aim
This part of the course encourages you to explore other ways of engaging with painting outside of the ‘traditional’ values, methods and materials, encouraging a broad and fluid response to painting’s flexible, expansive and spatial nature through the making and considered siting of your works. Not all painting has to be flat or rectangular, and not all painting has to be hung on a wall. The term ‘studio’ can mean different things: in one sense it can be a practical and very personal working environment and in another it can be taken as a site of mass production, as with international artists such as Damien Hirst or Martin Creed with their teams of workers. This way of working is nothing new: throughout art history younger painters have been apprenticed to the masters in order to learn their trade.
method
Find examples of contemporary paintings that can be seen as ‘post-studio’ and that use art’s rich history to inspire their making. You could also look for painting that might be critiqued in terms of its underlying concept or physical form. Is it architectural? Installational? Does it seem to respond to its environment? Look at the Contextual Focus Points over the next few pages for inspiration. Consider how you could work with such a set of considerations, and what this way of working might bring to your own art practice.
contextual research
landscape
Land Art
Land art was a mostly American movement that grew in popularity during the 1960s. It involves the large scale movement or juxtaposition of natural elements from the environment (land). It was, of sorts, a way to appose the commercialized and market-driven world that art had become (Baily 2014). It would be classified under the Post-Minimalist Movement in which art works do not only consider the art object itself bu also the space which surrounds it (Wolf, 2019). For others it stemmed from a concern of the growing impact man is having on nature and would serve as a way to give nature a voice, a means to plea for the ecology of a specific area. |
Which is the case with Robert Smithson's Spiral Jetty (1970). The work draws attention to the imbalance caused by human interference, as the Jetty was cut off from fresh water due to a railway construction. Using mud and rock he created a spiral and in time the natural salt in the lake began forming crystals on the edges. He was inspired by the landscape as he said the edge of the lake reminded him of the edge of the sun, and thus the spiral represents a boiling curve, like the coil leading to an explosion (Honour and Fleming, 2009). It also signifies how time plays a role in changing and eroding environments. His monumental pieces reflect his fascination with entropy and man’s place in nature. Smithson’s earthworks defined an entirely original notion of landscape. They are not on the land, they are in the land (Handbook).
In contrast Christo and Jeanne-Claude (1935 - ) work in populated areas where their work can be experienced first hand. For the most part they wrap up buildings and parts of landscapes with fabric. They want to evoke an interactive and ephemeral experience for viewers. Their use of cloth is a commentary on the fabric of earth and time (Wolf, 2019). One of their pieces that I find quite fascinating and beautiful is Wrapped Trees (2012). In contrast to Smithson, Christo insists that his art has no meaning or agenda, other than for the audience to be fascinated and intrigued by it, saying the works are "irrational, useless and ... can absorb all kinds of interpretations, and all these interpretations are legitimate" (Christo cited on Cook, 2018) |
The cloth over the trees create a feeling of alien plant life, especially as the light or the wind changes, the cloth will react to it. Though there is a part of me that sees it as art and the opportunity to draw beauty from everyday surroundings, I would also consider the sustainability of his practice.
Color Jam (2012) by Jessica Stockholder is a site-specific art installation using the colour to enhance already existing objects and architecture. This American artist realize earlier in her career that she did not want to be confined by the canvas, but rather wanted to explore the three-dimensional elements of objects, colours and environments. This was a large scale work and the artist envisioned how colour would take over the streets, like paint being spilled, it would run down from the buildings and into the surroundings. Installations like these show that there are many different sites for the production of art, both indoors and out, and it is noticeable how the surrounding environment of artworks help them take on a different role. |
I can see that the benefit of these type of larger installation pieces is that you bring art to the people and provides a more immersive experience. I'm sure the average person doesn't make an effort to visit galleries regularly. Even as an art student, I have to make a point of engaging in events that are art related or tied to galleries. These type of large scale installations that make use of their environment are a great way of reminding people that art is all around us.
Large pieces often tend to draw more attention and can therefore often be used as a great way of highlighting a particular cause. As with many post-modern art, they often serve to reflect issues within society, drawing attention to our relationship with money, beauty, technology etc.
The Ghanaian artist El Anatsui shows how this can be done with his large multi-disciplinary works often created with discarded materials. In Fresh and Fading Memories (2007), El Anatsui uses the tops of liquor bottles gathered from a small village in Nigeria to point out how liquor impacts the lives of those living in poverty. He likes creating these draped cloth pieces, as he notes that "cloth is to the African what monuments are to Westerners" (Honour and Fleming, 2009:923). Besides taking inspiration from his own culture and history, he also uses Western Art history as inspiration, likening the draping of the cloth over the shape of the building as similar to the draped cloth on Classical sculpted works. The cloth is fluid and in motion, always able to change around whichever form it surrounds, which for the artist is a symbolic nod to freedom. |
Christian Boltanski’s 2010 installation Personnes, at the Grand Palais, Paris is another example of how discarded materials can be used to provide greater meaning. This French artists generally creates works that highlight the human condition represented through themes of memory, death and loss. The instillation consist of sixty-nine camps filled with thousands of old clothes lying on the floor and one large pile front and center. The large pile represents God and the smaller camps represent the poor departed souls that have passed on; young, old, faded, new. In the background the sound of a heartbeat is played.
Periodically the large crane hand will pick up a pile of cloths, pull them up high and then let the drop again. The visual of the clothes floating back down is an eerie representation of the the lost souls. It is a "social, religious and humanistic exploration of life, memory and the irreductable individuality of each and every human existence" (Contemporary Art Magazine, 2010). The metaphor created through the clothing along with the emotional responses of the viewers, would likely allow them to question their beliefs and consider their own responses to the finiteness of life.
research point
Look online to identify ‘other’ sites of artistic production. In one sense, painting has come full circle: think about the Palaeolithic cave paintings of Lascaux, discovered in the 1940s, or the ceiling of the Sistine Chapel painted by Michelangelo between 1508 and 1512. Today’s artists are not replicating historical paintings but they are assuming some of the methods, techniques and, importantly, the situations used as unusual ways of communicating with their audience.
Graffiti Art
Graffiti Art had its beginnings in America in the 1960s. It mostly began with 'tagging' which is writing names and labels on walls. It grew in popularity during the Hip-Hop era when it also crossed boarders into Europe. Graffiti artists often faced backlash and tags were generally removed by authorities as it is considered illegal. As a way of encouraging the practice, competitions were held to help develop the practice into mural pieces and gatherings called 'free walls'. It has really grown as a respected art from and the walls of cities became the canvas for street art. These life-size displays could take on the form of paintings, sculptures or even the use of repurposed materials. Many cities now commission well known artists to create special pieces as commemorative pieces or to encourage tourism, like the works of Diego Rivera.
