerges from the need of artists to critique museums and galleries as structures that perpetuate the commodification of artwork/artists and the capitalistic status quo as you examined in topic four.
research point 5
For some artists, art can be a way of living that affects every aspect of their life. The American artist, writer and AIDS activist David Wojnarowicz lived a life that was inextricably connected to all forms of his creative work. Research these 3 strands of his output – artwork, writing, activism and describe in your learning log how they inform and affect each other.
Wojnarowicz combined various mediums in the creation of his pieces, working in collage, photography, installation, paint, discarded ephemera, sculpture, and more. Much of his work relies on his own experiences, especially the persecution he faced as a homosexual. In the 1980’s he was diagnosed with AIDS which sparked a more political message in his work. He used words and imagery to attack the legal system, spiritual leaders and politicians, especially the lack of antiretroviral treatment available to patients. The three strands of his work, art, writing and activism, generally interact and cannot really be viewed in isolation. A good example of this, is the piece, Untitled (One Day This Kid...), (1990). It highlights the discrimination that is yet to come.
“One day this kid will get larger,” it reads. “One day this kid will do something that causes men who wear the uniforms of priests and rabbis, men who inhabit certain stone buildings, to call for his death. One day politicians will enact legislation against this kid. One day families will give false information to their children and each child will pass that information down generationally to their families and that information will be designed to make existence intolerable for this kid.” Then, later, something vital: “One day this kid will talk.”
A theme within this piece, which is underlying in many of his other pieces, is how AIDS is not the killer, but society and their treatment of those with AIDS is. “During the time that Wojnarowicz was making this art, Republican lawmakers were calling for homosexuals to be quarantined, branded, and even killed” (Donegan, 2018)
His writings take the form of diary entries and are explicitly about his suffering. He wanted the reader to experience what he felt in an often confronting manner. As is the case in Close to the Knives: A Memoir of Disintegration (1991) and In the Shadow of the American Dream: The Diaries of David Wojnarowicz (1998). Both volumes provide an invaluable insight into the artist’s life and work (Jones, 2018).
In one collage “Untitled,” from the Sex Series (for Marion Scemama), (1989), you observe a long locomotive winding through a vast desert. The composition has four inset circles, one with police in riot gear, soldiers parachuting out of military planes, a distorted still of oral sex, and an article detailing the stabbing of a nineteen-year-old gay man. Due to the spread of misinformation about the HIV virus, the public was afraid. They responded with homophobia and aggression. This is why Wojnarowicz was not shy about addressing them directly in his art.
Every word and image is chosen carefully with specific intent. Because the artist addresses issues directly and with little restraint, his message is clear. As the viewer you have an immediate sense that there is an agenda in his art. Though some lines and images are confrontational, they serve the purpose in drawing attention to the issues at hand.
“One day this kid will get larger,” it reads. “One day this kid will do something that causes men who wear the uniforms of priests and rabbis, men who inhabit certain stone buildings, to call for his death. One day politicians will enact legislation against this kid. One day families will give false information to their children and each child will pass that information down generationally to their families and that information will be designed to make existence intolerable for this kid.” Then, later, something vital: “One day this kid will talk.”
A theme within this piece, which is underlying in many of his other pieces, is how AIDS is not the killer, but society and their treatment of those with AIDS is. “During the time that Wojnarowicz was making this art, Republican lawmakers were calling for homosexuals to be quarantined, branded, and even killed” (Donegan, 2018)
His writings take the form of diary entries and are explicitly about his suffering. He wanted the reader to experience what he felt in an often confronting manner. As is the case in Close to the Knives: A Memoir of Disintegration (1991) and In the Shadow of the American Dream: The Diaries of David Wojnarowicz (1998). Both volumes provide an invaluable insight into the artist’s life and work (Jones, 2018).
In one collage “Untitled,” from the Sex Series (for Marion Scemama), (1989), you observe a long locomotive winding through a vast desert. The composition has four inset circles, one with police in riot gear, soldiers parachuting out of military planes, a distorted still of oral sex, and an article detailing the stabbing of a nineteen-year-old gay man. Due to the spread of misinformation about the HIV virus, the public was afraid. They responded with homophobia and aggression. This is why Wojnarowicz was not shy about addressing them directly in his art.
Every word and image is chosen carefully with specific intent. Because the artist addresses issues directly and with little restraint, his message is clear. As the viewer you have an immediate sense that there is an agenda in his art. Though some lines and images are confrontational, they serve the purpose in drawing attention to the issues at hand.
Works Cited
Donegan, M. (2018) David Wojnarowicz’s Still-Burning Rage. [online] At: https://www.newyorker.com/culture/photo-booth/david-wojnarowiczs-still-burning-rage (Accessed on 15 June 2020)
Jones, D. (2018) David Wojnarowicz’s Art Endures—and so Does His Spirit of Rage and Revolt. [online] At: https://www.artsy.net/article/artsy-editorial-david-wojnarowiczs-art-endures-spirit-rage-revolt (Accessed on 15 June 2020)
Donegan, M. (2018) David Wojnarowicz’s Still-Burning Rage. [online] At: https://www.newyorker.com/culture/photo-booth/david-wojnarowiczs-still-burning-rage (Accessed on 15 June 2020)
Jones, D. (2018) David Wojnarowicz’s Art Endures—and so Does His Spirit of Rage and Revolt. [online] At: https://www.artsy.net/article/artsy-editorial-david-wojnarowiczs-art-endures-spirit-rage-revolt (Accessed on 15 June 2020)
research point 6
Adrian Piper
She is an American artist whose artworks take a conceptual and philosophical approach, combining sculpture, performance and painting. She explores themes of identity that also has political and racial connotations. As a person of mixed race, she uses her own experiences in an autobiographical way. This can be seen in Self-Portrait Exaggerating My Negroid Features (1981). She uses her own likeness as a way to mock and destabilize racism. The piece is confronting and highlights the ways in which the West focuses on appearance as a means to relate identity (Lesso, 2020). Works Cited Lesso, R. (2020) Adrian Piper Artist Overview and Analysis [online] At: https://www.theartstory.org/artist/piper-adrian/#nav (Accessed on 17 June 2020) |
Direct action
Some artists are involved in more direct action, like the Women On Waves Foundation, a feminist art collective that runs a floating abortion clinic, carrying out abortions in places where they are not legal.
