Project 1 Textual Research
Aim
Take into account your tutor’s feedback from earlier in the course. Take the time now to reflect back over all your painting achievements and outcomes so far. Review the works and try to think of ways that you can progress and improve them.
Method
We write an artist’s statement when we want to offer the viewer or reader a small taste of, or clue to what we do, what we make, and how and why we do it – perhaps something that they may not be able to discover from the work alone. In the context of this course you might, for instance, want your audience to know about the historical precursors and the inspiration behind a particular piece, or you may want to put forward a question or theme that you have sought to answer in the painting. An artist’s statement can be a one-liner or a more substantial piece of writing suitable for a catalogue. Whether it’s short or long, it should be unpretentious and free of art jargon. You’ll produce a 2,000-word artist’s statement for Assignment Six. This will represent the major written component of this course. Find more artist’s statements online that have resonance with your own work, and discuss these in your learning log.
Reflection
To pinpoint the areas of research in relation to your own practice, to contextualise your work and identify where you sit within the art world.
Take into account your tutor’s feedback from earlier in the course. Take the time now to reflect back over all your painting achievements and outcomes so far. Review the works and try to think of ways that you can progress and improve them.
Method
We write an artist’s statement when we want to offer the viewer or reader a small taste of, or clue to what we do, what we make, and how and why we do it – perhaps something that they may not be able to discover from the work alone. In the context of this course you might, for instance, want your audience to know about the historical precursors and the inspiration behind a particular piece, or you may want to put forward a question or theme that you have sought to answer in the painting. An artist’s statement can be a one-liner or a more substantial piece of writing suitable for a catalogue. Whether it’s short or long, it should be unpretentious and free of art jargon. You’ll produce a 2,000-word artist’s statement for Assignment Six. This will represent the major written component of this course. Find more artist’s statements online that have resonance with your own work, and discuss these in your learning log.
Reflection
To pinpoint the areas of research in relation to your own practice, to contextualise your work and identify where you sit within the art world.
Contextual Focus Points
Jonny Briggs
Jonny Briggs is a British artist who works mostly in photography and he uses this medium to explore relationships and memories. "He plays with personal narrative, photographic histories and painting’s rich past. He enunciates his ideas for the contemporary viewer using a blend of approaches, objects and performative practices". (OCA Handbook). Start by looking on the artist’s website and reading his artist’s statement:
Artist Statement
"In search of lost parts of my childhood I try to think outside the reality I was socialised into and create new ones with my parents and self. Through these I use photography to explore my relationship with deception, the constructed reality of the family, and question the boundaries between my parents and I, between child/adult, self/other, nature/culture, real/fake in attempt to revive my unconditioned self, beyond the family bubble. Although easily assumed to be photoshopped or faked, upon closer inspection the images are often realised to be more real than first expected. Involving staged installations, the cartoonesque and the performative, I look back to my younger self and attempt to re-capture childhood nature through my assuming adult eyes." (Briggs, 2019)
In addition to the statement above on his website, there is also an artist statement on the university website which reads slightly differently:
"In search of lost parts of my childhood, I endeavour to think outside of the reality I was socialised into and create a new one with my parents and self. Through this I reference the discovery of my individuality and question the distance between us, between adult and child, love and resentment, expressed and reserved, real and fake, in an attempt to revive my unconditioned, uninhibited self. Striving to escape my closing adult mind, photomontage, the cartoonesque and the performative allow me to escape the normal, and question my beliefs, to recapture childhood nature through my cultured adult eyes." (Briggs, 2019)
Reflecting on statement
The artist identifies the inspiration behind his work and provides insight to the ideas or concepts he wants to explore. He mentions his preferred medium and describes his style in his own words. I particularly like the statement on the RCA website, "to escape the normal, and question my beliefs, to recapture childhood nature through my cultured adult eyes", as this has quite an open ended nature. It is not confined to a particular medium or style, simply to the notion of how we see and experience the world around us. It delves into the concept of change.