Graffiti Art had its beginnings in America in the 1960s. It mostly began with 'tagging' which is writing names and labels on walls. It grew in popularity during the Hip-Hop era when it also crossed boarders into Europe. Graffiti artists often faced backlash and tags were generally removed by authorities as it is considered illegal. As a way of encouraging the practice, competitions were held to help develop the practice into mural pieces and gatherings called 'free walls'. It has really grown as a respected art from and the walls of cities became the canvas for street art. These life-size displays could take on the form of paintings, sculptures or even the use of repurposed materials. Many cities now commission well known artists to create special pieces as commemorative pieces or to encourage tourism, like the works of Diego Rivera.
Banksy
He is a well known graffiti artist who uses large stencils to create provoking images that question society, especially politics. Though all his work is popular, one of his site-specific pieces drew a lot of attention, a piece completed on the walls of the West Bank barrier, between Israel and Palestine in 2005. He created a total of nine pieces on the wall, some with more direct political overtones and others that could be considered more playful like Balloon Debate. He often makes use of copyright materials or by re-appropriating the works of old masters, like he did with Monet's Water Lilies in Show Me The Monet (2005) |
One of my favorite street artists is Portuguese street artist Artur Bordalo who uses burnt aluminum cans, old tires, scrap wood and neglected appliances and turns them into colorful animals. Not only is he purposing trash but also adding a splash of color to dull city corners. I was fortunate to see one of his piece while in Porto. Not only does his work try to raise awareness of how society has become wasteful but it also rings true to the saying "one man's trash is another man's treasure". What is great about these pieces is how they combine the practices of painting and sculpture. Looking at his pieces I can see an influence from the works of the dutch masters, especially Dürer watercolour Young Hare (1502). Bordalo' work has a great sense of realism through his use of dimensions, while incorporating his own more colourful and quirky flare. |
Memorial site art
Art created in commemoration of a significant event, time or person. The art often consists of sculptures, instillation pieces or murals and generally serve to evoke emotion. These are not only a great way of honoring moments in history, but also highlighting the important role art plays in connecting people.
Art created in commemoration of a significant event, time or person. The art often consists of sculptures, instillation pieces or murals and generally serve to evoke emotion. These are not only a great way of honoring moments in history, but also highlighting the important role art plays in connecting people.
The Destroyed City (1953) is sculpture that commemorates the awful destruction of Rotterdam by Nazis during the 2nd World War, where they dropped 1150 pieces of 50kg bombs and 158 of 250kg, completely devastating the heart of historic Rotterdam (City Guide Rotterdam, 2017). The figure stands 6.5 meters long and has a hole where his heart would be, symbolic of how the heart of the city was destroyed. It is a great example of Abstract Expressionism, which was the predominant art movement of the time. The large loose limbs with their structured, yet free curves gives the figure a dynamic sense of motions. The arms thrown up as if to surrender but also as means of questioning why. Sculptures like these allow the towns people to remember their history, but also to be reminded of how humans rise, rebuild and continue to grow in strength. |
Other great examples are the Weeping Window (2015) and Tjentište Memorial (1950-80) in Sutjeska National Park pictured below. Both beautiful and haunting in the messages they carry. Both show the power of art as it combines symbolism, form and a strong connection to the the site and event they commemorate.
research point
Painting today takes many forms, and artists engage with painting’s history in many different ways. An example is the artist collaboration Quilos and the Windmill, who, in exploring the union of art, space and place, make biodegradable interventions. Inspired by their historic forebears, they insert miniature English landscape paintings into ‘foreign’ landscapes. For instance, they’ve re-introduced fractured and re-worked fragments of paintings by Gainsborough and Stubbs into the trees within a protected forest environment in Michigan, US. The area had once been an indigenous settlement, settled first by native Americans and then by Europeans. In this project, art history, place and contemporary painting combine within a thoughtful but temporary site-specific project.
Quilos and the Windmill
This is a metaphorical site of activity run by the artist duo Michele Whiting and Linda Khatir who's "collaborative practice explores relations between spaces: architectural, landscape, formal, informal, actual and imaginal" (Quilos and the Windmill, 2017). They combine multiple media in a way that questions reality, illusion, multiplicity and originality. They work with what is around them of constructing and deconstructing every day or lesser times until the finished product becomes a type of tableaux.
The Prospector (2014) is a collection of structures, images, words, sounds and performances that were inspired by Oxbow, Michigan, USA, in particular the environment, history and people they met. There is a particular focus on the rustic setting the town, the dark forest and the quiet lagoon.What is interesting about these two artists is that they work as a 'tag team' on their pieces. It is a pure collaboration, not only of media, but of intellectual creativity. I imagine you must have a trusting and well established relationship with someone in order to work in this manner. Though I am sure there must be creative differences, the advantage of having another perspective when completing work will ultimately enhance the final product. |
Reflection
I think of all the Arts, visual art is the one where collaboration appears less obvious. When considering a song, a play or a film it easy to combine all the working elements that went into creating one piece and how many of those elements involve various people with input. When considering an painter or sculptor, they often work alone. The certainly get input from others and if it was a commissioned work they will definitely have someone telling them what is expected, but for a large part, we work in isolation.
I think of all the Arts, visual art is the one where collaboration appears less obvious. When considering a song, a play or a film it easy to combine all the working elements that went into creating one piece and how many of those elements involve various people with input. When considering an painter or sculptor, they often work alone. The certainly get input from others and if it was a commissioned work they will definitely have someone telling them what is expected, but for a large part, we work in isolation.
detailed observation
Sound Artist Alison Carlier won the Jerwood Drawing Prize in 2014 for her piece; ‘Adjectives, lines and marks’ which she describes as “An open-ended audio drawing, a spoken description of an unknown object” (Carlier cited on Dougan, 2014). The work is an audio recording of Carlier reading an extract from the book Roman Southwark settlement and economy: excavations in Southwark 1973-9, in which a pot is described which you can listen to here.
The piece aims to point out that drawing is not just the physical act of putting pencil to paper, but that we also use words to create imagery. I don't think her take on this is particularity unique or revolutionary, as since the development of literature people have realized the power of the written word in transporting people into a newly imaged world. If you wanted to be really pedantic, I would say that the 'drawing' she submitted is not even her own as she is reading someone else's words. We may as well give this prize to every person who has ever lent their voice to do audio book recordings.
What I can appreciate about the work is that it reminds us of art being multi-sensory. When we 'look' at something we often don't just use our eyes to understand it. In the same way, when we create something, like a drawing, we make use of all our senses to create.