Some artists are involved in more direct action, like the Women On Waves Foundation, a feminist art collective that runs a floating abortion clinic, carrying out abortions in places where they are not legal.
research point 7
Guerrilla Girls
The group started in 1985 and consist of a collection of feminist activist artists, who use facts, humor and vibrant visuals to expose bias and corruption. They work anonymously, covering their identity with guerrilla masks. This ensures that the focus is kept on the issues at hand. They want to highlight the unseen or the underbelly of society. The group employs a strategy called 'culture jamming' which takes the form of posters, books, billboards, and public appearances all aimed at exposing discrimination and corruption. As with many feminist artist of this time, a big concern was the representation of women in art, not just on the canvas, but as professionals. Their use of factual data on visual pieces was quite revolutionary for that time.
The group started in 1985 and consist of a collection of feminist activist artists, who use facts, humor and vibrant visuals to expose bias and corruption. They work anonymously, covering their identity with guerrilla masks. This ensures that the focus is kept on the issues at hand. They want to highlight the unseen or the underbelly of society. The group employs a strategy called 'culture jamming' which takes the form of posters, books, billboards, and public appearances all aimed at exposing discrimination and corruption. As with many feminist artist of this time, a big concern was the representation of women in art, not just on the canvas, but as professionals. Their use of factual data on visual pieces was quite revolutionary for that time.
reading point 3
Groys, B. (2014) ‘On Art Activism’ In: e-flux journal (56) [online] At:
https://nyuskirball.org/wp-content/uploads/2018/03/On-Art-Activism.pdf (Accessed on 18.08.18)
‘Art activists do want to be useful, to change the world, to make the world a better place – but at the same time, they do not want to cease being artists. And this is the point where theoretical, political, and even purely practical problems arise.’
(Groys, 2014)
In this piece, the writer is trying to create a broader definition of what an art activist does.
https://nyuskirball.org/wp-content/uploads/2018/03/On-Art-Activism.pdf (Accessed on 18.08.18)
‘Art activists do want to be useful, to change the world, to make the world a better place – but at the same time, they do not want to cease being artists. And this is the point where theoretical, political, and even purely practical problems arise.’
(Groys, 2014)
In this piece, the writer is trying to create a broader definition of what an art activist does.
- Art activism is not only about criticizing political and social conditions, but also changing the reality of these systems, either from within or the outside.
- For example, they might aim to change living conditions in economically underdeveloped areas, raise ecological concerns, attract attention to the plight of illegal immigrants, etc.
- Art activists need to find the balance between activist and artist.
- Art has its own set of prescribed ‘rules’ of how to determine its quality. When you are creating activist art, it is harder to meet these prescriptions
- Contemporary art activism does not rush to abandon art but, rather, tries to make art itself useful.
Exercise 5.5: The role of art
In response to Groys’ text write a short paragraph in your learning log about what you think about the role that artists undertake when they use art as a means to change.
I think pursuing a career in art these days is difficult, as there are many individuals out there who can paint or sculpt or create. Unless you move in certain circles, making a name for yourself requires making some noise in society. From many of my contemporary art gallery visits, it is noticeable that the artists who are on display or being featured always have a particular message, with some being more extreme than others. While I am sure that many of these artist have an interest in some of these causes, I can't help but question how genuine it is. It seems the art world has created an unwritten rule that work may no longer just be produced because it's aesthetic or there to enjoy, but rather because of the philosophical rhetoric it can create when viewed by others. Groy wrote about this notion that activist art often doesn't meet a certain aesthetic standard and a part of me agrees with this, but this does not stop the work from making it into galleries or a featured series. We have moved away from an old school of thinking where art can only be considered art if it met a certain standard (set by the French Academie), to art is only art if it is has a notable theme which is connected to a notable cause. That being said, there are artist who really are interested in affecting change. For the most part they would take up the role of researcher, activist, creator, ambassador and teacher. If we take the work of Theaster Gates as an example, we see him embody all of the aforementioned roles in his building spaces. All members of society should really be trying to make a contribution to society in some form, if an artist is able to help be the catalyst for that, then it is surely a positive thing, but should it always be the expectation?