Jonny Briggs is a British artist who works mostly in photography and he uses this medium to explore relationships and memories. "He plays with personal narrative, photographic histories and painting’s rich past. He enunciates his ideas for the contemporary viewer using a blend of approaches, objects and performative practices". (OCA Handbook). Start by looking on the artist’s website and reading his artist’s statement:
Artist Statement
"In search of lost parts of my childhood I try to think outside the reality I was socialised into and create new ones with my parents and self. Through these I use photography to explore my relationship with deception, the constructed reality of the family, and question the boundaries between my parents and I, between child/adult, self/other, nature/culture, real/fake in attempt to revive my unconditioned self, beyond the family bubble. Although easily assumed to be photoshopped or faked, upon closer inspection the images are often realised to be more real than first expected. Involving staged installations, the cartoonesque and the performative, I look back to my younger self and attempt to re-capture childhood nature through my assuming adult eyes." (Briggs, 2019)
In addition to the statement above on his website, there is also an artist statement on the university website which reads slightly differently:
"In search of lost parts of my childhood, I endeavour to think outside of the reality I was socialised into and create a new one with my parents and self. Through this I reference the discovery of my individuality and question the distance between us, between adult and child, love and resentment, expressed and reserved, real and fake, in an attempt to revive my unconditioned, uninhibited self. Striving to escape my closing adult mind, photomontage, the cartoonesque and the performative allow me to escape the normal, and question my beliefs, to recapture childhood nature through my cultured adult eyes." (Briggs, 2019)
Reflecting on statement
The artist identifies the inspiration behind his work and provides insight to the ideas or concepts he wants to explore. He mentions his preferred medium and describes his style in his own words. I particularly like the statement on the RCA website, "to escape the normal, and question my beliefs, to recapture childhood nature through my cultured adult eyes", as this has quite an open ended nature. It is not confined to a particular medium or style, simply to the notion of how we see and experience the world around us. It delves into the concept of change.
Reflection
What do you get from his work?
Many of his pieces evoke questions around identity. As a viewer you want to know who the people are in the images, or why they are often distorted or hidden. Reading the artist statement helps you understand that the people are family members, which allows you to consider the potential meaning behind certain imagery. If there are parts of the parents hidden or unseen, it could mean that as a child Briggs could not completely understand his parents which made him feel distant from them. Or that as an adult, he realized how much parents have to sacrifice for their children, thus prompting them to set aside their own identity in order to develop that of their children.
Looking at his constructed pieces there is also a cleat struggle between adulthood and childhood, like the sculpture Shoes to Walk up Stairs in an Orderly Fashion (2017). We see how an adult looks at a pair of shoes and thinks about the purpose of the shoe and what is proper, while a child will bring imagination to the use of the shoes. Making them scale walls or go off track.
What impact does it have on you?
The images are intriguing. The use of montage juxtaposes ideas, which allows you to interpret the work. The pieces become like puzzles that you try to solve. I don't consider them particularly beautiful, but there is much thought that goes into each composition which makes you appreciate the work on a more intellectual level rather than an aesthetic one.
Can you break down the components of his approach to his work?
The artist mostly works with photographs, in particular staging objects and spaces in order look like a montage. This is what creates the sense of it being unreal. He makes use of montage as he says it, "is a way of clashing alternative visual realities and time frames, of juxtaposing different ways of seeing". He also mentions using a combination of methods, including, "3D scanning, 3D printing, milling, weaving, glass casting and darkroom printing."(Briggs cited on Aesthetica, 2013)
What is the work informed by?
As with most artists each piece and each exhibition has a theme or topic of exploration, though as identified through his statement, he explores his relationship with his family and how this has shaped his culture and understanding. He likes to look back at childhood moments as an adult to reconsider their meaning and impact on his identity.
The piece Capture (2019), shown above, is from a exhibit where Briggs explored hands, in particular the pointed finger. He notes that this can refer to an authority figure pointing a figure, or to someone providing direction. Either way he is showing the viewer that the become so obsessed with the pointed finger that they forget to focus on where it is pointing to. (Briggs via Cox, 2017)
What do you get from his work?
Many of his pieces evoke questions around identity. As a viewer you want to know who the people are in the images, or why they are often distorted or hidden. Reading the artist statement helps you understand that the people are family members, which allows you to consider the potential meaning behind certain imagery. If there are parts of the parents hidden or unseen, it could mean that as a child Briggs could not completely understand his parents which made him feel distant from them. Or that as an adult, he realized how much parents have to sacrifice for their children, thus prompting them to set aside their own identity in order to develop that of their children.
Looking at his constructed pieces there is also a cleat struggle between adulthood and childhood, like the sculpture Shoes to Walk up Stairs in an Orderly Fashion (2017). We see how an adult looks at a pair of shoes and thinks about the purpose of the shoe and what is proper, while a child will bring imagination to the use of the shoes. Making them scale walls or go off track.
What impact does it have on you?
The images are intriguing. The use of montage juxtaposes ideas, which allows you to interpret the work. The pieces become like puzzles that you try to solve. I don't consider them particularly beautiful, but there is much thought that goes into each composition which makes you appreciate the work on a more intellectual level rather than an aesthetic one.
Can you break down the components of his approach to his work?
