Week 6- Anish Kapoor Sculpture

Anish Kapoor

Cloud Gate (2004), Millennium Park, Chicago

Celebrated for his gigantic, stainless steel Cloud Gate sculpture in Chicago’s Millennium Park, Anish Kapoor is changing the cultural environment with his public works.

1.Research Kapoor's work in order to discuss whether it is conceptual art or not. Explain your answer, using a definition of conceptual art.

According to ‘Conceptual Art' by Tony Godfrey, conceptual art is more about ideas and meanings rather than the forms of or materials. In particular the object of conceptual art becomes unique and     collectable because of challenging the tradition.

Kapoor‘s work is conceptual art because the main focus of his work is not just play around the material but focus on the interesting ideas of his work. His concept of his sculpture often has particular meaning and theme.

2. Research 3 quite different works by Kapoor from countries outside New Zealand to discuss the ideas behind the work. Include images of each work on your blog.

 ArcelorMittal Orbit tower in the Olympic Park, Anish Kapoor, 2012

Kapoor designed this115-metre-high tower sculpture for £19.1m as the artistic centerpiece of the 2012 Olympic Park.

This work were referencing the Tower of Babel and trying to convey a sense of instability and a tower that could be viewed differently from different parts of the city. 

According to London mayor Boris Johnson, he thought that the Olympic Park for the 2012 Olympics needed "something extra" to "distinguish the East London skyline", and "arouse the curiosity and wonder of Londoners and visitors". I think Kapoor's work is more like modern world for the future.

Anish Kapoor, Tall Tree and The Eye, 2009

The steel structure, an arrangement of 76 shiny spheres which bubble up to the level of the surrounding Palladian buildings, is inspired by the words of the German poet Rainer Maria Rilke.

The Kapoor said he is intrigued by the empty spaces between the shapes he has made, and by the endless, repeating "fractal images" reflected on its polished surfaces."Inevitably the shape recalls DNA as a reference, but that is not what it is," he said.



Dirty Corner, Anish Kapoor,2011

the sculptural work consists of a huge steel volume that measures 60 metres long  and 8 meters high in which visitors can enter. upon entry, one begins to lose their perception of space, as it gets progressively darker and darker until there is no light, forcing one to use their other senses to guide them through the space. 

3.Discuss the large scale 'site specific' work that has been installed on a private site in New Zealand.

On The Farm there is no prescribed space to work within. Rather there is an undulating plane, far horizons and a wide sky. In response, Kapoor has nestled the work in a cleft cut into a high ridgeline. With views of the harbour to the west and mountains to the east it is as if he wanted to channel the forces of water, air and rock; and to link the width of the harbour with the height of the hills. The site elevates Kapoor’s work into view, but also makes it impossible to be seen entirely from any one position (other than the air). 

Standing close to the 8-storey high work, it's gigantic, mesmerising character kicks in. Composed of a vast PVC membrane stretched between the two giant steel ellipses, it has a fleshy quality which Kapoor describes as being “rather like a flayed skin.” During one of the site's frequent westerly winds it takes on a life beyond what Kapoor could ever achieve indoors.

4. Where is the Kapoor's work in New Zealand? What are its form and materials? What are the ideas behind the work?

Kapoor's first outdoor sculpture in fabric, “The Farm”, is designed to withstand the high winds that blow inland from the Tasman Sea off the northwest coast of New Zealand's North Island.Its materials consist of "a custom deep red PVC-coated polyester fabric by Ferrari Textiles supported by two identical matching red structural steel ellipses that weigh 42,750kg each. The fabric alone weighs 7,200kg."

Here Kapoor has realised something transcendent within a large sculptural object. It is architectural in scale yet mysteriously visceral and immediate in character.

http://www.robgarrettcfa.com/content/2009/06/01/the-farm-alan-gibbs

5. Comment on which work by Kapoor is your favourite, and explain why. Are you personally attracted more by the ideas or the aesthetics of the work?

I really like the huge sculpture called Tall Tree and the Eye and the Sky Mirror. Kapoor is good at combine his conceptual ideas wirh actual object using the material steel. I like the way he creating the work for making sense by the reflection of the steel, it makes the work looks modern and future.

Youtube has some excellent footage on Kapoor-take a look at Anish Kapoor at the Royal Academy.

www.royalacademy.org.uk › 
http://www.robgarrettcfa.com/thefarm.htm
http://www.billslater.com/cloudgate/ 

Dismemberment of Jeanne d’Arc- 

Old Municipal Market Building Brighton

Week 5 - Pluralism and the Treat of Waitangi

In teaching week 5 you will discuss pluralism and the Treaty of Waitangi in your tutorials.