I think pursuing a career in art these days is difficult, as there are many individuals out there who can paint or sculpt or create. Unless you move in certain circles, making a name for yourself requires making some noise in society. From many of my contemporary art gallery visits, it is noticeable that the artists who are on display or being featured always have a particular message, with some being more extreme than others. While I am sure that many of these artist have an interest in some of these causes, I can't help but question how genuine it is. It seems the art world has created an unwritten rule that work may no longer just be produced because it's aesthetic or there to enjoy, but rather because of the philosophical rhetoric it can create when viewed by others. Groy wrote about this notion that activist art often doesn't meet a certain aesthetic standard and a part of me agrees with this, but this does not stop the work from making it into galleries or a featured series. We have moved away from an old school of thinking where art can only be considered art if it met a certain standard (set by the French Academie), to art is only art if it is has a notable theme which is connected to a notable cause. That being said, there are artist who really are interested in affecting change. For the most part they would take up the role of researcher, activist, creator, ambassador and teacher. If we take the work of Theaster Gates as an example, we see him embody all of the aforementioned roles in his building spaces. All members of society should really be trying to make a contribution to society in some form, if an artist is able to help be the catalyst for that, then it is surely a positive thing, but should it always be the expectation?
Systematic Action
Forensic Architecture is a multidisciplinary research group established in 2010, based at the Goldsmiths, University of London. The director Eyal Weizman, an architect and Professor of Spatial and Visual Cultures works with a large team of architects, researchers, artists, designers, and journalists to investigate state violence and violations of human rights around the world. The group use architectural techniques and technologies to provide evidence to prosecution teams, NGOs and organisations such as the UN in cases where it may be in the interest of the state to destroy and hide evidence.
Forensic Architecture is a multidisciplinary research group established in 2010, based at the Goldsmiths, University of London. The director Eyal Weizman, an architect and Professor of Spatial and Visual Cultures works with a large team of architects, researchers, artists, designers, and journalists to investigate state violence and violations of human rights around the world. The group use architectural techniques and technologies to provide evidence to prosecution teams, NGOs and organisations such as the UN in cases where it may be in the interest of the state to destroy and hide evidence.
research point 10
The Austrian art group WochenKlausur is a collective that since 1993 generate what they call “concrete interventions” using funds provided by various cultural institutions, to initiate long‐term, problem‐solving measures in the local communities. Research their interventions.
WochenKlausur aim to use the political capital of art to manipulate social circumstances. They start by setting precise tasks with intensive actions aimed at working out solutions to recognized problems. In their preparation they focus on theoretical foundations and practical working methods.
Method:
- Their interventions 1st start with an invitation from an art institution and capital funding.
- A specific issue to address is provided.
- A time frame for completion is set.
- Objectives are set to measure success.
- Then start intensive research to establish the socio-political context of the issue at hand
- Strategies are set up, shared and put into motion.
- The original intention is compared to the final result.
One of their interventions was a Senior Center, Civitella d’Agliano (I), Progetto Civitella , completed in 1994 and taking 6 weeks. The group wanted to build a social center for the elderly. They raised funds by creating a mural where family portraits could be taken and this way the community also got involved. Most of the project consisted of renovations. Another intervention was the renovation of an abandoned hotel, Gislaved/ Smålandsstenar in 2016 which took 4 weeks. Along with providing a more welcoming space for refugees, the team creates awareness of their plight. Other organisation get involved in donating materials, and much of the renovation work is done by the team and residents. This way the community understands how to take care of the space and maintain it.
WochenKlausur aim to use the political capital of art to manipulate social circumstances. They start by setting precise tasks with intensive actions aimed at working out solutions to recognized problems. In their preparation they focus on theoretical foundations and practical working methods.
Method:
- Their interventions 1st start with an invitation from an art institution and capital funding.
- A specific issue to address is provided.
- A time frame for completion is set.
- Objectives are set to measure success.
- Then start intensive research to establish the socio-political context of the issue at hand
- Strategies are set up, shared and put into motion.
- The original intention is compared to the final result.
One of their interventions was a Senior Center, Civitella d’Agliano (I), Progetto Civitella , completed in 1994 and taking 6 weeks. The group wanted to build a social center for the elderly. They raised funds by creating a mural where family portraits could be taken and this way the community also got involved. Most of the project consisted of renovations. Another intervention was the renovation of an abandoned hotel, Gislaved/ Smålandsstenar in 2016 which took 4 weeks. Along with providing a more welcoming space for refugees, the team creates awareness of their plight. Other organisation get involved in donating materials, and much of the renovation work is done by the team and residents. This way the community understands how to take care of the space and maintain it.
Exercise 5.6: Profound change
Describe one work of art that has profoundly impacted on society and one work that has directly impacted on you personally, changing something significant. Discuss what it is about the two pieces that is powerful and why. Record your observations in your learning log.
Les Voyageurs is a series of 10 life size bronze statures by Bruno Catalano which have been places alon waterfronts in various European cities. One of the most popular ones is Le Grand van Gogh (left). It depicts how travellers always leave a part of themself when relocating to a new place (country).
As an expat myself, who has lived in four countries and soon to make my way to the fith, these images really resonate with me. Everty time you start over you build new friends, who become like family, and every time you leave, a piece of you stays with them. These are the pros and cons of being an adventurer. while you find many treasures in your new home, there are those that you simply could not take with you in the old one. I think these ideas come through in my art when painting figures, as I often use lose fragmented strokes that symbolize the changes we undergo as people all the time. |
Children's Piece Monument
This monument was built as a result from the aftermath of a nuclear bomb that was dropped in Hiroshima by the US on 6 August, 1945. While many children had died in the bombing, there wer aslo those who suffered in the aftermath, in particular Sadako Sasaki, who was exposed to the bombing at age two. She contracted leukemia ten years later and died. Her classmates were so shocked that they made a nationwiede call for a monument to mourn all the children affected by the bombing. The munument consists of a three-legged pedestal stand with a bronze girl figure holding up a gold-colored folded crane. On opposite sides of the pedestal are boy and girl figures which symbolize a bright future and hope. An iscription at the foot reads, "This is our cry. This is our prayer. For building peace in this world." This was not only a nationwide project with the support of students in more than 3,100 schools around Japan. It also drew the attention of the world, with nine other countries getting involved in aiding the construction. It was built by Kazuo Kikuchi and completed in 1958. Having visited the Hiroshima Peace Memorial site myself, I can certainly say that this monument is one of the most moving. It is a devastating reminder that the innocent are the victims of war. Even today, visitors bring paper cranes to place around the monument in order to show their prayer of peace. |
Exercise 5.7: Transformations
Thinking about transformation more broadly, reflect on your own art practice. Make a list or annotated photographic record in your learning log of the types of transformation that occur in your process or work and those that you aspire to.
