Demonstration of subject knowledge– I have referenced ‘What is art’ using research from my learning log and I have demonstrated a knowledge of Jeremy Dellers work and the context in which the artwork was created. I have referenced the documentary and the people mentioned and also mentioned and written about the time period the work was set in.
Demonstration of research skills– I have researched the study of art and made references to the projects and visits I have made throughout. I have made references to the documentary, to any reviews, persons mentioned and researched the works of Jeremy Deller and referenced them.
Demonstration of critical and evaluation skills– I feel I have shown critical thinking throughout the assignment and I have discussed my thoughts about the piece in my conclusion for both parts.
Communication– I feel my writing is understandable and flows and I have presented my assignment with an introduction, middle and a conclusion with paragraphs and links attached for both parts.
Coming to the end of the first section has been like a dream. I started off slowly and then got progressively slower but now I have finished the first part and have completed my first assignment I feel a bit better. I have been surprised by just how much work and learning I have to do and I am also pleased at how many new artists I have discovered, just by answering questions and researching the information. When I first started researching Duchamp’s fountain I felt a bit flat as I didn’t get it and I didn’t understand it. I have learnt in just these past two weeks that I don’t necessarily have to and I can interpret just like anybody else whatever they want to see and how they want to see it.
I have found these past few months quite stressful and as if I was never going to get going but by just reading more and researching everything I need to I am feeling a lot more confident about the next part.
My two trips out produced more than I realised as I ended up finding out so much information about things that I hadn’t originally gone for. I am hoping to be able to meet up with other students on other study trips in the future as it would be nice to share thoughts with others rather than visiting by myself.
I found by further research an artist called Amedeo Modigliani. I love his pictures so much and the figures he paints are so beautiful and interesting. The Tate will be having an exhibition of his next year and I would really like to visit it if I can.
Girl with Braids- http://bruegelpieterpaintings.blogspot.co.uk/2011/06/amedo-modigliani-paintings_17.html– assessed 8th May 2016
Case Study: ‘A Place Beyond Belief’ By Nathan Coley
My first response to this piece was;
Moody, dark, where is it? is it a good place? is it a church? is it part of an advert for something? Having your name in lights. Is it a factory? outdoors, lit up for all to see, parkland? desert?
I feel it is saying that somewhere is either beyond belief in awe and amazement or that it is beyond belief as if something bad has happened. You cannot actually believe that this ‘thing’ that happened, has really happened. In order to know what the piece is saying you would have to know where it is and the situations behind it.
I watched this video of the artist speaking about his inspiration behind the piece.
The way he opens the video immediately casts your mind back to that time when 9/11 happened and as if you are on that train travelling through New York in a state of disbelief. Everyone remembers where they were on that day and it is difficult to comprehend still when you watch it again on TV even 15 years later. The tiredness and confusion he describes of the passenger is exactly right. When something big happens in your life especially something like that and you have lived through it, you do feel detached and worried and as if the enormity just won’t sink in. The hatred the passengers felt toward the Sikh passenger is upsetting. His feelings are very strong for the situation, the other passengers being upset, the hatred and the unknown.
A kind of torture as described by the artist. I feel like I am there with them, watching him and all the other passengers and I want to say stop it. The Sikh giving the newborn baby money and then everybody is in tears when he leaves the train is really heartbreaking, so yes New York needed to find a place beyond belief. I feel it represents hope. It had to change again to be somewhere that people could love and feel safe again even after something so terrible.
Taken from- https://vimeo.com/79395527– accessed 8th May 2016
Looking at more of the artists work of the same piece, I was drawn to this one.
http://www.theguardian.com/artanddesign/gallery/2012/sep/23/place-beyond-belief-kosovo-nathan-cole – accessed 8th May 2016
This piece was installed in the National Gallery of Kosovo in Pristina. The artist says-
‘By putting the piece in Kosovo the piece ‘loses its original context and goes out into the world to find new life’ ‘can this place become a place beyond belief’
It was placed for a while between the church that Milosevic started to build, and it now stands as a testimony not just to religious belief, but to the misuse of religious belief. It is also next to the library which is ‘between a beacon of hope and a beacon of destruction’
Taken from- http://www.theguardian.com/artanddesign/2012/sep/23/nathan-coley-kosovo-sculpture-beacon-accessed 8th May 2016
A duplicate piece has been requested to be installed in the parliamentary building to remind politicians not to repeat past mistakes.