The piece aims to point out that drawing is not just the physical act of putting pencil to paper, but that we also use words to create imagery. I don't think her take on this is particularity unique or revolutionary, as since the development of literature people have realized the power of the written word in transporting people into a newly imaged world. If you wanted to be really pedantic, I would say that the 'drawing' she submitted is not even her own as she is reading someone else's words. We may as well give this prize to every person who has ever lent their voice to do audio book recordings.
What I can appreciate about the work is that it reminds us of art being multi-sensory. When we 'look' at something we often don't just use our eyes to understand it. In the same way, when we create something, like a drawing, we make use of all our senses to create.
In 2010 Susan Philipsz (1965- ) won the Turner Prize for her sound piece. She explores the psychological and sculptural potential of sound. Using recordings, predominantly of her own voice, the artist creates immersive environments that heighten the visitor’s engagement with their surroundings.
Watching the video Sound in Space (National Galleries 2018), Philipsz comments on how she uses literature, music and space to inspire her work. Particularly how sound responds differently in a space thus creating a type of description of what the space 'looks' like. She is particularly fascinated by areas that produce a variety of sounds, like train stations and bus stops. Her work consists of recordings that either make up deconstructed pieces from other works, the sound of her own vocals or the help of musicians playing instruments, which was the case in her piece War Damaged Musical Instruments (2015). (Listen here)
Watching the video Sound in Space (National Galleries 2018), Philipsz comments on how she uses literature, music and space to inspire her work. Particularly how sound responds differently in a space thus creating a type of description of what the space 'looks' like. She is particularly fascinated by areas that produce a variety of sounds, like train stations and bus stops. Her work consists of recordings that either make up deconstructed pieces from other works, the sound of her own vocals or the help of musicians playing instruments, which was the case in her piece War Damaged Musical Instruments (2015). (Listen here)
Philipsz became very interested in the history behind instruments, especially their use on the battlefields during World War II. For her installation at the Tate Britain Exhibition she had a collection of loud speakers playing recordings of the various instruments found, which included brass, woodwind, trumpets and saxes. As these sounds echo in the space one is transported to the battle grounds, as the mangled instrument's sounds become symbolic of the damage, collapsing bodies and final breaths of the soldiers on the battlefields. The listener connects emotionally to society and history which helps them question their own fate (Schädler, 2015). |
Reflection
As mentioned before, if you want to create art that engages with people, you need to consider how it can appeal to multiple senses. If you think back to the era of History Painting, a means of documenting a countries important milestones, the canvas was used to remind the people of the sacrifices made its people. Consider Eugène Delacroix famous painting of the Uprising in Paris, Liberty Leads the People (1930). Looking at the canvas there is much that engages the eye, but as the eye notices details on the canvas other senses are triggered. The fog in the sky and the men bearing arms mean that you can almost smell the lingering gun powder and hear the remnants of shots fired. Looking at Liberty proudly carrying the fluttering flag, you hear a battle cry or song of victory leading the people. What Philipsz has done is flipped this around. Instead of giving us the canvas and letting us incite the other senses, she has provided us with the sounds, and now you as the listener paints your own canvas. This means that each listener makes their own emotional connections to the sounds, they are not specifically guided or dictated to certain composition and will 'draw' on their own experiences, making the work more personal.
I think it is useful to consider how sound could enhance your work. It may be an interesting thing to toy with when planning a exhibition, as the addition of sounds may add another level of meaning to your visual work.
As mentioned before, if you want to create art that engages with people, you need to consider how it can appeal to multiple senses. If you think back to the era of History Painting, a means of documenting a countries important milestones, the canvas was used to remind the people of the sacrifices made its people. Consider Eugène Delacroix famous painting of the Uprising in Paris, Liberty Leads the People (1930). Looking at the canvas there is much that engages the eye, but as the eye notices details on the canvas other senses are triggered. The fog in the sky and the men bearing arms mean that you can almost smell the lingering gun powder and hear the remnants of shots fired. Looking at Liberty proudly carrying the fluttering flag, you hear a battle cry or song of victory leading the people. What Philipsz has done is flipped this around. Instead of giving us the canvas and letting us incite the other senses, she has provided us with the sounds, and now you as the listener paints your own canvas. This means that each listener makes their own emotional connections to the sounds, they are not specifically guided or dictated to certain composition and will 'draw' on their own experiences, making the work more personal.
I think it is useful to consider how sound could enhance your work. It may be an interesting thing to toy with when planning a exhibition, as the addition of sounds may add another level of meaning to your visual work.
Other artists you may like to look at for inspiration include Imran Qureshi, Glenn Brown, Ellen Harvey, David Reed, Jessica, Lily van der Stokker, Ian Kaier, Jeremy Deller and David Ben White. All of these artists work in bold and unusual ways, many of them using art conventions from the past as inspiration but using daring contemporary approaches. Take an in-depth look at one of these artists and write up your findings.
Ellen Harvey
She is a British born artist who lives in America and works in multimedia, instillation-type pieces. One of Harvey's more famous public works includes The New York Beautification Project (2005) is a series of 40 oval landscapes painted around existing graffiti sites in New York. On her website of the project you can find an interactive map with some additional details of each painting. What is interesting about these oval paintings, is that they only measure between 5 to 7 inches. So even though they were painted on spots where illegal graffiti happens, they aren't used to cover that up. They are all representations or inspirations of well known classical landscapes, a movement which was popular in Britain during the late 19th century. For the project she wanted to work in areas close to her home around NY that are often covered with graffiti. Her small classical pieces create a great juxtaposition to the tags and sketches of the graffiti art. And like the graffiti artists, she painted in locations where she would not have permission to do so, though she would stop painting if asked to leave. "A lot of the fun of the project was finding nice, disorderly sites where you could spend several days painting illegally" (Harvey, 2001). I suppose the purpose is not to show one art form as 'high brow' and the other as low, but rather to show that these can all be considered art. However, as she refers to the sites as disorderly, there must be a part of her that painted these paintings in order to bring back an appreciation for what one would consider academic art.
She is a British born artist who lives in America and works in multimedia, instillation-type pieces. One of Harvey's more famous public works includes The New York Beautification Project (2005) is a series of 40 oval landscapes painted around existing graffiti sites in New York. On her website of the project you can find an interactive map with some additional details of each painting. What is interesting about these oval paintings, is that they only measure between 5 to 7 inches. So even though they were painted on spots where illegal graffiti happens, they aren't used to cover that up. They are all representations or inspirations of well known classical landscapes, a movement which was popular in Britain during the late 19th century. For the project she wanted to work in areas close to her home around NY that are often covered with graffiti. Her small classical pieces create a great juxtaposition to the tags and sketches of the graffiti art. And like the graffiti artists, she painted in locations where she would not have permission to do so, though she would stop painting if asked to leave. "A lot of the fun of the project was finding nice, disorderly sites where you could spend several days painting illegally" (Harvey, 2001). I suppose the purpose is not to show one art form as 'high brow' and the other as low, but rather to show that these can all be considered art. However, as she refers to the sites as disorderly, there must be a part of her that painted these paintings in order to bring back an appreciation for what one would consider academic art.