The artist mostly works with photographs, in particular staging objects and spaces in order look like a montage. This is what creates the sense of it being unreal. He makes use of montage as he says it, "is a way of clashing alternative visual realities and time frames, of juxtaposing different ways of seeing". He also mentions using a combination of methods, including, "3D scanning, 3D printing, milling, weaving, glass casting and darkroom printing."(Briggs cited on Aesthetica, 2013)
What is the work informed by?
As with most artists each piece and each exhibition has a theme or topic of exploration, though as identified through his statement, he explores his relationship with his family and how this has shaped his culture and understanding. He likes to look back at childhood moments as an adult to reconsider their meaning and impact on his identity.
The piece Capture (2019), shown above, is from a exhibit where Briggs explored hands, in particular the pointed finger. He notes that this can refer to an authority figure pointing a figure, or to someone providing direction. Either way he is showing the viewer that the become so obsessed with the pointed finger that they forget to focus on where it is pointing to. (Briggs via Cox, 2017)
David Ben White
He is a British artist who has a particular fascination with the modern art space. "His work responds to the spaces of architecture and objects of the home or office. He uses design history as a motivator within the decision-making processes of his work" (OCA Handbook).
He is a British artist who has a particular fascination with the modern art space. "His work responds to the spaces of architecture and objects of the home or office. He uses design history as a motivator within the decision-making processes of his work" (OCA Handbook).
Reflection
What do you get from his work?
Looking at works from his Inside Outside (2015) exhibition, shown above, I notice his use of geometry and that he pushes the boundary of perception by using flat planes. Couple this with the use of designated colour blocks and it creates the effect of a glass stained window. The work certainly shows his fascination with lines and architecture as well as the manner in which a viewer delineates space.
What impact does it have on you?
It is my understanding White wants the viewer to not only interact with the work but also the white space. The use of the bold vinyl colours on the walls definitely draws in your attention as it extends the painting and creates a cohesion between the work and the space. It is a great example of showing how the artwork and the space can work together to create a greater impact. The use of the 3D sculptures further ties the paintings to the space by creating the impression that they have leapt off the canvas and into the space. From a style point of view I also like his modern take on representing form. He chooses to challenge the eye and I appreciate how it is often more challenging to create non-realistic interpretations, which makes the viewer consider the work more critically.
Can you break down the components of his approach to his work?
Generally his work combines painting, sculpture, instillation and the work shown above is no different. There is a clear fascination with lines throughout the paintings, sculptures and walls. This "grid motif connects very strongly to Rosalind Krauss’s seminal text on the ‘grid’, which claimed that ‘the grid functions to declare the modernity of modern art’." (White cited on Dougall, 2015).
What is the work informed by?
Dougall notes that the text Inside The White Cube: The Ideology of the Gallery Space (1986) by Brian O'Doherty had a great impact on his fascination with the space, in particular the relationship between gallery, artwork and spectator. In addition to this, his work also takes inspiration from current trends and cultural issues. The exhibit Inside Outside explores our relationship with modernism while considering the place of the female artist. The Waiting Room investigates the psycho-geography of Wimbledon Space. Re-Assemble is about the fractured political structure in the UK (Mutual Art, 2019). He is interested in "connecting painting more to a sense of design than to a sense of painting’s history" (White cited on Dougall, 2015)
What do you get from his work?
Looking at works from his Inside Outside (2015) exhibition, shown above, I notice his use of geometry and that he pushes the boundary of perception by using flat planes. Couple this with the use of designated colour blocks and it creates the effect of a glass stained window. The work certainly shows his fascination with lines and architecture as well as the manner in which a viewer delineates space.
What impact does it have on you?
It is my understanding White wants the viewer to not only interact with the work but also the white space. The use of the bold vinyl colours on the walls definitely draws in your attention as it extends the painting and creates a cohesion between the work and the space. It is a great example of showing how the artwork and the space can work together to create a greater impact. The use of the 3D sculptures further ties the paintings to the space by creating the impression that they have leapt off the canvas and into the space. From a style point of view I also like his modern take on representing form. He chooses to challenge the eye and I appreciate how it is often more challenging to create non-realistic interpretations, which makes the viewer consider the work more critically.
Can you break down the components of his approach to his work?
Generally his work combines painting, sculpture, instillation and the work shown above is no different. There is a clear fascination with lines throughout the paintings, sculptures and walls. This "grid motif connects very strongly to Rosalind Krauss’s seminal text on the ‘grid’, which claimed that ‘the grid functions to declare the modernity of modern art’." (White cited on Dougall, 2015).
What is the work informed by?
