Week #4 - "Time of Others" - On Kawara

This week we went to GOMA and saw the new exhibition Time of Others. This exhibition centres around the theme of time. In my drawing class this week (Week #4) we discussed On Kawara and his date paintings, and some of them happened to be featured in this exhibition. On Kawara's ritualistic process is very interesting to me and I like his approach to his art and to painting.

Kawara began making the paintings on January 4, 1966, and continued making them every day until his death in 2014. The works were produced according to a strict set of parameters. Each was painted during the course of a single day (any work not completed in that time was destroyed), and each was rendered in one of eight possible sizes and three possible colors: red, blue, or grey.

Each painting could take anywhere from four to seven hours to complete, depending on its size. As curator Jeffrey Weiss explains , the process allowed Kawara to “focus and reflect on the act of painting.” Weiss points out that Kawara’s painstaking and methodical practice also represented a departure from the artistic norm of the 1960s, when painting “was undergoing a kind of crisis.” Instead of abandoning painting, notes the curator, “what he did was take the practice of painting to a new place.” 

(Caitlin Dover, https://www.guggenheim.org/blogs/checklist/how-on-kawara-made-his-date-paintings)

This particular group of date paintings come from two different collections in Japan: The National Museum of Art, Osaka and the Museum of Contemporary Art, Tokyo. This is only a small collection of the hundreds of date paintings that On Kawara produced and because of this the display is not as dynamic and awe-inspiring as it could be. In previous On Kawara exhibitions the large amount of works creates an amazing visual experience. It would have been nice to see a whole room of these date paintings together. 

On Kawara, Date Paintings, 1980-1985. 

Here are some other photos of On Kawara's date paintings from other exhibitions. 

On Kawara, Date Paintings, Various dates.

On Kawara, Date Paintings, Various dates.

Week #3 - Loish

Loish 

Lois Van Baarle (Loish) is an artist that lives in Hollandand specialises in illustrations. This interview is set up a little differently to normal one-on-one interviews. Schoolism is an online art school so the interviews they do are online interviews over webcams. Loish has a very large online following and updates regularly on her social media. This interview is about how she survives online, gets jobs and keeps up her online presence. It's 2016 and having an online presence is very important in today's society. Loish sells her own prints/merchandise online and recently had a kickstarter to publish her own art book that was fulfilled in two hours. She also does commissions, concept art and is trained in animation as well. 

The interview was a great insight into how artists can survive on their own terms in this day in age. The questions are extremely relevant to the digital generation that is thriving right now. 

Personally I love Loish's art. Her style is unique and her creations are her own, she isn't one of those artist's that go into fan art and profit from that. I think her experiences in life have helped shape her and her work and I find it very inspiring. 

"Cafepresse", Loish.

"Lemons", Loish.

"Silence", Loish.

"Ambrosial", Loish.

Week #3 - Anish Kapoor

Artist's Interviews - Anish Kapoor

Anish Kapoor is an Indian-born British sculptor. He is known for his use of abstract, biomorphic forms. He also uses rich colours and polished surfaces throughout his work. Descension was a site-specific installation at the 2015 Kochi-Muziris Biennale in India. In this exhibition Kapoor has created awe-inspiring works. His work is mysterious and beautiful and entrances the audience. Kapoor's bottomless whirlpool is breathtaking and is one of my favourite works from him.

"Descension", 2014-2015, Anish Kapoor.

"Descension", 2014-2015, Anish Kapoor.

"Descension", 2014-2015, Anish Kapoor.

"Descension", 2014-2015, Anish Kapoor.

"Descension", 2014-2015, Anish Kapoor.

This interview is shot very professionally with some fantastic shots of Kapoor's work. I like the way the audience is involved in the interview, it gives the work context. Kapoor is interviewed inside in a professional setting, with art works behind him. Kapoor is a great speaker, he articulates the meaning behind his work very well. The interview is set up well and is easy for the viewer to follow. 

“I would say the skin of an object is what defines it. Its weight and mass is contingent on its skin. But scale, of course, is much more mysterious."

This second interview is very casual and relaxed. There is no interviewer present and it switches between footage of Kapoor and footage of his work. It is easy to understand Kapoor as he talks about his work and it is helpful to actually see the work as he talks. I love Kapoor's work. His materials are chosen very specifically and he works with a variety of material too. His scale is specifically chosen based on what he is trying to accomplish with the wok. His work is show-stopping. It makes the audience step back and consider what they are seeing.

Week #3 - Andy Warhol

Andy Warhol Interview - 1966

“People think of you as the perfect pop artist without even knowing what that means or what your work is about. There is something that I think should be explained to the public which has a certain impression of you and I’m not sure that it’s the one that you would want them to have. Is that true?”