Another project that she worked on which I found particularly interesting, is Ornaments and Other Refrigerator Magnets (2015). In an interview on the TV show Articulate on PBS (2017), Harvey describes her work as seductive, with the purpose of challenging how people think about a particular matter, especially art. She was inspired to create The Forest of Obsolete Ornaments by the paradox of how we treat public spaces. She comments that these space are to be kept clean, with little ornaments or decoration, yet advertisements are placed everywhere. As a social commentary, she says this implies that people are only consumers and not human beings with feelings or longing for beauty and ultimately showing how art is still not valued enough in society.
Metal Painting (2015) is part of this instillation series and it was commissioned by the Barnes Foundation, The iconoclastic placement of the Foundation's ironwork, it "explores the traditions of the history of art and confounds the expectations of the viewer in institutional contexts" (Barnes, 2015). In Ornaments for the Subway (2017) she has used a collection of ornaments placed on plywood to cover up posted ads that are usually up in public spaces. This is her way of showing what would happen if ornaments went on a rampage and took over. She also has a deep fascination with the classical era, especially the ornamental and decorative styles the Romans used to build their public places. |
Reflection
It is clear to see how this artist has been inspired by historical art and ideas to question current social trends. She uses her fascination with Classical art to create instillation pieces that are not only aesthetic but also provide a commentary on particular social developments in society. Generally her work provokes the viewer to consider what art is, and what the role of the artist is in creating the work, as she considered both of these things to still be undervalued.
I have noticed how this theme continually comes up during my research of various artists and movements. Our definitions of Art and understanding of the 'making' process is constantly evolving, and just when you think you have caught up, society changes technologically and perceptions change once again.
It is becoming clear that artist who create successful exhibitions and well-known works, create works that are multifaceted. This in itself could also be a commentary on the fact that people have become bored with just appreciating something because they like it or it is pretty, and rather that it is more important to find meaning and intellectual stimulus in what you are looking at. I agree with this, though I think both are important. Just like art, people are also multifaceted. There are times when we engage in activities that challenge us mentally, physically and emotionally as a means to prove our worth, and then there are moments when we can simply sit still in a space and enjoy silence. In other words, I think there is a place for art that is simply beautiful and for art that is challenging and intellectually engaging. Though all of this is subjective, off course!
It is clear to see how this artist has been inspired by historical art and ideas to question current social trends. She uses her fascination with Classical art to create instillation pieces that are not only aesthetic but also provide a commentary on particular social developments in society. Generally her work provokes the viewer to consider what art is, and what the role of the artist is in creating the work, as she considered both of these things to still be undervalued.
I have noticed how this theme continually comes up during my research of various artists and movements. Our definitions of Art and understanding of the 'making' process is constantly evolving, and just when you think you have caught up, society changes technologically and perceptions change once again.
It is becoming clear that artist who create successful exhibitions and well-known works, create works that are multifaceted. This in itself could also be a commentary on the fact that people have become bored with just appreciating something because they like it or it is pretty, and rather that it is more important to find meaning and intellectual stimulus in what you are looking at. I agree with this, though I think both are important. Just like art, people are also multifaceted. There are times when we engage in activities that challenge us mentally, physically and emotionally as a means to prove our worth, and then there are moments when we can simply sit still in a space and enjoy silence. In other words, I think there is a place for art that is simply beautiful and for art that is challenging and intellectually engaging. Though all of this is subjective, off course!
figures
Yves Klein
A French artist who worked with a monochrome palette, particularly ultramarine. He took inspiration from historical art in the form of romanticism and mysticism, using these notions them to push abstract painting in new ways that was off of the traditional canvas. His use of performance pieces cam from a desire for art to be immediate and in the moment. (Borteh, 2019).
In his Anthropometry (1960) paintings he used models as paintbrushes, either letting them lay upon or be dragged around the canvas. You can watch one of these live painting performances here. The pieces are accompanied by music, and Klein takes on the role of conductor in a way, bringing the creation process of art to the people. There has been controversy around the objectivity associated in using naked woman as brushes, though the models say they were treated as collaborators and considered themselves lucky to be a part of such an interesting experience. (Tate, 2013). |
Reflection
This work really challenged me as a female at first. Watching the videos of the woman lathering up and pressing their body parts against the canvas did not sit well with me at first as I felt they were being objectified. However, when you take a moment to reflect on society's relationship with the naked human figure, the lines become blurry. How is painting, photographing or sculpting a nude figure any different from using one to paint with? Our opinions on when it crosses a boundary would be highly subjective. What if he had used naked males, would the response still be the same?
This work really challenged me as a female at first. Watching the videos of the woman lathering up and pressing their body parts against the canvas did not sit well with me at first as I felt they were being objectified. However, when you take a moment to reflect on society's relationship with the naked human figure, the lines become blurry. How is painting, photographing or sculpting a nude figure any different from using one to paint with? Our opinions on when it crosses a boundary would be highly subjective. What if he had used naked males, would the response still be the same?
Antony Gormley
This British born artist works extensively with the human figure, especially it's relation to space. He uses his own body to make casts and moulds with which he creates popular public sculptures and installations. Some of his popular works include Another Place (1997) in Liverpool, Angel of the North (1998) in Gateshead, and Event Horizon (2007).
Another Place (1997) is a collection of 100 cast iron life size figures scattered on Crosby Beach. Some are rising from the sand, others are near the foot of the sea, while some have entered the water and are partly submerged. They all stand are facing the sea and appear to be looking out towards the horizon. "Each work is necessarily isolated, and is an attempt to bear witness to what it is like to be alive and alone in space and time" (Gormley, 2019). The work reminds me of Friedrich's Wanderer above the Sea of Fog (1818). |
Domain Filed (2003) is a collection of 287 sculptures that occupy a floor space of 8000sq ft. The figures have been constructed by welding metal bars of different lengths. The forms were created from mould taken of volunteers ranging from 2 to 85 years old. The metal appears to be in motion, even though they are static. As the viewer moves around the figures, they appear to change due to the varying directions of the metal rods. This gives the sculpture energy and when looking at all the sculptures together in the space, it shows a collection of energy, a type of integrated energetic field, "in other words, take the idea of spatial extension from the idea of a singularity" (Gromley (2019). |
Reflection
It is very interesting to consider these two projects side by side. In Another Place the sculptures feel lonely and sad, as though the artist is showing that all of us are ultimately alone. We entered the world alone and will leave the world alone, a rather grim view. In Domain field however, we are reminded that everyone is connected, that the molecules in my body responds to the molecules in your body and that they need each other to keep going. Both works are beautiful and haunting in their own way, but the abstract, cubist like style of the Domain sculptures appeal to me more.