Dougall notes that the text Inside The White Cube: The Ideology of the Gallery Space (1986) by Brian O'Doherty had a great impact on his fascination with the space, in particular the relationship between gallery, artwork and spectator. In addition to this, his work also takes inspiration from current trends and cultural issues. The exhibit Inside Outside explores our relationship with modernism while considering the place of the female artist. The Waiting Room investigates the psycho-geography of Wimbledon Space. Re-Assemble is about the fractured political structure in the UK (Mutual Art, 2019). He is interested in "connecting painting more to a sense of design than to a sense of painting’s history" (White cited on Dougall, 2015)
exhibits
Consider and test how paintings are exhibited by visiting and researching different kinds of exhibition – the usual and the unusual. Look for series, continuing themes, repeat images, groupings, size and scale, possibilities and innovations. Investigate how paintings are displayed, both individually and as a collection. Note what types of fixings, supports, lights, etc., are used.
Think back to the preliminary artist’s statement you produced in Part Four. What kind of information is provided for viewers in the settings you’ve visited or researched? In the context of this course you are your own curator but this isn’t often the case. Try to discover who is curating the work or exhibition you’re visiting or researching and explore the role of the contemporary curator. Does the curator lead the artist(s) towards a particular way of
making/thinking? Or do they work with the artists? See Link 33 for a discussion of the curator’s role.
Thinking back to your art historical research in Parts One and Two, it might also be interesting to look again at how your historical precursors were exhibited. How could you update this to create a contemporary exhibition setting? (Van Gogh Alive exhibition)
Think back to the preliminary artist’s statement you produced in Part Four. What kind of information is provided for viewers in the settings you’ve visited or researched? In the context of this course you are your own curator but this isn’t often the case. Try to discover who is curating the work or exhibition you’re visiting or researching and explore the role of the contemporary curator. Does the curator lead the artist(s) towards a particular way of
making/thinking? Or do they work with the artists? See Link 33 for a discussion of the curator’s role.
Thinking back to your art historical research in Parts One and Two, it might also be interesting to look again at how your historical precursors were exhibited. How could you update this to create a contemporary exhibition setting? (Van Gogh Alive exhibition)
Research: the role of the curator
According to Hans Ulrich Obrist, the curator and co-director of London’s Serpentine Galleries, being a curator today means four things; to preserve, to select, to connect art to history, to display and arrange. (Obrist cited on Groves and Jeffries, 2014).
It is clear that the role of the curator is multifaceted. Not only do they have to consider the space they are working in, but the also need to consider the needs of the artists and the experience of the viewer. This involves a great deal of research as the curator needs to make sure they understand what the artist is trying to say. The might look into other movements and exhibitions in history to gain insight or inspiration in how work is viewed. at the same time, they also need to consider a modern audience and how viewing platforms have changed. They also play a very important role in the career of the artist by "acting as a tastemaker and validator...where they can make or break an artist’s career" (Neuendorf, 2016).
Ultimately it is important that no matter where or what or who is being exhibited, the curator needs to instill the greater sense that art is important and needed in society.
It is clear that the role of the curator is multifaceted. Not only do they have to consider the space they are working in, but the also need to consider the needs of the artists and the experience of the viewer. This involves a great deal of research as the curator needs to make sure they understand what the artist is trying to say. The might look into other movements and exhibitions in history to gain insight or inspiration in how work is viewed. at the same time, they also need to consider a modern audience and how viewing platforms have changed. They also play a very important role in the career of the artist by "acting as a tastemaker and validator...where they can make or break an artist’s career" (Neuendorf, 2016).
Ultimately it is important that no matter where or what or who is being exhibited, the curator needs to instill the greater sense that art is important and needed in society.
Christie's auction exhibition
Christie's Auction House regularly holds auctions in Hong Kong which often include great art pieces from both East and West. During the auction all pieces are on view to the public and they often provide a great opportunity to learn about new artists or to view famous historical pieces. I attended the June auctions and below are some of my notes on the works I saw. It is worth noting that the purpose of this exhibition is to display paintings with the hopes that they will be purchased. Here a greater importance will be placed on the artist who painted a piece and when it was painted, which is why they put a greater amount of information next to each painting. It is more likely this information that will entice they viewer. That being said, many patrons don't only purchase art as investments, but because they have a real affinity for a piece or the artist, and so as many museums or galleries, the curator has been thoughtful of where to position pieces as this may affect their emotive response.