Firstly, you tend to see transformation happening on the canvas itself for each piece. As I document my progress from one layer or segment to the next it is always interesting to see the difference between the start and the finished product. Like the painting below which I did as part of my Painting 1 course in 2016.
Firstly, you tend to see transformation happening on the canvas itself for each piece. As I document my progress from one layer or segment to the next it is always interesting to see the difference between the start and the finished product. Like the painting below which I did as part of my Painting 1 course in 2016.
Then there is also the trasformation of your style. As you are exposed to new artists or the techniques and methods of others you ten to try them out and find a new way of approaching your work. After learning about the works of Francis Bacon for example, I became very interested in his ideas of loose paint work and bold colour. During an art show in Hong Kong I also stumbled accross the vibrant portraits of Paul Right and started experimenting with with a bolder brush stroke and colour choice. I am still interested in figures, but you can see the differnce in my approach in the painting below which I completed as part of my Painting 2 course in
And then there is also a transformation in the type of subject matter that interests you and hwo you choose to depict it. I have always been very drawn to figures and the human condition. I love people watching and observing people's figures and faces. I find it fascinating how we are all the same, and yet all so different. As my studies progressed I had to do a unit on landscapes. I was greatly afraid of this at the start, but then discovered that I actually quite like painting urban scenes. Some of my urban paintings of Hong Kong are very popular amoung friends who regularly offer to purchase them.
Another way in which I would say there has been a big transformation is the way I think about art pieces. Researching and writing about theories and meaning changes the way you consider art. While I don't always want to over analyze everything I see, there are certain nuances in shape, colour or composition that I can now appreciate on a higher (deeper) level and I try to bring this into my own work. But sometimes I just paint something because I like it.
As for aspirtaitons, I want to keep hining in on my skills and confidence as an artists. This does not mean that I want to develop one set style, I hope to have many transformations in the ways I approach my work and develop my voice, as I dont really see myself as the kind of person who could only have on destinct style.
Another way in which I would say there has been a big transformation is the way I think about art pieces. Researching and writing about theories and meaning changes the way you consider art. While I don't always want to over analyze everything I see, there are certain nuances in shape, colour or composition that I can now appreciate on a higher (deeper) level and I try to bring this into my own work. But sometimes I just paint something because I like it.
As for aspirtaitons, I want to keep hining in on my skills and confidence as an artists. This does not mean that I want to develop one set style, I hope to have many transformations in the ways I approach my work and develop my voice, as I dont really see myself as the kind of person who could only have on destinct style.
Topic 3: Community participation
One of the most direct ways to reach the audience is to create activities and interventions within the community itself. According to the Art Historian Claire Bishop such practices since the 1960s come about through a number of motivations: 1) The activation of the (political) subject enabling individual emancipation and empowerment; 2) Shared authorship, considered more egalitarian and democratic method of creation; and 3) The restoration of social bonds in order to address the perceived crisis of the community and to provide means for resisting the alienating and isolating effects of capitalism. (Bishop, 2006:12)
These motivations appear well-intentioned, but there are many different models of working with the community. In this topic, you will examine some of the ethical questions raised by socially engaged practices. What does community mean, what critical implications do these practices have and what is left behind by them?
Notions of community
What is meant by community in the context of socially engaged practice? Often it is a term used to describe people that are somehow considered to be disenfranchised or disempowered. Artists or institutions often seek a particular identity for this abstract notion of ‘community’ – it may be that they are women or share a particular ethnicity. The assumption is that this will be a group that share the same needs and identity and that there is no difference within the group. The identity of the group is generalised and reduced and in this sense remains somewhat abstract. Kwon identifies some of the issues that arise when community groups become partners in a project:
‘In actual practice, how does a group of people become identified as a community in an exhibition program, as a potential partner in a collaborative art project? Who identifies them as such? And who decides what social issue(s) will be addressed or represented by/through them: the artist? the community group? the curator? the sponsoring institution? the funding organization? Does the partner community preexist the art project, or is it produced by it? What is the nature of the collaborative relationship? If the identity of the community is produced through the making of the artwork, does the artist’s identity also depend on the same process?’
(Kwon, 2004:116-117)
One model of working with the community is that the artist, curator, sanctioning/funding institution has a clear idea and then finds the ‘community’ that can make their idea happen. In this model, the community can be somewhat incidental. While the identity of the community group is reduced and difference within it unacknowledged, the group is considered different from the dominant culture and the artist/institution. According to Kwon ‘the identity of a community group comes to serve as the thematic content of the artwork, representing this or that social issue in an isolated and reified way. In the process, the community itself can become reified as well.’ (Kwon, 2004:146)
These motivations appear well-intentioned, but there are many different models of working with the community. In this topic, you will examine some of the ethical questions raised by socially engaged practices. What does community mean, what critical implications do these practices have and what is left behind by them?