Use this discussion, the notes in your ALVC book and the internet to respond to the following
questions;

1. Define the term 'pluralism' using APA referencing.

"Pluralism in art refers to the nature of artforms and artists as diverse. The cultural context of art is all encompassing in its respect for the art of the world's cultures. Inclusion of individuals of differing ethnicities, genders, ideologies, abilities, ages, religious, economic status and educational levels is valued. Pluralism honours differences within and between equitable groups while seeing their commonalities."  (Cadwell,1999)

2. How would you describe New Zealand's current dominant culture?

The culture of New Zealand is largely inherited from British and European custom , interwoven with Maori and Polynesian tradition. The Maori people are the indigenous people of Aotearoa (New Zealand) and first arrived here in waka hourua (voyaging canoes) from their ancestral homeland of Hawaiki since over 1000 years ago. Today Maori people live throughout New Zealand, and many are actively involved with keeping their culture and language alive. Within any Maori community, the marae provides a focus for social, cultural and spiritual life. 

http://www.tourism.net.nz/new-zealand/about-new-zealand/maori-culture.html

3. Before 1840, what was New Zealand's dominant culture?

Native Maori culture was the dominant culture before 1840  when the Treaty of Waitangi was signed.

4. How does the Treaty of Waitangi relate to us all as artists and designers working in New Zealand?

The Treaty of Waitangi relate to us all as artists and designers in New Zealand no matter  Maori, Kiwi or even Asian people. It is because that the Treaty is one of the most important part of       
history of New Zealand, and it also become culture of this country. The Artists and Designers living and working in New Zealand has influenced therefore sometimes they inspired by the Treaty and make the work by reflect effort of the Treaty.

5. How can globalization be seen as having a negative effect on 'regional diversity' that leads to a 

'homogenized world culture' in New Zealand in particular? (ALVC2 handbook page 52, http://searchcio.techtarget.com/definition/globalization)

According to ALVC book page 52,"Opponents of globalization believe that it will merely increased the opportunities for the wealthier nations to take advantage of the poor ones." 

The world is becoming globalization and smaller than before.In New Zealand there are a variety kinds of culture, as the economy and technology developing these cultures become more and more homogenized. Therefore, to the smaller group people's culture, such as Maori culture, it is a challenge for them to keep their own culture nowadays.

6. Shane Cotton's paintings are said to examine the cultural landscape. Research Cotton's work 'Welcome'(2004) and 'Three quarter view ' (2005) to analyze what he is saying about colonialization and the Treaty of Waitangi.

 

'Welcome' (2004) Shane Cotton 

http://www.printsandprintmaking.gov.au/catalogues/work/52293/shane-cotton-welcome.aspx

  

'Three Quarter view'(2005) Shane Cotton

http://artsearch.nga.gov.au/Detail-LRG.cfm?IRN=149998 

http://www.nbr.co.nz/article/shane-cotton-paintings-examine-cultural-landscape-126412

By researching Cotton's work, I find that Cotton is an artist that his paintings have explored questions of colonialism, cultural identity, Maori spirituality, and life and death.  Many of his paintings go into depth of primitive ideas especially through Maori whakapapa including both Maori iconography and culture, such as shrunken heads, mokomokai , and native birds such as tui , and European symbols and items.  His works are good examples of relating to the Treaty of Waitangi.

http://eyecontactsite.com/2010/07/pondering-the-marks-and-symbols-of-shane-cotton

7. Tony Albert's installation 'Sorry' (2008) reflect the effects of colonization on the aboriginal people of Australia. Research the work and comment on what Albert is communicating through his work, and what he is referring to. Describe the materials that Albert uses on this installation and say what he hopes his work can achieve.

                                       Tony Albert | Australia b.1981 | Girramay people | Sorry 2008 |

                                               Found kitsch objects applied  to vinyl letters | 99 objects :    

                                               200 x 510 x 10cm (installed) | The James C Sourris Collection.

                                               Purchased 2008 with funds from James C Sourris through the 

                                               Queensland Art Gallery Foundation | Collection: Queensland Art Gallery

'sorry' is a work made up of big letters spelling out the word which found kitsch objects applied to vinyl letters. Albert started collecting kitsch Australiana (he calls it Aboriginalia) as a child when hunting through op shops with his family. In my opinion, I think Albert use this kind of material to show his status of colonialization and globalization.  