Zao Wou-Ki is a Chinese artist who studied fine art in China. He later relocated to Paris where encountered the works of Matisse, Picasso, Paul Klee and other Expressionist artists, which resulted in a great amalgamation of East and West, with his work increasingly "combining the gestural movements of traditional calligraphy with the compositional structure of abstract painting" (Christie's, 2018). Picture is his painting Triptyque (1987-1988) which is a monumental piece measuring at 200 x 486 cm. The piece contains inspirations from Matisse, through the use of concise colour, while the gestural painting techniques are "reminiscent of Chinese calligraphy, and Monet’s paintings of his lily pond at Giverny" (Christie's. 2019)
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As you can see the piece was isolated from the other paintings on display to highlight its importance and scale. Rows of over-head light are used to allow the visibility of the strokes, an aspect of Wou-Ki's work that is particularly important. The walls here are not in the traditional white, but rather in a dusty grey. this colouring along with the isolated lighting makes it feel as thought the painting is appearing from the darkness or from within a cloud. This once again suits the atmosphere of the painting well.
Another piece that was quite impressive to see was Tank Project (2011-13) is an instillation piece made entirely of Italian leather. I is is modelled on a T34 tank which was found between North Korea and China. It took He and 35 helpers 2 years to complete the monumental piece made of 250 leather hides and weighing in at over 4000 pounds.(Public Delivery, 2019). I imagine the piece would have to be deconstructed and reassembled every time it is moved. As you can see from the image on the right, the curator chose to have the monumental piece in the center of the space. All other displays circle around and sprout out from this piece, similar to hoe an old courtyard garden would center around a fountain. You can also note that the space has very large ceilings, and so additional lighting frames were set up in order to direct spot lights on to pieces.
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As mentioned above, most pieces were in a large exhibition hall and their were displayed on shorter walls with additional lighting rigs. Generally the walls were set up in a type of circular maze with new corridors featuring new artists or style groups.
Shown on the right are smaller locations which house the older works. Here I found pieces by Picasso, Matisse, Frank Auerbach and Coubert. The fact that they have their own dedicated space shows their importance in the history of art. The inclusion of seats also means that they want to encourage you to really take in each piece. This is something you also see often when viewing well known art pieces in museums. |
Below are some additional artists works from the exhibit that stood out to me. Mostly due to their subject matter or use of expressive painting techniques.
Art Basel 2019
I have spoken about my visits to Art Basel before in some of the other parts in this course. It is a great opportunity to take in a variety of works. It is interesting to see how various galleries choose to display works, but generally works seem to be organized by artist or style. As with the Christie's show, these take place in an exhibition center making the space large and vast. Therefore a seriwes of shorter walls with lighting frames are set up to keep works at eye level. The most interesting displays are always the sculptural pieces as there needs to be more though put into how people will move around them or experience them. Below is a set up I found to be quite engaging.
The KABINETT Gallery exhibits and curates art "that challenges contemporary culture and pushes new aesthetic visions, KABINETT strives to generate a fertile dialogue between contemporary works of all types and the artistic visions of earlier periods." (KABINETT, 2019)
They incorporate a great sense of architecture into their displays. In the images seen on the right, the black tree-like branches are not actually part of the mask sculptures. These stands bring an additional level of interest to the pieces as the provide a type of skeleton which the mask sits upon. You can see how this ties in with their philosophy of pushin aesthetic vision. The have also used the walls to create cubicles behind the structures when additional paintings can be viewed, further allowing the audience to 'step in' and engage with the art. |
Monastery of the Cartuja
This is a religious building on the Isla de La Cartuja in Seville, southern Spain now used as a contemporary art Center. The high ceilings and Classic architecture create an exciting backdrop for the artworks on display. As with most galleries, the exhibits change regularly. When I visited, there was a large display of the works by Jan Fabre. These included films of his performance pieces, his drawings, writings and sculptural pieces. As you can see from the image below, the work has been laid out across the floor space on glass tables, which allow you see through them. Along with the tall ceilings, this provides a great sense of openness. Along the walls are larger photographs, drawings and video displays, but most interestingly, there are large quotes from the artists writings. As this artist has such a multifaceted career, they gallery has chosen to display his work chronologically. This makes sense as you could see how the artist has developed, especially as Fabre has strong, often controversial, views. I suppose another approach could have been to separate the pieces into categories, having sculptures, performances and drawings grouped together. This would change the intention of the display. The chronological approach makes the display feel biographical as it provides an overview of the artist, his growth and journey. If you were to separate the works, the emphasis would be more on individual pieces, rather than the artists. I was unable to ascertain who curated the show.
Opera Gallery
The Opera Gallery is a collection of galleries found world wide. I have visited the one in Hong Kong several times as they tend to change their exhibits every 3 months. One of the things that make them quite different is their inclusion of a black room, seen in the image on the right. This is a section reserved exclusively for modern Master's work. The pieces here can also rotate among the other galleries, so you are always sure to see varied pieces by famous artists.