It is interesting how where we place a figure provides it with additional meaning. Similarly to when we paint a figure, the setting and position of the figure becomes symbolic, adding deeper context to the nature of the figure, which ultimately allows the viewer to understand them better and therefore forming a connection with the subject.
It is very interesting to consider these two projects side by side. In Another Place the sculptures feel lonely and sad, as though the artist is showing that all of us are ultimately alone. We entered the world alone and will leave the world alone, a rather grim view. In Domain field however, we are reminded that everyone is connected, that the molecules in my body responds to the molecules in your body and that they need each other to keep going. Both works are beautiful and haunting in their own way, but the abstract, cubist like style of the Domain sculptures appeal to me more.
It is interesting how where we place a figure provides it with additional meaning. Similarly to when we paint a figure, the setting and position of the figure becomes symbolic, adding deeper context to the nature of the figure, which ultimately allows the viewer to understand them better and therefore forming a connection with the subject.
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)
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)
Reflection
As a woman I can certainly appreciate the premise of her art work. You are the owner of your body and the author of your identity. Your looks, society and especially men should not define who you are. Would I necessarily consider this art, I suppose so, as she is not only going for surgeries and filming them, she is thinking within the greater context of these could inform other displays and instillation pieces that are more tangible. However, this kind of extreme art is not one I would pursue.
As a woman I can certainly appreciate the premise of her art work. You are the owner of your body and the author of your identity. Your looks, society and especially men should not define who you are. Would I necessarily consider this art, I suppose so, as she is not only going for surgeries and filming them, she is thinking within the greater context of these could inform other displays and instillation pieces that are more tangible. However, this kind of extreme art is not one I would pursue.
Do you think about the audience prior to making an artwork or are they secondary to your piece?
Yes, as I often have an intention of would I would like to achieve. These intentions generally involve evoking a particular emotional response, so I would consider how my composition can best lead to the wanted response.
Have you considered how you could you use the body in your work?
Much of my work actually uses my body as I like painting figures and don't really have models on hand. As I know what type of pose I am looking for I usually stage myself in positions and then work from photographs.
Do some research about performance artists making notes in your learning log, are there any connections you can make to your own work?
Yes, as I often have an intention of would I would like to achieve. These intentions generally involve evoking a particular emotional response, so I would consider how my composition can best lead to the wanted response.
Have you considered how you could you use the body in your work?
Much of my work actually uses my body as I like painting figures and don't really have models on hand. As I know what type of pose I am looking for I usually stage myself in positions and then work from photographs.
Do some research about performance artists making notes in your learning log, are there any connections you can make to your own work?
abstraction
Watch Banksy’s Exit Through the Gift Shop if you can. Is Graffiti art or is it vandalism? In 2004 He issued ten-pound notes with Princess Diana’s head replacing the queen representing her as a modern day icon.
After watching the film there is one exhibition discussed in particular that seems to have garnered much controversy and which could also be credited with elevating the status of graffiti artists. The exhibition was Barely Legal (2006) which was a free exhibition in L.A. Residents and celebrities lined up to see the works that depicted a general theme of global poverty and injustice. The pieces are all graffiti inspired, even the live elephant which was painted with kids face paint, representing the proverbial 'elephant in the room'. Other pieces include cockroaches crawling over Paris Hilton, grannies knitting sweaters that read 'Punk is not Dead' and 'Punk for Life' and bushman hunting trolleys. After this exhibition, graffiti artists suddenly gained new status, and prints of their works were becoming ever more popular in galleries and art auctions.
After watching the film there is one exhibition discussed in particular that seems to have garnered much controversy and which could also be credited with elevating the status of graffiti artists. The exhibition was Barely Legal (2006) which was a free exhibition in L.A. Residents and celebrities lined up to see the works that depicted a general theme of global poverty and injustice. The pieces are all graffiti inspired, even the live elephant which was painted with kids face paint, representing the proverbial 'elephant in the room'. Other pieces include cockroaches crawling over Paris Hilton, grannies knitting sweaters that read 'Punk is not Dead' and 'Punk for Life' and bushman hunting trolleys. After this exhibition, graffiti artists suddenly gained new status, and prints of their works were becoming ever more popular in galleries and art auctions.
Reflection
As I wrote before, I do think there is a distinction to be made against tagging walls with graffiti and creating street art graffiti. I think Banksy would fall in the latter as each piece not only considers specific artistic conventions, but also has intellectual premise. That being said, I think every person, regardless of their occupation, forms part of the greater community and as community members it is important to respect it's citizens. There are times when I believe artists (of any medium) push boundaries in healthy ways in order to promote change in society, but other times when artists simply work in order to evoke shock or offense, which is not always conducive to the edification of their fellow man and is often only done for self aggrandizement.
As I wrote before, I do think there is a distinction to be made against tagging walls with graffiti and creating street art graffiti. I think Banksy would fall in the latter as each piece not only considers specific artistic conventions, but also has intellectual premise. That being said, I think every person, regardless of their occupation, forms part of the greater community and as community members it is important to respect it's citizens. There are times when I believe artists (of any medium) push boundaries in healthy ways in order to promote change in society, but other times when artists simply work in order to evoke shock or offense, which is not always conducive to the edification of their fellow man and is often only done for self aggrandizement.
Mary Heilmann
She is an American artist who works in paintings, ceramics and furniture. Her compositions are very brightly coloured and playful. Taking inspiration from popular culture including TV animation The Simpsons, songs and the Californian surfing scene. She says that color can be thought of in an iconographic way, and that the most important thing about doing art was communicating and having a conversation through the work. Considered one of the most influential artists during the abstract movement, her work "overlays the analytical geometries of Minimalism with the spontaneous ethos of the Beat Generation" (Hauser and Wirth, 2019)
She is an American artist who works in paintings, ceramics and furniture. Her compositions are very brightly coloured and playful. Taking inspiration from popular culture including TV animation The Simpsons, songs and the Californian surfing scene. She says that color can be thought of in an iconographic way, and that the most important thing about doing art was communicating and having a conversation through the work. Considered one of the most influential artists during the abstract movement, her work "overlays the analytical geometries of Minimalism with the spontaneous ethos of the Beat Generation" (Hauser and Wirth, 2019)
From the above paintings you can see how her style also progressed and changed with the shift from abstract formalist art to more modern and contemporary art. Ming (1986) makes reference to the streets of Los Angeles through its grid-like placement and the colour palette takes inspiration from Chines Ming vases. The content is not as obvious compared to Crashing Wave (2011) where the colours and form of the painting provide a more logical connection to it's content. Looking at some of her furniture and ceramic work, it is also evident that simple forms and statement colours are the main focus of her pieces. As the shapes are kept simple and one single bright colour used to cover a piece, it really allows the colour to stand out and become the focal point.