8. Define the term 'kitsch'.

The Oxford English Dictionary defines kitsch in the verb form as "to render worthless," classifying kitsch objects as "characterized by worthless pretentiousness."

It is seen as a type of creation that reaffirms rather than challenges the collective norm, a source of sheer entertainment in opposition to the elevated perception generated by high art.

http://csmt.uchicago.edu/glossary2004/kitsch.htm

9. Explain how the work of both artists relates to pluralism.

Both artists' work are relates to pluralism. Their works respect the tradition and culture of New Zealand and Australia to show the importance of the native culture.  Futher more, they repersent the native culture in artworks by mixing different terms.

www.youtube.com/watch?v=6afMy0rlqq8

http://qag.qld.gov.au/collection/indigenous_australian_art/tony_albert

Week 4 - Kehinde Wiley and inter-textuality

Kehinde Wiley

1. Untitled (2009)

2. Untitled(2009)

3. Kehinde Wiley Count Potocki, 2008 oil on canvas, 274.3 x 274.3cm

4. Kehinde Wiley Support Army and Look after People, 2007 oil on canvas, 258.4 x 227.3cm

Kehinde Wiley is a Gay American based painter born in Los Angeles, who has an international reputation. Wiley lives and practices between Beijing and Brooklyn.


This weeks ALVC class focuses on the Postmodern theme "INTERTEXTUALITY", re-read Extract 

The death of the author on page 44 of your ALVC books and respond to the oil paintings of Kehinde Wiley. 

1. Find a clear definition of Intertextuality and quote it accurately on your blog using the APA referencing system. Use your own words to explain the definition more thoroughly. 

The communication between author and reader is always paired with an intertextual relation between words and their prior existence in past texts. As Kristeva stated: “any text is constructed as a mosaic of quotations; any text is the absorption and transformation of another” (Kristeva 1980).

The cencept of 'Intertextuality' has double focus. Fristly,  it makes our focus to the importance of previous texts, what is the communication or theme of a work and how it does only because exist things have previously been written. And it also focuses on intelligibility, this concept of 'intertextuality'  make us to consider  the contribution of  prior texts to the work.

2. Research Wiley's work and write a paragraph that analyzes how we might make sense of his work. Identify intertextuality in Wiley's work.

Kehinde Wiley has created large, vibrant, highly patterned paintings of young African American men wearing very modern hip hop street fashion. However, the poses of the men and the other objects in the portraits are based on well-known images of powerful figures drawn from seventeenth- through nineteenth-century Western art. 

"The models, dressed in their everyday clothing--most of which are based on the notion of far-reaching Western ideals of style--are asked to assume poses found in paintings or sculptures representative of the history of their surroundings."

Although Wiley's worked in post modernity, but his work are highly related to the previous oil painting. The intertextually show in Wiley's work is the relation between classical painting and modern ideas. 

http://akkad-design.com/KehindeWiley/Gallery/index_Bio.html

3. Wiley's work relates to next weeks Postmodern theme "PLURALISM" . Read page 51 and discuss how the work relates to this theme.

According to Caldwell (1999): "Pluralism in art refers to the nature of art forms and artists as diverse. The culture context of art is all encompassing in its respect for the art of the word's cultures. Inclusion of individuals of differing ethnicities, genders, ideologies, abilities, ages, religions, economic status and educational levels is valued. Pluralism honors differences between equitable groups while seeing their commonalities."

Wiley's work has related to Pluralism within combine his painting western old style portrait with pop culture, such as hip hop and street art. Part of Wiley's process was lifting his subjects straight from the street and rendering them-complete with sneakers, track pants, tank tops, and team caps-in the visual language of classic European portraiture. 

4. Comment on how Wiley's work raises questions around social/cultural hierarchies , colonisation, globalisation, stereotypes and the politics which govern a western worldview. 

Wiley's work is highly to the concept of "globalization". As his practice going, his thought and focus of art  toward to an international view, which including some models found in urban of various places and accumulate to a vast body of work. Further more,  Wiley has shown different culture in his work, some of his model are black males, which showing his focus on  immigration and colonization. 

5. Add some reflective comments of your own, which may add more information that
you have read during your research.

Kehinde Wiley, Sleep, 2008, Oil on canvas

        Kehinde Wiley Sleep  (2008) Oil on canvas

From the work "Sleep"(2008) of Kehinde Wiley, A black male was sleeping surrounded by flowers and there was only a sheet which he wore. As the object of flowers, man's body,Wiley has present the males' love through some of his work, which I think is because he is a gay. This is a challenge that persent a delicate subject by using the old painting method. 