Notions of community
What is meant by community in the context of socially engaged practice? Often it is a term used to describe people that are somehow considered to be disenfranchised or disempowered. Artists or institutions often seek a particular identity for this abstract notion of ‘community’ – it may be that they are women or share a particular ethnicity. The assumption is that this will be a group that share the same needs and identity and that there is no difference within the group. The identity of the group is generalised and reduced and in this sense remains somewhat abstract. Kwon identifies some of the issues that arise when community groups become partners in a project:
‘In actual practice, how does a group of people become identified as a community in an exhibition program, as a potential partner in a collaborative art project? Who identifies them as such? And who decides what social issue(s) will be addressed or represented by/through them: the artist? the community group? the curator? the sponsoring institution? the funding organization? Does the partner community preexist the art project, or is it produced by it? What is the nature of the collaborative relationship? If the identity of the community is produced through the making of the artwork, does the artist’s identity also depend on the same process?’
(Kwon, 2004:116-117)
One model of working with the community is that the artist, curator, sanctioning/funding institution has a clear idea and then finds the ‘community’ that can make their idea happen. In this model, the community can be somewhat incidental. While the identity of the community group is reduced and difference within it unacknowledged, the group is considered different from the dominant culture and the artist/institution. According to Kwon ‘the identity of a community group comes to serve as the thematic content of the artwork, representing this or that social issue in an isolated and reified way. In the process, the community itself can become reified as well.’ (Kwon, 2004:146)
Exercise 5.8: Community-based models
Find two examples of projects that use different models of working with the community. Describe how they are different in your learning log.
The Edible Hut
This is an enchanting space in Calimera Park on the eastside of Detroit that is a living, edible roof and gathering space that encourages community relationships. It takes the form of a traditional hut/ outdoor sculpture/ neighborhood hangout/ edible garden. Some of the plants include sage, thyme, lavender and oregano. the space encourages community involvement and enjoyment through shared activities like outdoor classes, meetings and meals. It is a complete collaborative project, including input from a team of artists, architects, community members, teachers and students. The artists include Mira Burack and Kate Daughdrill, Charlie O’Geen and Tadd Heidgerken on the drafting, engineering, construction and architectural design of the space. The running of this space relies on donations and community partnerships. The initial vision of the 4 artists was the driving force of the project and from most of their projects it is clear that they are appealing to the youth in order to teach the younger community about creativity, healthy eating and the importance of healthy working relationships in the community. Source: The Edible Hut Website |
The AIDS Memorial Quilt
'The Quilt' is one of the largest community art projects with quilt pieces hand sewn by thousands of volunteer. It began in 1987 as a tribute to those who had lost their lives to AIDS. It is comprised of nearly 48,000 three-foot by six-foot fabric tributes, remembering over 100,000 loved ones lost to AIDS. It regularly tours the nation and the world, helping to dispel fear and stigma while offering solace to millions. Every time 'The Quilt' moves, over 200 volunteers are needed to help bring the 6,000 12-foot by 12-foot folded (54 tons) sections out onto their state-of the-art rolling shelves. It began with a group of strangers in San Fransisco which later became a collaboration between to organizations, The NAMES Project Foundation and the National AIDS Memorial. It's purpose is to remind the community of loss and find a means of finding hope among others who have suffered loss. It is also a tool for education and breaking down stigmas. Source: The AIDS Memorial Website |
Comparison
Both of these projects rely on contributions form the community. Their projects provide a public platform where awareness and education is provided. The both had their beginnings through people coming together to fill gaps in the community. The memorial serves as a reminder, educational tool and way of bringing people together through a common loss. The Hut focuses more on community building and cultivating relationships by providing a space that is inviting and open. While they both bring community members together, they have a different undertone and purpose.
Both of these projects rely on contributions form the community. Their projects provide a public platform where awareness and education is provided. The both had their beginnings through people coming together to fill gaps in the community. The memorial serves as a reminder, educational tool and way of bringing people together through a common loss. The Hut focuses more on community building and cultivating relationships by providing a space that is inviting and open. While they both bring community members together, they have a different undertone and purpose.
The Pitfalls
As you observed in the previous topic there are many difficulties that emerge when art ventures into non-art spaces. Two of the most vociferous critics of community-based projects include American art critics and historians Hal Foster and Grant Kester. Foster argues that in these ‘collaborative’ interactions the artist uses methodologies from anthropology and the authority of the artist is unquestioned. Far from democratizing art, by reducing a community and objectifying it, according to Foster, these practices inadvertently implement colonialist strategies. Kester goes further, accusing the artist of abuse and appropriation of the community for their own personal agenda and advancement. Kwon is less cynical about the motives of the artist and attributes this morally questionable predicament to a complex set of relations – the intervention and involvement from curatorial and funding bodies. Not to say that the artist is without responsibility, but that it is important to remember that they are often not acting with autonomy and have to deal with particular requirements, expectations and conditions set by external frameworks. (Kwon, 2004:141)
As you observed in the previous topic there are many difficulties that emerge when art ventures into non-art spaces. Two of the most vociferous critics of community-based projects include American art critics and historians Hal Foster and Grant Kester. Foster argues that in these ‘collaborative’ interactions the artist uses methodologies from anthropology and the authority of the artist is unquestioned. Far from democratizing art, by reducing a community and objectifying it, according to Foster, these practices inadvertently implement colonialist strategies. Kester goes further, accusing the artist of abuse and appropriation of the community for their own personal agenda and advancement. Kwon is less cynical about the motives of the artist and attributes this morally questionable predicament to a complex set of relations – the intervention and involvement from curatorial and funding bodies. Not to say that the artist is without responsibility, but that it is important to remember that they are often not acting with autonomy and have to deal with particular requirements, expectations and conditions set by external frameworks. (Kwon, 2004:141)
reading point 4
Foster, H. (1996) ‘The Artist as Ethnographer’ In: The Return of the Real, The Avante-Garde at the End of the Century. Cambridge: The MIT Press. pp. 302-309 [online] At:
https://monoskop.org/images/8/87/Foster_Hal_1995_The_Artist_as_Ethnographer.pdf (Accessed on 14.08.18)
https://monoskop.org/images/8/87/Foster_Hal_1995_The_Artist_as_Ethnographer.pdf (Accessed on 14.08.18)
Exercise 5.9: The Artist as Ethnographer
In your learning log write a summary of the main arguments made by Foster.