The CoBrA Movement
This was an artist group formed in 1948 by artists from Copenhagen, Brussels and Amsterdam whose painting style was highly expressionist and inspired by the art of children. It featured child-like imagery, strong primary colours and expressive brushstrokes. Having been effected by war, this group aspired to turn back to spontaneity. Instead of just reproducing the world around them and the horrors faced during this time, they focused on innocence, imagination and freedom, a direct contradiction to what the war represented. A way of using art to remind people that the future has hope. (The Art Story, 2019) The canvas of Questioning Children (1949) was created by nailing discarded pieces of wood to an old window shutter. The figures in the compositions are painted with bright colours and dark outlines, focusing on the way children would simplify the human figure to representative shapes. Though the colours and expressionistic style of the painting conveys a sense of cheerfulness, there is a lingering sensation of sadness, particularly alluding to the devastation of war and especially the impact it had on the innocent. |
Reflection
When considering abstraction it is important to consider the aim of the movement in general. TATE define abstract art as, "art that does not attempt to represent an accurate depiction of a visual reality but instead use shapes, colours, forms and gestural marks to achieve its effect" (TATE, 2019). Considering this notion within my own work means to look at subjects in new ways. Pusing myself to look beyond what is natural and real and finding the base or core of what I want to represent. Personally I am trying to make more abstract connection in my work. I like the notions of spontaneity and freedom and would like to endevour pushing my own boundaries in finding ways to represent my interests in less obvious ways. Ways that represent a deeper and more emotional response and I can certainly see how having a message or specific topical inspiration would help that.
When considering abstraction it is important to consider the aim of the movement in general. TATE define abstract art as, "art that does not attempt to represent an accurate depiction of a visual reality but instead use shapes, colours, forms and gestural marks to achieve its effect" (TATE, 2019). Considering this notion within my own work means to look at subjects in new ways. Pusing myself to look beyond what is natural and real and finding the base or core of what I want to represent. Personally I am trying to make more abstract connection in my work. I like the notions of spontaneity and freedom and would like to endevour pushing my own boundaries in finding ways to represent my interests in less obvious ways. Ways that represent a deeper and more emotional response and I can certainly see how having a message or specific topical inspiration would help that.
research point
Outsider Art
This is a term that describes artworks created outside of the academic and classical art world, by individuals that are uneducated and often identified as mentally ill. Their work comprises of topics and elements that are difficult to associate with particular cultural norms and may be considered alien.
The movement began with a couple of psychiatrists who began collecting works from patients in the 1920s. Dr Morganthaler and Dr Hans Prinzhorn both collected works from asylum patients which was later published in a book. These works especially gained popularity among the Surrealist artists of the time. These books also had a great impact on the French Artist Jean Dubuffet who began making his own collection of Outsider Art, or as he coined it Art Brut. His fascination with the art comes from the fact that it is completely new, unique and untethered by the art worlds norms and expectations, nor societies perspectives.
This is a term that describes artworks created outside of the academic and classical art world, by individuals that are uneducated and often identified as mentally ill. Their work comprises of topics and elements that are difficult to associate with particular cultural norms and may be considered alien.
The movement began with a couple of psychiatrists who began collecting works from patients in the 1920s. Dr Morganthaler and Dr Hans Prinzhorn both collected works from asylum patients which was later published in a book. These works especially gained popularity among the Surrealist artists of the time. These books also had a great impact on the French Artist Jean Dubuffet who began making his own collection of Outsider Art, or as he coined it Art Brut. His fascination with the art comes from the fact that it is completely new, unique and untethered by the art worlds norms and expectations, nor societies perspectives.
Henry Darger
He was one of the most famous artists of this movement, a janitor from Chicago. Throughout Darger's isolated life, he created a great collection of diaries documenting multiple topics, such as the weather, daily activity and the Cival War. But the most famous of these were his epic fantasy writings and drawings called the The Story of the Vivian Girls, which follows the themes of war and the suffering of children. The drawings were lavish narratives themselves, completed on large sheets using watercolors and mostly featured young girls as well as, more controversially, young girls with male genitals (Blumberg, 2018)
Though one of the defining factors of Outsider or Brut art is that it doesn't necessarily show impact of cultural or social influences, Darger's work certainly takes influence from his environment growing up. And yet, even though we can find social context in his work, there is also a psychological and symbolic nature to his work. It is important to remember that it is a work of fantasy. Many have speculated about the ambiguous female figures and concluded that it could be evidence of Darger's potential homosexuality, child abuse or gender confusion.
He was one of the most famous artists of this movement, a janitor from Chicago. Throughout Darger's isolated life, he created a great collection of diaries documenting multiple topics, such as the weather, daily activity and the Cival War. But the most famous of these were his epic fantasy writings and drawings called the The Story of the Vivian Girls, which follows the themes of war and the suffering of children. The drawings were lavish narratives themselves, completed on large sheets using watercolors and mostly featured young girls as well as, more controversially, young girls with male genitals (Blumberg, 2018)
Though one of the defining factors of Outsider or Brut art is that it doesn't necessarily show impact of cultural or social influences, Darger's work certainly takes influence from his environment growing up. And yet, even though we can find social context in his work, there is also a psychological and symbolic nature to his work. It is important to remember that it is a work of fantasy. Many have speculated about the ambiguous female figures and concluded that it could be evidence of Darger's potential homosexuality, child abuse or gender confusion.
Darger used comic books and catalogs to trace the images he wanted to use in his compositions. It is the particular use of comic book figures that give his often grim subject matter a childlike and innocent juxtaposition.
Reflection
It is interesting how the formalities of the art world has crated this particular category. Really when you think about every movement since the dawn of Fauvism has been a form of revolt against Academic painting and its prescribed rules, so really Outsider Art should be considered no different. Sure, I understand the distinction between works that are created with some form of intellectual premise, but the idea that formal training or connection with the art world is needed for an artist's work is a a bit ridiculous.