The contextual information of the piece is that we need to be more understanding about how art can create something that may help draw our memories into thinking differently. I can say I like it very much and that it is wonderful and makes me think deeper about things but it is important also that the artists initial thoughts and intentions when creating the piece and how they may want it to be seen and felt by others are in place. You do have to read further into it and about the stories and places attached to the pieces to understand their creation. It has become a message of hope and a cry from a nation that is recognised in history as a war zone into somewhere that is trying to turn itself around. Never forgetting, just moving forward.
‘Government buildings in Pristina, Petrit Selimi, Kosovo’s deputy minister for foreign affairs, sees culture as a vital tool for nation-building. ‘What do people outside know about Kosovo?’ he says. ‘They think it’s still a war zone; they think of refugees’
Taken from- http://www.theguardian.com/artanddesign/gallery/2012/sep/23/place-beyond-belief-kosovo-nathan-coley-accessed 8th May 2016
Looking at the artists other works, I can see a similar theme of allowing the viewer to see and interpret what they see as their own until they know the background or make up their own minds, maybe taking a piece of the meaning for themselves.
Taken from- http://studionathancoley.com/works/burn-the-village-feel-the-warmth/images/2– accessed 8th May 2016
The Honour series is a collection of photographs showing protests or gatherings where signs full of messages have been covered over in gold leaf. The text has been removed making it unreadable but as the viewer I don’t focus on that I focus on the gold. This leaves the protester with nothing to say, you have to work out for yourself what it is and what they are marching and fighting for . Where are they? Is it a rally?.
Taken from-http://studionathancoley.com/works/the-honour-series/images/3 -accessed 8th May 2016
Taken from- http://studionathancoley.com/works/gathering-of-strangers/images/1-accessed 8th May 2016
Taken from –http://studionathancoley.com/works/heaven-is-a-place-where-nothing-ever-happens/images-accessed 8th May 2016
I chose this piece as it reminds me of a Talking Heads song. It is not to dissimilar to the first research piece as that it is cast the same and lit the same but has a different message. What is the message? Is it a homage to something? Is it a place he knows called heaven? Is it a religious argument? Is it just the song lyric to Talking Heads Heaven as he likes them? A song that I will now be singing for the next four hours around the house?
From what I have seen of Coleys work, I think that they are based on deep connections to people, sayings, places, time and thoughts. I like how it is almost not explained until you read more or listen to the artist speaking about a piece. I like that his work is left for the viewer to understand and for them to realise what it is they want from it. His religious attention to pieces and where they are situated is also good and they get recognition for this from the countries involved. He seems to strive to draw attention to world issues of religion and society and more often than not succeeds. His motivations I feel come from situations and the people who are involved in them. How they see the events, what happens to them and those around them. The idea that these events can be changed in peoples minds to help and remember things is good. Giving people the hope that it will all be OK.
All websites and links accessed 8th May 2016
‘The use of text, written or verbal has been a significant feature of artists’ practices since the early twentieth century’
Looking at http://www.tate.org.uk/whats-on/search?f=im_vid_45:1762&f=im_vid_46:1850– all accessed 8th May 2016
Looking through the artists I liked I decided to research the following artists below;
Cildo Meireles Babel (detail) 2001
How Not to Be Seen: A Fucking Didactic Educational .MOV File 2013
Video still, CC 4.0, Hito Steyerl
Liquid Crystal Environment 1965, remade 2005
Bernd Becher and Hilla Becher
Coal Bunkers 1974
© Bernd & Hilla Becher
Portrait of a Girl c. 1917,
All websites and links accessed 8th May 2016
Katie Paterson is another new artist to research for me. Looking at her work entitled ‘Vatnajökull (the sound of)’ A live phone–line to Vatnajökull glacier seems very interesting.
Taken from –http://katiepaterson.org/vatnajokull/– accessed 6th May 2016
Looking at other works she has made such as 100 Billion Suns and The Dying Star Letters the artist shows lots of different processes in her work and how it is presented and seen by the viewer is also important to her. The audience participation and the bigger thinking of the work is also important for it all to flow together.
100 Billion Suns-Taken from- http://katiepaterson.org/100billion/-accessed 6th May 2016
The variety of different mediums in her work such as audio, film and photographs make each piece she creates very unique to the subject.