I included this because the idea of a completely black space is quite different from other galleries. You will note, that the directed spot lights are still used to ensure that the paintings are well lit. As a viewer I would say that the the use of the black paint in such a confined space with low ceilings, is not necessarily the most effective and for me personally, does not enhance the viewing experience. |
Hanart TZ Gallery.
During my visit to the Hanart TZ Gallery they were featuring the works of Wang Dongling. Wang is a well known Chinese calligrapher and he uses his art to advocate the practice of calligraphy and its importance as a form of expression. He also recognizes that Chinese calligraphy is not represented enough in contemporary art. This particular exhibit is titled Poetic Rainbow (2017). When you enter the space you notice the large scale panels that are in colour, but still translucent. On them are the lines from well known poems and popular song lyrics (Halim, 2017).
The writing appears quite wild and free and does not represent the kind of meticulous rows and detail you would see in more traditional calligraphy writings. I believe this speaks to his more artistic nature and making the words take on a more emotional meaning by way of expressive strokes. The use of the transparent coloured panels create various aesthetic effects. You can see from the image on the right that the transparent nature allows you to see through to other panels, giving a great sense of connection between pieces and changing the appearance of line or colour. Light can also be used to play with the panels and writing, as it casts shadows onto the walls and surrounding area when directed. The colours have a specific connection to the meaning of the text on each piece and is routed in his Chinese culture. The gallery would likely have worked with the artist on the placement of panels and lights in order to achieve these effects. I was unable to ascertain who specifically curated the show. |
Additional Reading
Inside The White Cube: The Ideology of the Gallery Space (1986) by Brian O'Doherty.
These are some of my take-aways from the book:
- The gallery space often shuts out the world and tries to isolate the art and estrange the artist
- Paintings become frozen in time, taking on an eternal nature
- Similarly to when you are in a religious building, you tend to change your behavior when in an art gallery
- As the white space transcends time, it gains power
- When a painting is hung, something is being said about it. The chosen position and frame can change the perception of it.
- The eye is the most important thing to consider when arranging a space. What will it perceive, where will its gaze go, how do you maintain its interest?
- While you want to engage the eye first, how can the art and space also engage the mind?
- The gallery space had potentially taken away the artists control over the content of their art. When a spectator views a piece they will invariably create their own conclusions surrounding the art works and their discussions may become the content of the work.
Thinking about the last point made above, it really makes me consider the importance of providing some context when displaying your art. Either through a well produced statement or by meticulous editing in finding the thread that binds your work.
https://www.artsy.net/article/artsy-editorial-white-cube-dominate-art
These are some of my take-aways from the book:
- The gallery space often shuts out the world and tries to isolate the art and estrange the artist
- Paintings become frozen in time, taking on an eternal nature
- Similarly to when you are in a religious building, you tend to change your behavior when in an art gallery
- As the white space transcends time, it gains power
- When a painting is hung, something is being said about it. The chosen position and frame can change the perception of it.
- The eye is the most important thing to consider when arranging a space. What will it perceive, where will its gaze go, how do you maintain its interest?
- While you want to engage the eye first, how can the art and space also engage the mind?
- The gallery space had potentially taken away the artists control over the content of their art. When a spectator views a piece they will invariably create their own conclusions surrounding the art works and their discussions may become the content of the work.
Thinking about the last point made above, it really makes me consider the importance of providing some context when displaying your art. Either through a well produced statement or by meticulous editing in finding the thread that binds your work.
https://www.artsy.net/article/artsy-editorial-white-cube-dominate-art
additional reading
Artsy Article: How the White Cube Came to Dominate the Art World (2017) by Abigail Cain
Summary notes:
- Public museums gained popularity during the 18th century, bringing focus to art, artists and exhibitions
- In the beginning, walls were cluttered with paintings and viewers clambering for a space
- Museums realized that they need to provide a better quality experience and should isolate works to accentuate them
- One of the first changes was to hang works at eye level- As works were isolated, it meant that there was more wall space and thus the colour of the wall became an important feature
- At first reds and grey-ish yellows were favored by museums as it created a good tone against the cooler tones of the paintings
- It was in 1936, with Barr’s “Cubism and Abstract Art” exhibition that the White Cube became a real institution
- This created a shift in focus from the architecture of the building, to the actual art hanging in the building
Reflection
I can understand the ideas of a complete white space providing the opportunity for work to be highlighted. The idea of not having windows, so the work becomes isolated from the outside world seems a little strange to me. Having been to many different museums and galleries I can honestly say that I enjoy the experience more when there is something special about the building. I prefer the use of colour and where possible the inclusion of natural light as I don't believe art should be in isolation of the world, but this is just my opinion.