This is one of the most confusing interviews I have ever seen. It begins with the two of them being seated at different heights, the artist is higher, and it feels uncomfortable. The questions that are being asked are long, filled with unnecessary words and end up confusing Warhol. The interviewer puts words into his mouth and phrases questions so that Warhol answers in a certain way. Warhol looks extremely uncomfortable and fed up with the whole interview. Overall it's not a very good interview.

It would have been much more successful if both of them had been at the same height, in a more comfortable position. The questions could have been phrased better and more open, allowing Warhol to actually talk about his work. There's a lot you can learn from this interview - what not to do. 

Week #3 - Sarah Thornton

Sarah Thornton’s Seven Days in the Art World.

Chapter 6, the Studio Visit.

What do you think Sarah Thornton is trying to find out in her visits?

In this chapter Thornton meets with Takashi Murakami and visits his studio. She also talks to the curators and art dealers of Murakami's upcoming retrospective and understands how the work is produced and then set up for the show. She questions the roles and responsibilities of each person in this process and the hierarchies of the art world. Thornton has a background in anthropology and so she focuses on the people behind the work rather than the creation of the work. 

"Dealers are editors & 'conspirators'. We help determine what gets shown & how it gets shown, and we help put art in production." (Pg. 186)

What do you think Thornton hones in on or pays particular attention to?

Thornton pays particular attention to Murakami and his feelings towards the exhibition. She focuses on the cultural interactions between the Japanese and the Americans; the curators, dealers and the artists. This particular exhibition really highlights how global the art world is. Murakami has a studio in Japan and one in the U.S and this exhibition is happening in the U.S too. So there is a lot of extra challenges that come with setting it up. 

Do you think she is really interested in art or the people who make it happen?

I believe that Thornton is more interested in the process that goes into making the art works and then exhibiting them, rather than the people that make these works. There is so much work that goes into the set up of an exhibition and people do not see this side of the art world. Thornton comes into the experience with a fresh perspective and it's interesting to hear her story. 

"A studio isn't just a place where artist's make art, but a platform for negotiation and a stage for performance." (Pg.203)

Week #2: Frontier Imaginaries: Tom Nicholson

Frontier Imaginaries

Exhibition by Vivian Zhurl

Exhibition Postcard - "Frontier Imaginaries", 2016

"Scenes for an archipelago" by Tom Nicholson

Frontier Imaginaries is an exhibition that brings together Australian and Indigenous artists to discuss concepts surrounding the era of globalisation. Tom Nicholson is a Melbourne based artist that works across different mediums to produce mixed media installations. Scenes for an archipelago is the second work in a series created for this exhibition. It's a work that spans itself over two rooms and consists of 12 screens and 65 figures.This work echoes the historical diorama created by Indonesian artist, Sunarso. 

Nicholson has created figures of people that he interviewed while in Indonesia, these interviews are on the screens in the second room. All of the figures are small scale and are the same colour, white. Nicholson seeks to bring forward the issues that these people deal with into the public domain. Issues surrounding globalisation and what refugees go through. 

It's interesting to note that each of the figures are the same colour. This creates a sense of unity throughout the work and the colour almost creates a sense of innocence. This allows the viewer to relate to the work on their own level and  not have it defined by race or colour. This loss of colour is crucial to help bring these issues into the public space. It's 2016 and globalisation is a major part of our lives now. 

"Scenes for an archipelago", 2015-16, Tom Nicholson

"Scenes for an archipelago", 2015-16, Tom Nicholson

"Scenes for an archipelago", 2015-16, Tom Nicholson

Week #2 - Frontier Imaginaries: Megan Cope

Frontier Imaginaries

Exhibition by Vivian Zhurl

Exhibition Postcard - "Frontier Imaginaries", 2016

"RE FORMATION" by Megan Cope

Frontier Imaginaries is an exhibition that brings together Australian and Indigenous artists to discuss concepts surrounding the era of globalisation. Megan Cope is an Australian Indigenous artist that has created a sculptural work specifically for this exhibition. RE FORMATION is a site specific work that consists of two pieces. Each piece is made up of a group of shell-like objects, one piece is made up of concrete casts of shells, and the other piece is shell casts made from beer cans. 

This work brings up issues surrounding the environmental impact of dredging and mining on Stradbroke Island. The concrete shells are made using a contemporary method of building andt he beer cans are used to represent how Indigenous people are portrayed in the media. Cope believes they are viewed as lazy alcoholics, so she has used materials to rebel against this stereotype. The two types of sand are the products of the mining; the black sand is what is being mined while the white sand is the by-product. 