The Dying Star Letters- Taken from- http://katiepaterson.org/starletters/– accessed 6th May 2016
Vatnajokull (sounds of)
‘An underwater microphone lead into Jökulsárlón lagoon – an outlet glacial lagoon of Vatnajökull, filled with icebergs – connected to an amplifier, and a mobile-phone, which created a live phone line to the glacier. The number +44(0)7757001122 could be called from any telephone in the world, the listener put through to Vatnajökull. A white neon sign of the phone number hung in the gallery space’
Taken from –http://katiepaterson.org/vatnajokull/– accessed 6th May 2016
The piece has had a lot of thought go into it and is quite a technical feat. I love the idea of a live phone line to the glacier. The audience who came to visit the installation or who just rang the number from their house had a direct line straight to a GLACIER! I think that is pretty cool.
Vatnajokull (sounds of)-Taken from –http://katiepaterson.org/vatnajokull/– accessed 6th May 2016
The phone call you made would have been live so each person who called would hear a different sound due to the movements of the ice, time of day, weather etc.
The fact that you can hear the glacier is very moving. I think that you could really get into all the sounds and meanings. Was it really melting? Where is it moving too? How old is it? Looking at Paterson’s other work a lot of it is influenced by the bigger world around us, space, global warming and the universe. Glaciers are magnificent things, they made mountains so it is a very sad piece but also very grand. I feel it gives the viewer and the listener excitement without maybe giving the real reason behind it which could be that the glacier is melting and moving and it shouldn’t be.
Vatnajokull (sounds of)-Taken from –http://katiepaterson.org/vatnajokull/– accessed 6th May 2016
I have a love for neon and the phone number to ring the glacier is up there on the wall for all to see. It is like a badge of honour. The recording of the glacier is now preserved as an audio recording as it may no longer be there, quite possibly it isn’t. Without the audio element the piece is still good but it needs to all be together as one piece, the light, the phone,the set and the noises. I would say that it is a site specific piece as the glacier is in the same area but it moves with time, which cannot be helped or stopped.
‘Place-The First of All Things’ Dean,T, Millar J. (pp.11-26)
Komar and Melamid http://www.komarandmelamid.org/– accessed 6th May 2016
By Ronald Poell (http://gplus.to/ronaldpoell) – https://ssl.panoramio.com/photo/17845778, CC BY 1.0, https://commons.wikimedia.org/w/index.php?curid=32771274– accessed 6th May 2016
Whether this piece is relevant to place, I am not sure. The Hague houses the United Nations, the Dutch Parliament and the Supreme Court so to have a statue outside of Stalin, I think is a bit risky. I like it though and I like his lamp.
Caspar David Friedrich.
Was a 19th-century German Romantic landscape painter. I couldn’t find any pictures that would incorporate text or that the artist has incorporated it into but I liked this picture very much.It reminds me a bit of the War of The Worlds Horsell Common picture. I like Friedrich’s work very much and I am glad I looked him up. He references place as it is almost dreamlike. A place that only the painter and maybe the figure in the picture knows about.
Mountain Landscape with Rainbow (1809-10)- accessed 6th May 2016
Jacob van Ruisdael was one of the most famous landscape painters of 17th-century Holland, and the foremost exponent of the classical phase of Dutch landscape painting. He was able to create a poetic and sometimes brooding or tragic mood in his landscapes. This can be seen especially in his mature works, such as ‘A Pool Surrounded by Trees’ in the Collection.- Taken from –http://www.nationalgallery.org.uk/artists/jacob-van-ruisdael-accessed 6th May 2016
http://www.nationalgallery.org.uk/paintings/jacob-van-ruisdael-a-pool-surrounded-by-trees– accessed 6th May 2016
It is a very moody piece but the title alone conjures up a place that is imaginative and feels a part of the artist. A pool surrounded by trees is like a secret place that the artist knows or who is dreaming about, a place he would like to visit or that really exists. Somewhere he might visit for a walk to be by himself.
John Constable (11 June 1776 – 31 March 1837) was an English Romantic painter. Born in Suffolk, He is known principally for his landscape paintings of Dedham Vale, the area surrounding his home now known as “Constable Country”. “I should paint my own places best”, he wrote to his friend John Fisher in 1821, “painting is but another word for feeling”.http://www.john-constable.org/– accessed 6th May 2016
http://www.john-constable.org/Golding-Constable’s-Kitchen-Garden-large.html-accessed 6th May 2016
I feel Constable is a painter of place. He used his surroundings and things that he saw and knew about in his paintings. To evoke memories of places and almost claim them as his.