Summary notes:
- Public museums gained popularity during the 18th century, bringing focus to art, artists and exhibitions
- In the beginning, walls were cluttered with paintings and viewers clambering for a space
- Museums realized that they need to provide a better quality experience and should isolate works to accentuate them
- One of the first changes was to hang works at eye level- As works were isolated, it meant that there was more wall space and thus the colour of the wall became an important feature
- At first reds and grey-ish yellows were favored by museums as it created a good tone against the cooler tones of the paintings
- It was in 1936, with Barr’s “Cubism and Abstract Art” exhibition that the White Cube became a real institution
- This created a shift in focus from the architecture of the building, to the actual art hanging in the building
Reflection
I can understand the ideas of a complete white space providing the opportunity for work to be highlighted. The idea of not having windows, so the work becomes isolated from the outside world seems a little strange to me. Having been to many different museums and galleries I can honestly say that I enjoy the experience more when there is something special about the building. I prefer the use of colour and where possible the inclusion of natural light as I don't believe art should be in isolation of the world, but this is just my opinion.
research point
Michael Pfleghaar
He is an American artist who uses bright colours to capture the structural elements of every day objects. His ready-made objects to paintings, creating a dialogue between utilitarian and non-utilitarian elements and so breaking down the idea of a two- dimensional painting. He works with different elements with and within painting, and revisits the past through objects and styles, influenced by different kinds of histories. |
I was not able to find Pfleghaar's artist statement, but in an interview he gave a description of the work which can easily be viewed as a statement.
"Interpreting a three-dimensional form into a painting is the ideology behind my work. My paintings have found their place somewhere between representation and abstraction through deletion, isolation, and exaggeration of inanimate objects. Modern furniture, lighting, and architecture inspire the work because of the inherent abstract structure. Through abstraction, I am able to capture the spirit of modern design while creating a new entity. Landscape, still life, and interiors are other genres in which I work. Physicality is stressed in the work through material use and how it relates to the forms inspiring the paintings. This illustrates the paradox I find in painting; it can be referential of something or an object itself, yet these two opposing views are really inseparable." (Pfleghaar cited on The Rapidan, 2018)
Reflection
It is an interesting notion to consider how a painting might influence a structural creation. Usually when creating a still life, objects are used to construct a scene, so you would assume that that the objects already exist. If you now recreate new items based on the interpretation of them from a painting, it will impact the form of those items. I personally find his paintings more interesting that the ready-mades, as the highly abstract nature of the objects, combined with his exaggerated use of colour is overdone.
Considering his own description of his work, I think it provides a good summary of what his goal is. I like the use of words like; physicality, exaggeration, deletion, abstract and paradox. They provide a sense of description which helps you consider the context, meaning or placement within art history.
works cited
Aesthetica Magazine. (2013) Interview with Royal College of Art Graduate: Jonny Briggs [online] At: https://www.aestheticamagazine.com/interview-with-royal-college-of-art-graduate-jonny-briggs/ (Accessed on 6 August 2019)
Briggs, J. (2019) Jonny Briggs: About. [online] At: https://www.jonnybriggs.com/about/ (Accessed on 6 August 2019)
Briggs, J. (2019) Jonny Briggs. [online] At: https://www.rca.ac.uk/students/jonny-briggs/ (Accessed on 6 August 2019)
Cain, A. (2017) How the White Cube Came to Dominate the Art World. [online] At: https://www.artsy.net/article/artsy-editorial-white-cube-dominate-art (Accessed on 14 August 2019)
Christie's (2018) 10 things to know about Zao Wou-Ki [online] At: https://www.christies.com/features/Zao-Wou-Ki-8534-3.aspx (Accessed on 9 August 2019)
Christie's (2019) Zao Wou-Ki’s monumental homage to Monet and Matisse [online] At: https://www.christies.com/features/Zao-Wou-Ki-Triptych-1987-88-9762-3.aspx?PID=mslp_related_features4 (Accessed on 8 August 2019)
Cox, R. (2017) Artist Interview: Jonny Briggs. [online] At: https://www.countryandtownhouse.co.uk/culture/artist-interview-jonny-briggs/ (Accessed on 6 August 2019)
Dougall, H. (2015) A re-negotiation with Modernism’ – David Ben White at l’étrangère. [online] At: https://artattackapp.wordpress.com/2015/10/29/david-ben-white-inside-outside-letrangere/ (Accessed on 8 August 2019)
Groves, N. and Jeffries, S. (2014) Hans Ulrich Obrist: the art of curation. [online] At: https://www.theguardian.com/artanddesign/2014/mar/23/hans-ulrich-obrist-art-curator (Accessed on 9 August 2019)
Halim, H. (2017) Art Asia Pacific: Poetic Rainbow: The Calligraphy of Wang Dongling Wang Dongling. [online] At: http://artasiapacific.com/Magazine/WebExclusives/PoeticRainbowTheCalligraphyOfWangDongling (Accessed on 12 August 2019)
KABINETT (2019) Kabinett Gallery: About. [online] At: https://www.kabinettgallery.com/artist-spotlight (Accessed on 8 August 2019)
Mutual Art (2019) David Ben white. [online] At: https://www.mutualart.com/Artist/David-Ben-White/E5CE564DC56CE4B6 (Accessed on 8 August 2019)
Neuendorf, H. (2016) Art Demystified: What Do Curators Actually Do? [online] At: https://news.artnet.com/art-world/art-demystified-curators-741806 (Accessed on 9 August 2019)
O'Doherty, B. (1999) Inside the white cube the ideology of the gallery space. University of California Press.