The author writes about the artist in the role of ethnographer. An ethnographer is defined as a person who studies and describes the culture of a particular society or group.
Foster makes a couple of arguments:
- He compares the anesthetization of politics in fascism to the capitalization of culture
- He focuses on the impact of politics in art
- He refers to the traditions of the bourgeois with their exclusive definitions of art
- He says the site of political transformation is always perceived as being elsewhere
- He warns that when an artist is overly concerned with the other, work can become ethnographic and self absorbed
- His statements mostly concern site specific art and talks about the artists relationship with the work created
- He states that it is essential for the artist to to examine their own feelings, reactions, and motives and how this impacts their thinking.
- Essentially he calls for a more balanced relationship between the artist and the work created as this will ensure that the viewer is not alienated.
The author writes about the artist in the role of ethnographer. An ethnographer is defined as a person who studies and describes the culture of a particular society or group.
Foster makes a couple of arguments:
- He compares the anesthetization of politics in fascism to the capitalization of culture
- He focuses on the impact of politics in art
- He refers to the traditions of the bourgeois with their exclusive definitions of art
- He says the site of political transformation is always perceived as being elsewhere
- He warns that when an artist is overly concerned with the other, work can become ethnographic and self absorbed
- His statements mostly concern site specific art and talks about the artists relationship with the work created
- He states that it is essential for the artist to to examine their own feelings, reactions, and motives and how this impacts their thinking.
- Essentially he calls for a more balanced relationship between the artist and the work created as this will ensure that the viewer is not alienated.
Kester sees more ominous forces at work and compares the role of community artists to 19c reformers and social workers. These marginalized groups can be rescued from their predicaments and transformed through cultural engagement, which is a way to avoid looking at the actual causes of inequality. Kwon proposes that ‘some artists have noticed, community-based art can function as a kind of “soft” social engineering to defuse, rather than address, community tensions and to divert, rather than attend to, the legitimate dissatisfaction that many community groups feel in regard to the uneven distribution of existing cultural and economic resources.’ (Kwon, 2004:153)
Exercise 5.10: Working models
Find a text that counters this view and then describe a model of community collaboration in your learning log that seems to avoid these pitfalls.
I found the following piece:
Van Graan, M. (2016) Representing and challenging inequality through the arts; postcard. (book abstract) [online] At: https://unesdoc.unesco.org/ark:/48223/pf0000245885
Kwon proposes that art acts more like a defuser in addressing socio-political and cultural issues in a community rather than it transforming or affecting a change. While Van Graan's writing is not completely opposing, it accepts the possibility that arts can affect change.
He writes that, "Depending on where artists, arts administrators and institutions locate themselves, art production and distribution can perpetuate or challenge social and other inequalities." He points out the potential factors which can play a role in the perception and reception of community art, especially from a the point of view of equality, which include:
- the culture itself, which is collection of views, beliefs and ideas
- the art community - who has access and how are they represented (when artists of certain groups are underrepresented it affects the 'stories' being told to the greater community.
- The art itself - how or where is it produced, who is it made available to and why?
He then continues to share an example of a community project that has shown some success in bridging some of the gaps of inequality within an community.
I found the following piece:
Van Graan, M. (2016) Representing and challenging inequality through the arts; postcard. (book abstract) [online] At: https://unesdoc.unesco.org/ark:/48223/pf0000245885
Kwon proposes that art acts more like a defuser in addressing socio-political and cultural issues in a community rather than it transforming or affecting a change. While Van Graan's writing is not completely opposing, it accepts the possibility that arts can affect change.
He writes that, "Depending on where artists, arts administrators and institutions locate themselves, art production and distribution can perpetuate or challenge social and other inequalities." He points out the potential factors which can play a role in the perception and reception of community art, especially from a the point of view of equality, which include:
- the culture itself, which is collection of views, beliefs and ideas
- the art community - who has access and how are they represented (when artists of certain groups are underrepresented it affects the 'stories' being told to the greater community.
- The art itself - how or where is it produced, who is it made available to and why?
He then continues to share an example of a community project that has shown some success in bridging some of the gaps of inequality within an community.
Voorkamerfees (Front Room Festival)
Voorkamerfees is an annual festival that takes place in Darling, a small town in the South African Cape province. The festival consists of 6 routes, each with 3 performance stops. Each stop in a different living room of community members. Homes range from small township houses to grand Victorian dwellings. It has become a local, national and tourist sensation, as it is the only theater festival in South Africa where you may see productions in multiple languages, by musicians, dancers, actors and performers of all genres from many ethnic groups from various countries. It is a broader social project that challenges social inequality and communities that are often marginalized by the greater region and tourists. Thus the festival aids in integrating human, social and economic development, A final thought from Van Graan, "Those who produce and distribute art, and who support others in the same effort, should be made more aware of the global, regional and national contexts in which they work, of the role that their art might play in perpetuating social, economic and community inequalities, and how their art could challenge those inequalities." |
Embracing Antagonism
Bishop argues that in the same way as democracy does not mean that everyone thinks in the same way and agrees on everything, socially engaged art should embrace antagonism into their core (Bishop, 2004). By allowing for antagonism and contradiction it can achieve its own aesthetic autonomy and engage with the complexity of political reality, without falling into the naivety of affirmative and idealistic political ambitions. (Bishop, 2004).