Most of Wiley's work are present the latest issue or theme by using classical way of painting. I think this is highly making sense. 

http://www.cretique.com/archives/4012

http://www.deitch.com/artists/sub.php?artistId=11

http://www.thinkcontra.com/kehinde-wiley-on-current/

Week 3- Hussein Chalayan and Post-Modern Fashion

Hussein Chalayan

Chalayan is an artist and designer, working in film, dress and installation art. Research Chalayan’s work, and then consider these questions in some thoughtful reflective writing.

1. Chalayan’s works in clothing, like Afterwords (2000) and Burka (1996) , are often challenging to both the viewer and the wearer. What are your personal responses to these works? Are Afterwordsand Burka fashion, or are they art? What is the difference?

Not all clothing is fashion, so what makes fashion fashion? (Research some definitions  for these terms.)

Hussein Chalayan, Burka (1996) (99

6

                                                                 Hussein Chalayan, Afterwords, 2000

Chayalan‘s work is very different from others by using some unconventional materials and technique

I can see the experimental process that Chayalan has used to create his works. it is a challenge both viewers and wearers. chayalan’s work very thought provoking, a burka is normally a full body worn in such countries as Afghanistan  women as traditional. However, chayalan makes these burka half and unusual. And also from the work Afterwork (2000), i find interesting in the material he has used, it looks  so post modern and further. Chayalan has such many great ideas about trying new materials on his artworks.

I think that chayalan has made some great art because these can make people thinking, and his ideas is strongly related to post modern and further life. However, I don't think these can be called fashion. In my opinion fashion is more about the normal people and what do they interest about  and wear during their lives.  I can't imagine that someone could wear these walking on the street.

2. Chalayan has strong links to industry. Pieces like The Level Tunnel (2006) and Repose (2006) are made in collaboration with, and paid for by, commercial business; in these cases, a vodka company and a crystal manufacturer. How does this impact on the nature of Chalayan’s work? Does the meaning of art change when it is used to sell products? Is it still art?

                                                              The Level Tunnel (2006)

Repose(2006)

Because of the impact of  industry, his art are linked with commercial businesses. Chalayan‘s work still  visually captivating. The only difference is that the art is being used for commercial purposes instead of for the sake of art. No matter the art is for art or is for sell, the art is not change enough. In my opinion, although the industry has made some impact on his works more or less, but Chalayan still has the thinking of  creating works which is unique. so I think it is still art.


3. Chalayan’s film Absent Presence screened at the 2005 Venice Biennale. It features the process of caring for worn clothes, and retrieving and analysing the traces of the wearer, in the form of DNA. This work has been influenced by many different art movements; can you think of some, and in what ways they might have inspired Chalayan’s approach?

Hussein Chalayan, still from Absent Presence, 2005 (motion picture)

The Absent Presence is an enigmatic story based on identity, geography, genetics, biology and anthropology. It opens the argument on how certain identities can or cannot adapt to new environments and generates a research based narration for Hussein's cross-disciplined installation with filmic images and sculptures.

In his conceptual works he uses film, installation and sculptural forms to explore perception and the realities of modern life. Chalayan´s multi-layered narratives are molded into neo-mythological, futuristic visual rituals.In this project he deals with the tantalizing issue of identity as DNA and its reflection in the geopolitical environment. 

http://art100.wikispaces.com/Hussein+Chalayan

http://www.kunstaspekte.de/index.php?tid=40009&action=termin

4. Many of Chalayan’s pieces are physically designed and constructed by someone else; for example, sculptor Lone Sigurdsson made some works from Chalayan’s Echoform (1999) andBefore Minus Now (2000) fashion ranges. In fashion design this is standard practice, but in art it remains unexpected. Work by artists such as Jackson Pollock hold their value in the fact that he personally made the painting. Contrastingly, Andy Warhol’s pop art was largely produced in a New York collective called The Factory, and many of his silk-screened works were produced by assistants. Contemporarily, Damien Hirst doesn’t personally build his vitrines or preserve the sharks himself. So when and why is it important that the artist personally made the piece?


Nowadays it is not so important that the work is personally made by artist themselves. The importance is exploring ideas and communicate successfully. For example, Chalayan always try different materials in his work which is a experiment to creating process. During the process, he might need the help from others, however the idea is created by himself.



http://www.husseinchalayan.com/#/home/
http://www.designboom.com/eng/interview/chalayan.html 
http://www.husseinchalayan.com/blog/