Marine Hugonnier b. 1969, whose work across a whole range of media, explores the relationship between language and image and the dynamic, deceptive impact both can have on understanding. http://www.itsnicethat.com/articles/marine-hugonnier– accessed 6th May 2016
Marine is another artist that I hadn’t heard of and I am so glad that I now do. I love these front pages and the blocks of colour used on them. The newspapers are kept as they are with colour laid on top of them. The artist has collected the newspapers that represent various moments in history such as the Vietnam war so as to make the piece real, to keep it the same but different. The colours used were from a Kodak colour chart. It evokes memories of events and place and casts the viewer back to a time they remember but with a lot of it blanked out. Like certain parts of history.
Taken and edited from http://ilikethisart.net/?p=15192-accessed 6th May 2016
‘American Minimal sculptor and pioneer of Conceptual art. Born in Ann Arbor, Michigan. Served in the US Marine Corps in World War II. Studied at the University of Michigan, Ann Arbor, at Cleveland School of Art and at the Académie Julian in Paris. Taught at Miami University, Oxford, Ohio, then at Bradford Junior College, Bradford, Massachusetts, and most recently at the Carpenter Center, Harvard University. First one-man exhibition at the Phillips Gallery, Detroit, 1953. Began as a painter, then turned to making Minimal sculpture in Formica on wood and was included in the Primary Structures exhibition at the Jewish Museum, New York, 1966. Made his first experiments with map pieces in 1967, and in 1968-9 gave up making sculpture and began to make series of ‘Duration Pieces’, ‘Variable Pieces’ and ‘Location Pieces’ by treating everyday activities in such a way as to produce documentation in the form of photographs, maps, drawings and descriptive text.’
Taken from-http://www.tate.org.uk/art/artists/douglas-huebler-1320-accessed 6th May 2016
Variable Piece No. 44 1971 Douglas Huebler http://www.tate.org.uk/art/work/P07234 -accessed 6th May 2016
‘The themes of this work are changing human appearance and the owner’s own responsibility to complete the piece. It existed as a work in progress for ten years and was not complete until 1980. As the instructions printed on it show, it is a collaborative work between the artist, the current owner and the owners of the works directly preceding it and directly following it in the series. This example belonged to the artist until it was sold to the Tate so he appears as the owner until 1974.
Taken from –http://www.tate.org.uk/art/artworks/huebler-variable-piece-no-44-p07234-accessed 6th May 2016
I like things like this as it shows time passing. We can sometimes forget that this happens although we can feel it, it is only when we look at photographs from the past that we are reminded. I think this piece does deal with place as it instils memory to the viewer and to the artist and to the subject. How much of their life has changed since the first picture was taken? What events have happened?
I found Jane and Louise Wilson’s work to be so interesting. I couldn’t stop watching or reading about toxic camera and I wish I could have gone to the exhibition of it showing. Like in ‘Place-The First of All things’ Chernobyl is mentioned, the name immediately conjures up what happened there with just the word being used. The old way of life before the disaster has gone with not that many people now around to talk about it any more. Sense of place and time features greatly in their work and again I will research them further.
Film Still -from Toxic Camera- by Jane and Louise Wilson.- http://www.theguardian.com/artanddesign/2012/oct/22/jane-and-louise-wilson-exhibition-accessed 16th May 2016
‘Joachim Koester is a conceptual artist and a graduate of the Royal Danish Academy of Art in his native city. Over the last fifteen years, his work has been exhibited internationally, in Europe, North America, and Africa. He works principally in still photography and video.’
Taken from- https://en.wikipedia.org/wiki/Joachim_Koester-accessed 6th May 2016
JOACHIM KOESTER The Kant Walks #1 (2005)- http://www.nicolaiwallner.com/artists.php?action=details&id=3– accessed 16th May 2016
There seems to be a lot of things related to memory that the artist makes, pastimes, old places, remembering things as they were and looking at what they are like now. Who owned this folly? What did it mean to them? What is happening to it now? Has it been rebuilt or left? What did it used to look like?