This would mean, for example, to acknowledge that communities are not harmonious, but potentially fragmented, divided and complex, as can be the relationships between them and the artist/institution. There may also be contradictions and antagonisms between artists/institutions/funders. The claims that are made for community-based projects may also benefit from some scrutiny – to be prepared to be realistic and critical of them.
Bishop argues that in the same way as democracy does not mean that everyone thinks in the same way and agrees on everything, socially engaged art should embrace antagonism into their core (Bishop, 2004). By allowing for antagonism and contradiction it can achieve its own aesthetic autonomy and engage with the complexity of political reality, without falling into the naivety of affirmative and idealistic political ambitions. (Bishop, 2004).
This would mean, for example, to acknowledge that communities are not harmonious, but potentially fragmented, divided and complex, as can be the relationships between them and the artist/institution. There may also be contradictions and antagonisms between artists/institutions/funders. The claims that are made for community-based projects may also benefit from some scrutiny – to be prepared to be realistic and critical of them.
reading point 8
One of the projects commissioned by Sculpture Chicago’s Culture in Action – HAHA: FLOOD, 1992-1995 was initiated by artists Richard House, Wendy Jacobs, Laurie Palmer and John Ploof who formed a volunteer team. Research the project and consider why it has had a lasting legacy.
HAHA is an art collaborative that addresses the particulars of local living, politics, social elements and a sense of self. It is their belief that collaboration can affect the world by taking away focus from the artist and placing it towards the community. They have 15 projects, one of which is FLOOD. Flood is a volunteer network with between 20 to 30 participants. It initially started with a garden project which was built at a Chicago storefront. Participants grew vegetables (kale, collards, mustard greens, swiss chard) and therapeutic herbs for people with HIV. It also served as a platform to serve the community through meals, educational activities and public talks. This collective effort drew in more community members which eventually lead to more gardens being opened in other areas, including Dekalb, Illinois and Cedar Rapids, Iowa.
It is likely that the combination of educational and social elements of their projects is what keeps it going. These are often things that are lacking in certain communities, which means that there is a real need for it. there is often the risk that projects driven by volunteer work may fizzle over time, but as they have their four driving members they can ensure that their projects continue to make an impact. It is also most likely that these 4 artist who started this arts collaboration are the key to their longevity, as they clearly strive to maintain and continue their community work.
Source: HAHA website
HAHA is an art collaborative that addresses the particulars of local living, politics, social elements and a sense of self. It is their belief that collaboration can affect the world by taking away focus from the artist and placing it towards the community. They have 15 projects, one of which is FLOOD. Flood is a volunteer network with between 20 to 30 participants. It initially started with a garden project which was built at a Chicago storefront. Participants grew vegetables (kale, collards, mustard greens, swiss chard) and therapeutic herbs for people with HIV. It also served as a platform to serve the community through meals, educational activities and public talks. This collective effort drew in more community members which eventually lead to more gardens being opened in other areas, including Dekalb, Illinois and Cedar Rapids, Iowa.
It is likely that the combination of educational and social elements of their projects is what keeps it going. These are often things that are lacking in certain communities, which means that there is a real need for it. there is often the risk that projects driven by volunteer work may fizzle over time, but as they have their four driving members they can ensure that their projects continue to make an impact. It is also most likely that these 4 artist who started this arts collaboration are the key to their longevity, as they clearly strive to maintain and continue their community work.
Source: HAHA website
Exercise 5.11: Local knowledge
Research a community art project in your local area, if you can find one, use this to address the following questions, otherwise consider them in a more general way. Are you able to bring any special knowledge to the project and the community that others might not have? Does it matter if the artist lives in the community? What might be some of the problems of an artist working with a community group that they have very little, or no prior connection to? Present your thoughts in your learning log.
As I am completing this exercise, we are busy coming out on the other side of the Covid-19 pandemic. March through to May is usually a great time for the arts in Hong Kong, but many of these were cancelled or moved to online platforms. Several of these activities include workshops, open air performances and collaborations that include the community. Some of these are back in action again now. One that I was able to find is a community project by the Urban Renewal Authority. Their main goal is to "undertake, encourage, promote and facilitate urban renewal of Hong Kong, with a view to addressing the problem of urban decay and improving the living conditions of residents in old districts" (URA, 2020). They have realized the important role that art can play in enhancing the quality of urban life and it's residents, and so in August 2011, the URA launched a strategic implementation framework for community arts and culture, aiming to integrate arts and cultural elements in urban renewal. They regularly facilitate art events that focus on particular areas and their residents. One of their most recent projects is "TKW Throught the Camera's Eye" by KUNST. This project was a series of photography workshops for senior residents of To Kwan Wan. Residents learned some basic photography skills and then go on community walks to capture their community from new perspectives. The project ends with a photo exhibition to show case the work.