Considering Darger's work, I do find the figures intriguing. In current pop culture their is a real fascination with androgyny and gender identity, in particularly breaking down stereotypes. Thinking about my own work, this is also a topic that I am interested in experimenting with, particularly our definitions of masculine and feminine. Looking at Darger's work, I noticed how he incorporates child-like themes, alluding to how our circumstances and experiences while we are growing up will impact the people we become and the views we have on society.
research point
Write a list of artworks (not necessarily paintings) that you’ve seen outside a conventional studio or gallery environment, for example a series of sculptures in a local beauty spot or marking a popular walk. Now write up reflections of your investigations and findings in your learning log. What is your opinion of the artworks and how might you incorporate or adapt what you’ve seen into your own practice?
Choreography Walk
During the month of February and March, Hong Kong has its' annual Arts Festival. This festival generally focuses on bringing performance art to the people of Hong Kong, but it also has PLUS events that incorporate unconventional, educational and experiential elements. The Choreography Walk was on of them.
During a silent walk through urban Hong Kong, participants reflect on how their body responds to its environment. You are asked to consider what you feel when your body feelings when moving through this vast urban environment and how it may impact your identity and relationship to others. When reaching certain destinations there are performance art pieces that start to unfold as you walk by. There were 6 different performances that happened along the walk. And I have included some footage of them below.
During the month of February and March, Hong Kong has its' annual Arts Festival. This festival generally focuses on bringing performance art to the people of Hong Kong, but it also has PLUS events that incorporate unconventional, educational and experiential elements. The Choreography Walk was on of them.
During a silent walk through urban Hong Kong, participants reflect on how their body responds to its environment. You are asked to consider what you feel when your body feelings when moving through this vast urban environment and how it may impact your identity and relationship to others. When reaching certain destinations there are performance art pieces that start to unfold as you walk by. There were 6 different performances that happened along the walk. And I have included some footage of them below.
What was quite interesting about the concept is that you as the participant never knew when a performance piece was coming up. You found yourself being particular attentive of the people around you as you were eager see the next piece. I certainly enjoyed this combination of performance and every day life. I did feel that is was a bit rushed when we arrived at areas where there were performance pieces as you are asked to keep moving and it would have been nice to take a moment and really appreciate the choreography of some of the pieces in order to make connection to their movement and the environment. It was the intention of the artist that we kept moving, as she remarks that life is fleeting and that when we are moving, details often pass us by. I also though it was a great example of using the body (figure) as a representation of architecture and structure. As mentioned before during my reflections on figural works, it is more powerful when we consider the body in a space, as our environment has a great impact on our perceptions.
Before the walk started the artist asked us to really reflect on the unique Hong Kong environment and how it shapes our own identity and relationships. As I also knew we were going to continue moving, I thought it would be interesting to use still images to capture the environment while I am in motion, so I took a series of photographs to represent my perspective of the journey. The photographs were taken quickly and instinctually which I believe gives them a unique perspective.
Before the walk started the artist asked us to really reflect on the unique Hong Kong environment and how it shapes our own identity and relationships. As I also knew we were going to continue moving, I thought it would be interesting to use still images to capture the environment while I am in motion, so I took a series of photographs to represent my perspective of the journey. The photographs were taken quickly and instinctually which I believe gives them a unique perspective.
art basel
I attended Art Basel HK in March. The video below gives a good overview of some of the works on display.
artworks of interest
Below is a collection of works that I was particularly drawn or fascinated by.
One piece that was interesting was the sculptural painting by Ian Fabro which he created using paper. The contrast of the ink on paper and his technique of folding and shaping the paper makes it very engaging. There were also quite a few examples of paintings of males which were good, as I am gearing up to experiment with the male figure. The colourful self portraits of Egon Schielle are a whimsical and energetic depiction of the male figure. I was also intrigued by Francis Bacon's Three Studies of the Male Back, as he capture a man in front of a mirror, making observational points about men's appearance and identity. My favorite composition of the male figure though, was Stretching by Wang Tuo. The image on the left only shows a close up detail of the composition. What I like about it is the energy and motion created. He has achieved this through his use of impasto oils applied directionally as well as the posing of the bodies. The warm dynamic colours also add to the energy of the composition. I am also drawn to the sensuality of the poses and how the placement of the hands and cloths gives a sense of femininity while celebrating a strong male physique. |
reading point
Read, Kroma, E. (2012) Lightening and Rain: Phenomenology, Psychoanalyis and Matisse’s Hand (Tate Papers Issue 18)
This essay explores the link between Phenomenology and Psychoanalysis. Phenomenology is the philosophical study of the structures of experience and consciousness while psychoanalysis is a set of theories related to the unconscious. The writer ways up observations made in both fields regarding Matisse' creation process by the philosopher Maurice Merleau-Ponty. Arguments are made successfully towards Matisse relying on both his conscious and subconscious mind.
I believe this would be true for any artists. During the creation process there will absolutely be conscious decisions which have been informed by our environment, knowledge and experiences. Then there would be those moments where the artist's action comes from instinct, emotion or spontaneity, which we are not always conscious of at the moment of creation and only notice in the work later. Like when a viewer looks at one of your figurative paintings and says the figure looks sad. You would not have painted it with the intention of sadness, yet your subconscious would have steered your palette and strokes to convey that emotion.
Off course one could also argue that any thoughts or expressions one has in their subconscious would have been part of your conscious at some point. Knowledge can only come from what was experienced through either of our senses, therefore anything we create will have a root in some form of knowledge we had experienced previously.
What we could ultimately derive from this is that the conscious and subconscious should be working together in the creation process. The artist should make conscious decisions during the pre-production of a piece about the medium, composition and intention, and allow their subconscious to have an impact during production by making use of instinct, experimentation and emotion.
This essay explores the link between Phenomenology and Psychoanalysis. Phenomenology is the philosophical study of the structures of experience and consciousness while psychoanalysis is a set of theories related to the unconscious. The writer ways up observations made in both fields regarding Matisse' creation process by the philosopher Maurice Merleau-Ponty. Arguments are made successfully towards Matisse relying on both his conscious and subconscious mind.
I believe this would be true for any artists. During the creation process there will absolutely be conscious decisions which have been informed by our environment, knowledge and experiences. Then there would be those moments where the artist's action comes from instinct, emotion or spontaneity, which we are not always conscious of at the moment of creation and only notice in the work later. Like when a viewer looks at one of your figurative paintings and says the figure looks sad. You would not have painted it with the intention of sadness, yet your subconscious would have steered your palette and strokes to convey that emotion.