‘Dan Graham has traced the symbiosis between architectural environments and their inhabitants. With a practice that encompasses curating, writing, performance, installation, video, photography and architecture, his analytical bent first came to attention with Homes for America (1966–67), a sequence of photos of suburban development in New Jersey, accompanied by a text charting the economics of land use and the obsolescence of architecture and craftsmanship. Graham’s critical engagement manifests most alluringly in the glass and mirrored pavilions, which he has designed since the late 1970s and which have been realised in sites all over the world. These instruments of reflection – visual and cognitive – highlight the voyeuristic elements of design in the built world; poised between sculpture and architecture, they glean a sparseness from 1960s Minimalism, redolent of Graham’s emergence in New York in the 1960s alongside Sol Le Witt, Donald Judd and Robert Smithson. Graham himself has described his work and its various manifestations as ‘geometric forms inhabited and activated by the presence of the viewer, [producing] a sense of uneasiness and psychological alienation through a constant play between feelings of inclusion and exclusion.’ The pavilions draw attention to buildings as instruments of expression, psychological strongholds, markers of social change and prisms through which we view others and ourselves.’
Taken from –http://www.lissongallery.com/artists/dan-graham/-accessed 6th May 2016
http://www.lissongallery.com/exhibitions/dan-graham–4-accessed 6th May 2016
Video Projection Outside House, 1978-http://www.lissongallery.com/exhibitions/dan-graham--2-accessed 6th May 2016
I really like this image, its very alone and surreal. Is it a memory? Where is it? Is it a dream? Sense of place I am not sure about. A sense of memory yes.
All websites and links accessed 6th May 2016.
Place, like time, is difficult to define when it comes down to it. “…there are more concepts of place than actual geographic ones” (Dean & Millar, 2005, p.12)
What does this mean? Sometimes people use place to mean space or location, but as Yi-Fu Tuan points out “When space becomes thoroughly familiar to us, it has become place.” (Dean & Millar, 2005, p.14)
http://www.oca-student.com/sites/default/files/oca-content/course-pdfs/ca4cat_140414_red.pdf- accessed 5th May 2016
Notes on ‘Place-The first of all things’ by Dean, T and Millar, J (2005): http://www.oca-student.com/resource-type/course-resource/ca4catplace-first-all-things -accessed 6th May 2016
What do we mean by place? A confusing space, far away. Philosophers have long since tried to grasp its meaning and importance. Its meaning is recognised in almost every area of human activity and also its importance. We as people are expected to know what ‘place’ means. Geographic reasons, locations, territories, places and our homes.
‘Place is a word that is used to describe our relationship to the world around us’
(Page 12,Dean,T, Millar, J (2005)
aesthetic judgement, what people think, what they want.
‘The People’s Choice’ project by Vitaly Komar and Alex Melmaids found after asking that 11 of the 15 countries asked all made similar painted landscapes as their ‘most wanted’ view. Landscapes are popular and the most recent ideas. bible, classics, paintings in that style. Popular in the western tradition of visual arts.
Mountains, valleys and rivers were not collectively considered ‘landscape’. Landschaft- a collection of dwellings built within an area of cultivated land, surrounded by an unknown and unknowable wilderness. The Dutch translated this into Landschap -An area of land that could be represented by either surveyor or artist, as a map or a painting.
Altered understanding of place has become radical. place is what we engage in, in our everyday lives. Is place man made?
Place is something that is sensed more than understood. Fixed identity, familiar, known, needed. ‘places remember events’- Joyce.
Historical events are often known by the name of the place in which they happened, Auschwitz, Chernobyl, Hiroshima. Place does not dominate over the event. The place gives itself over to the event. God in Hebrew – Makom translates into place. God himself is called a place.
The Woodlanders- Thomas Hardy.- accessed 6th May 2016
Place noted as a space. place/sites differences between place and space and differences between place and site.
Omnipresence- present everywhere at the same time.
http://www.dictionary.com/browse/omnipresence-accessed 6th May 2016
Concept of place within contemporary art. existential anxiety, we retain a strong sense of place even though it is difficult to define.
‘The real voyage of discovery consists in not seeking new landscapes, but in having new eyes’
Sense of place-nostalgia, identity, national pride?
Pictures are but experiments.
Fleeting effects,transitory. sense of nation.
‘photographing a photograph’
Engagement, representing the past and the present.
Everything is somewhere and in place.
All websites and links accessed 5th/6th May 2016