Public Delivery (2019) He Xiangyu’s life-sized tank – Entirely made of Italian leather. [online] At: https://publicdelivery.org/he-xiangyu-tank-project/ (Accessed on 12 August 2019)
The Rapidan (2018) Artist feature from UICA: Michael Pfleghaar. [online] At: https://www.therapidian.org/placematters-artist-feature-uica-michael-pfleghaar (Accessed on 19 August 2019)
Briggs, J. (2019) Jonny Briggs: About. [online] At: https://www.jonnybriggs.com/about/ (Accessed on 6 August 2019)
Briggs, J. (2019) Jonny Briggs. [online] At: https://www.rca.ac.uk/students/jonny-briggs/ (Accessed on 6 August 2019)
Cain, A. (2017) How the White Cube Came to Dominate the Art World. [online] At: https://www.artsy.net/article/artsy-editorial-white-cube-dominate-art (Accessed on 14 August 2019)
Christie's (2018) 10 things to know about Zao Wou-Ki [online] At: https://www.christies.com/features/Zao-Wou-Ki-8534-3.aspx (Accessed on 9 August 2019)
Christie's (2019) Zao Wou-Ki’s monumental homage to Monet and Matisse [online] At: https://www.christies.com/features/Zao-Wou-Ki-Triptych-1987-88-9762-3.aspx?PID=mslp_related_features4 (Accessed on 8 August 2019)
Cox, R. (2017) Artist Interview: Jonny Briggs. [online] At: https://www.countryandtownhouse.co.uk/culture/artist-interview-jonny-briggs/ (Accessed on 6 August 2019)
Dougall, H. (2015) A re-negotiation with Modernism’ – David Ben White at l’étrangère. [online] At: https://artattackapp.wordpress.com/2015/10/29/david-ben-white-inside-outside-letrangere/ (Accessed on 8 August 2019)
Groves, N. and Jeffries, S. (2014) Hans Ulrich Obrist: the art of curation. [online] At: https://www.theguardian.com/artanddesign/2014/mar/23/hans-ulrich-obrist-art-curator (Accessed on 9 August 2019)
Halim, H. (2017) Art Asia Pacific: Poetic Rainbow: The Calligraphy of Wang Dongling Wang Dongling. [online] At: http://artasiapacific.com/Magazine/WebExclusives/PoeticRainbowTheCalligraphyOfWangDongling (Accessed on 12 August 2019)
KABINETT (2019) Kabinett Gallery: About. [online] At: https://www.kabinettgallery.com/artist-spotlight (Accessed on 8 August 2019)
Mutual Art (2019) David Ben white. [online] At: https://www.mutualart.com/Artist/David-Ben-White/E5CE564DC56CE4B6 (Accessed on 8 August 2019)
Neuendorf, H. (2016) Art Demystified: What Do Curators Actually Do? [online] At: https://news.artnet.com/art-world/art-demystified-curators-741806 (Accessed on 9 August 2019)
O'Doherty, B. (1999) Inside the white cube the ideology of the gallery space. University of California Press.
Public Delivery (2019) He Xiangyu’s life-sized tank – Entirely made of Italian leather. [online] At: https://publicdelivery.org/he-xiangyu-tank-project/ (Accessed on 12 August 2019)
The Rapidan (2018) Artist feature from UICA: Michael Pfleghaar. [online] At: https://www.therapidian.org/placematters-artist-feature-uica-michael-pfleghaar (Accessed on 19 August 2019)