I think a project like this is a great initiative, especially focusing on senior citizens, who can often be overlooked in society. Not only are you providing them a socially engaging activity, you are also teaching them some artistic principals and providing them with a potentially new-found appreciation for their local environment. As for the consideration of working in communities where you may not be from, I would consider this to be a challenge. Personally, I would have difficulty joining a very local project like this, as the language barrier would be an issue. Culturally, I may also have different perspectives or ideas of what is important or how to interpret artistic ideas. I don't consider my different POV a bad thing, as one of the great things about art is it's ability to bring new ideas, experiences and social contexts to others, but if I had to do a project like this, it would be easier to work with the younger community as there is greater potential to cultivate understanding. Being a teacher, I am often involved in community projects as a part of my job, so I don't tend to get involved in additional projects outside of education.
Depending on the type of project you are introducing, prior connection to a community may not be needed, but certainly some prior research would be needed, as their may be certain cultural nuances or planning logistics to consider.
As I am completing this exercise, we are busy coming out on the other side of the Covid-19 pandemic. March through to May is usually a great time for the arts in Hong Kong, but many of these were cancelled or moved to online platforms. Several of these activities include workshops, open air performances and collaborations that include the community. Some of these are back in action again now. One that I was able to find is a community project by the Urban Renewal Authority. Their main goal is to "undertake, encourage, promote and facilitate urban renewal of Hong Kong, with a view to addressing the problem of urban decay and improving the living conditions of residents in old districts" (URA, 2020). They have realized the important role that art can play in enhancing the quality of urban life and it's residents, and so in August 2011, the URA launched a strategic implementation framework for community arts and culture, aiming to integrate arts and cultural elements in urban renewal. They regularly facilitate art events that focus on particular areas and their residents. One of their most recent projects is "TKW Throught the Camera's Eye" by KUNST. This project was a series of photography workshops for senior residents of To Kwan Wan. Residents learned some basic photography skills and then go on community walks to capture their community from new perspectives. The project ends with a photo exhibition to show case the work.
I think a project like this is a great initiative, especially focusing on senior citizens, who can often be overlooked in society. Not only are you providing them a socially engaging activity, you are also teaching them some artistic principals and providing them with a potentially new-found appreciation for their local environment. As for the consideration of working in communities where you may not be from, I would consider this to be a challenge. Personally, I would have difficulty joining a very local project like this, as the language barrier would be an issue. Culturally, I may also have different perspectives or ideas of what is important or how to interpret artistic ideas. I don't consider my different POV a bad thing, as one of the great things about art is it's ability to bring new ideas, experiences and social contexts to others, but if I had to do a project like this, it would be easier to work with the younger community as there is greater potential to cultivate understanding. Being a teacher, I am often involved in community projects as a part of my job, so I don't tend to get involved in additional projects outside of education.
Depending on the type of project you are introducing, prior connection to a community may not be needed, but certainly some prior research would be needed, as their may be certain cultural nuances or planning logistics to consider.
Works Cited
URA (2020) About URA. [online] At: https://www.ura.org.hk/en/about-ura (Accessed on 3 July 2020)
URA (2020) About URA. [online] At: https://www.ura.org.hk/en/about-ura (Accessed on 3 July 2020)
further reading
Bishop, C. (2006) ‘The Social Turn: Collaboration and Its Discontents’ In: Artforum. pp.178-183 [online] At: https://www.gc.cuny.edu/CUNY_GC/media/CUNY-Graduate-Center/PDF/Art%20History/Claire%20Bishop/Social-Turn.pdf (Accessed on 16.08.18)
Interesting points from the article:
- Artists are using social situations to produce dematerialixed, antimarket, politically engaged projects that carry on the modernist call to blur art and lifer.
- Artists are less interested in relational aesthetics and rather focus on creative collaborative activity
- There is still a criticism in finding the balance in how to view these collaborative projects, especially from an artistic point of view.
- There are also challenges in separating the produced work from the site where it takes places, to the social setting, to the political statement these factors combined might make.
- There seems to be 2 distinct areas of focus when creating collaborative projects;
1) A well intentioned space to allow social collaboration and community building
2) A means to confront, educate and highlight issues in a particular society.
Interesting points from the article:
- Artists are using social situations to produce dematerialixed, antimarket, politically engaged projects that carry on the modernist call to blur art and lifer.
- Artists are less interested in relational aesthetics and rather focus on creative collaborative activity
- There is still a criticism in finding the balance in how to view these collaborative projects, especially from an artistic point of view.
- There are also challenges in separating the produced work from the site where it takes places, to the social setting, to the political statement these factors combined might make.
- There seems to be 2 distinct areas of focus when creating collaborative projects;
1) A well intentioned space to allow social collaboration and community building
2) A means to confront, educate and highlight issues in a particular society.
Assignment five: Motivations
With transformation in mind, in its broadest sense, write a short statement (1000 words) about your own work in your learning log, in terms of the things that are important to you to be able to convey. What are your motivations in the work, what drives you, how do you want the work to affect people? Send this to your tutor with links to the work for this part of the course in your learning log.
Reflection on tutor Report
The tutor explained that my first draft did not really explore the nature of what was learned in Part 5. Though I wrote about transformation, I neglected to include specific learning from the content and research I did. They mentioned that I had gathered great examples in my learning log and should instead try and use them to provide evidence of my learning. They advised that included my investigations of the parallel project would be well suited. I created a new draft of the written piece and think it now show a better representation of what I learned about art and its potential for creating change. I have included findings from my parallel project investigation which I think makes an interesting addition to the work. It also helps to strengthen what I learned from completing the parallel project with a stronger connection to theories in art. I look forward to exploring some of these issues further in future work.