Off course one could also argue that any thoughts or expressions one has in their subconscious would have been part of your conscious at some point. Knowledge can only come from what was experienced through either of our senses, therefore anything we create will have a root in some form of knowledge we had experienced previously.
What we could ultimately derive from this is that the conscious and subconscious should be working together in the creation process. The artist should make conscious decisions during the pre-production of a piece about the medium, composition and intention, and allow their subconscious to have an impact during production by making use of instinct, experimentation and emotion.
Works cited
Baily, G.A. and McKelway, M.P. (2014) Art in Time: A World History of Styles and Movements. Phaidon
Barnes (2015) Ellen Harvey: Metal Painting. [online] At: https://www.barnesfoundation.org/whats-on/ellen-harvey (Accessed on 3 February 2019)
Blumberg, N. (2018) Henry Darger. [online] At: https://www.britannica.com/biography/Henry-Darger (Accessed on 19 February 2019)
Borthe, L. (2019) Yves Klein. [online] At: https://www.theartstory.org/artist-klein-yves.htm (Accessed on 12 February 2019)
City Guide Rotterdam (2017) The Destroyed City. [online] At: https://www.cityguiderotterdam.com/things-to-do/sights/the-destroyed-city-rotterdam/ (Accessed on 12 February 2019)
Contemporary Art Magazine (2010) Christian Boltanski: Personnes. [online] At: http://thisistomorrow.info/articles/christian-boltanski-personnes (Accessed on 3 February 2019)
Cook, W. (2018) Wrap stars: Christo and Jeanne-Claude's 50 years of pop-up art. [online] At: https://www.bbc.co.uk/programmes/articles/2LFSrLK9XjRxLqTRNdftLqd/wrap-stars-christo-and-jeanne-claudes-50-years-of-pop-up-art (Accessed on 31 January 2019)
Dougan, C. (2014) In Depth: Alison Carlier. [online] At: http://www.thefixmagazine.com/index/in-depth-alison-carlier/ (Accessed on 7 February 2019)
Gormley, A. (2019) Antony Gromley: Projects. [online] At: http://www.antonygormley.com/projects (Accessed on 13 February 2019)
Harvey, E. (2017) Articulate: Ellen Harvey. PBS. [online] At: https://www.pbs.org/video/ellen-harvey-9w03gd/ (Accessed on 12 February 2019)
Hauser and Wirth (2019) Mary Heilman. [online] At: https://www.hauserwirth.com/artists/2788-mary-heilmann (Accessed on 18 February 2019)
Honour, H and Fleming, J. (2009) A world history of art. London: Laurence King Publishing.
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 13 February 2019)
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 14 February 2019)
Quilos and the Windmill (2017) Quilos and the Windmil. [online] At: http://www.quilosandthewindmill.com/ (Accessed on 7 February 2019)
Schädler, L. (2015) War Damaged Musical Instruments Exhibition Essay. [online] At: https://www.tate.org.uk/whats-on/tate-britain/exhibition/susan-philipsz-war-damaged-musical-instruments/exhibition-essay (Accessed on 9 February 2019)
Tate (2013) Yves Klein, Anthropometries. [online] At: https://www.tate.org.uk/art/artists/yves-klein-1418/yves-klein-anthropometries (Accessed on 12 February 2019)
Tare (2019) Abstract Art. [online] At: https://www.tate.org.uk/art/art-terms/a/abstract-art (Accessed on 18 February 2019)
The Art Story (2019) The CoBrA Group Overview. [online] At: https://www.theartstory.org/movement/cobra-group/
Wolf, J. (2019) Robert Smithson. [online] At: https://www.theartstory.org/artist-smithson-robert.htm (Accessed on 31 January 2019)
Barnes (2015) Ellen Harvey: Metal Painting. [online] At: https://www.barnesfoundation.org/whats-on/ellen-harvey (Accessed on 3 February 2019)
Blumberg, N. (2018) Henry Darger. [online] At: https://www.britannica.com/biography/Henry-Darger (Accessed on 19 February 2019)
Borthe, L. (2019) Yves Klein. [online] At: https://www.theartstory.org/artist-klein-yves.htm (Accessed on 12 February 2019)
City Guide Rotterdam (2017) The Destroyed City. [online] At: https://www.cityguiderotterdam.com/things-to-do/sights/the-destroyed-city-rotterdam/ (Accessed on 12 February 2019)
Contemporary Art Magazine (2010) Christian Boltanski: Personnes. [online] At: http://thisistomorrow.info/articles/christian-boltanski-personnes (Accessed on 3 February 2019)
Cook, W. (2018) Wrap stars: Christo and Jeanne-Claude's 50 years of pop-up art. [online] At: https://www.bbc.co.uk/programmes/articles/2LFSrLK9XjRxLqTRNdftLqd/wrap-stars-christo-and-jeanne-claudes-50-years-of-pop-up-art (Accessed on 31 January 2019)
Dougan, C. (2014) In Depth: Alison Carlier. [online] At: http://www.thefixmagazine.com/index/in-depth-alison-carlier/ (Accessed on 7 February 2019)
Gormley, A. (2019) Antony Gromley: Projects. [online] At: http://www.antonygormley.com/projects (Accessed on 13 February 2019)
Harvey, E. (2017) Articulate: Ellen Harvey. PBS. [online] At: https://www.pbs.org/video/ellen-harvey-9w03gd/ (Accessed on 12 February 2019)
Hauser and Wirth (2019) Mary Heilman. [online] At: https://www.hauserwirth.com/artists/2788-mary-heilmann (Accessed on 18 February 2019)
Honour, H and Fleming, J. (2009) A world history of art. London: Laurence King Publishing.
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 13 February 2019)
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 14 February 2019)
Quilos and the Windmill (2017) Quilos and the Windmil. [online] At: http://www.quilosandthewindmill.com/ (Accessed on 7 February 2019)
Schädler, L. (2015) War Damaged Musical Instruments Exhibition Essay. [online] At: https://www.tate.org.uk/whats-on/tate-britain/exhibition/susan-philipsz-war-damaged-musical-instruments/exhibition-essay (Accessed on 9 February 2019)
Tate (2013) Yves Klein, Anthropometries. [online] At: https://www.tate.org.uk/art/artists/yves-klein-1418/yves-klein-anthropometries (Accessed on 12 February 2019)
Tare (2019) Abstract Art. [online] At: https://www.tate.org.uk/art/art-terms/a/abstract-art (Accessed on 18 February 2019)
The Art Story (2019) The CoBrA Group Overview. [online] At: https://www.theartstory.org/movement/cobra-group/
Wolf, J. (2019) Robert Smithson. [online] At: https://www.theartstory.org/artist-smithson-robert.htm (Accessed on 31 January 2019)