This work raises a lot of very relevant questions about the impact of this dredging, and especially on a site that is so important to the Indigenous people. At the moment the world is very concerned about the future of the environment and our impact on the Earth. This is an important issue and this work helps start discussions about it. 

"RE FORMATION", 2016, Megan Cope

"RE FORMATION", 2016, Megan Cope

"RE FORMATION", 2016, Megan Cope

"RE FORMATION", 2016, Megan Cope

Week #2 - Gilda Williams Three Points

In class this week we discussed Gilda Williams points on good vs bad writing. We were given two reviews on local exhibitions and asked to identify William's three points. I have highlighted her points.

Pink: What is it? What does the artwork look like? What do you see?

Yellow: What might the work mean?

Orange: Why does this matter to the world at large?

"Glamour Stakes" by Phil Brown.

In this review Phil Brown discusses Miss Fisher's Murder Mysteries Costume Exhibition. I don't think he really follows William's advice on good writing. He explains what the exhibition is about quite well, but he doesn't really go into detail about how it fits into the world at large, which makes sense with the audience he is writing to. The general public just wants to know what the exhibit is about to help them decide whether they should go see it. 

"APT8 Gears Up To Astound At QAGOMA" by James Frostick

This article is only a small review with a basic overview on the exhibit. Frostick explains what is in the exhibit quite well. He then goes on to list what the works mean and where they are from. He combines two of William's points together and explains what the works mean and why it matters to the world at large. This is particularly relevant to this exhibit because it is an international exhibit with works from the Asia Pacific region. 

"Cindy Sherman review - high-society selfies by quintessential postmodernist", by Andrew Frost.

This exhibition review is a very basic overview on Cindy Sherman's exhibition at GOMA. The audience for this piece is the general public so you wouldn't expect the work to be too in depth so it doesn't follow Gilda Williams three points. Frost describes Sherman's work, explains the meaning behind some of the works, and explains briefly who Sherman is. While it's not a very in depth review, it is a good review for the public to decide whether they should go see the exhibition. 

"crosseXions" by Susan Ostling

When reading this review you can see that it is aimed at an audience that understands art. The review does well to implement Gilda William's three points throughout the paragraphs. Different art works are talked about within each paragraph and the meaning behind them are explained too. It's a well rounded review that doesn't overload the audience on information but gets them interested in the works and what they mean. 

Week #2 - Gilda WIlliams

 “Fear is the root of bad writing” - Gilda Williams

What are some useful points she makes?

Williams begins by explaining the mistakes that most beginners and inexperienced art-writers make. Most beginner writers are scared of sounding stupid, displaying ignorance, getting it wrong, questioning the artist and being honest about their opinions. Putting your personal writing and thoughts out into the world is a scary thing to do. Williams goes on to make many helpful suggestions for beginner writers. 

What are the traits of good writing?

Good writing is clear, well structured and carefully worded. The artwork is clearly described and put into context within the world around it. The text is imaginative and the vocabulary is interesting. Their are original ideas in the text and these are substantiated by the writer's experience and knowledge of art. 

What are the traits of poor writing?

Poor writing is badly structured and is waffley. The vocabulary is unimaginative and the ideas are underdeveloped. Their logic is flawed and the knowledge is patchy. The writer fails to communicate the meaning behind the artwork and its relationship to the rest of the world. 

Week #1 - Jenny Watson

Reflection on Jenny Watson’s exhibition Chronicles.

What do you feel you have got out of looking at this exhibition?

This exhibition made me think about the use of text in works. We are also looking a lot at text in drawing class right now. It was very interesting how Watson used text panels with he paintings. Instead of combining them into the one work. I really like her works with the figure and the side accompanying text works. I like the narrative aspect of these works and the story she tells. 

Can personal work have much meaning to other people?

Personal work can have a big impact on other people. Art is such a personal experience and the artwork that reflects an artist's experiences can reflect another person's current or past life events. Seeing this in a work can be very emotional for the viewer. It lets the viewer know they are not alone in their experience. It can conjure memories, good or bad. It can help them make decisions in their life. Sometimes 

Can personal work be political in any way?

I think personal work can be political, whether the artist sets out with the intention to convey their political views or not. It can't be helped. Creating an artwork is such a personal experience and our own life experiences help shape what we create. These opinions are ingrained into us and it can't help but come through in the work we create. In Watson's exhibition there is a lot of strong themes; feminism is one of them. Feminism is such a strong political topic that, by default, the work takes a political stance.

What do you think was effective in the display of the works?

I like the way the exhibition was set up. The way each area flowed together, First with the use of the landscape and photograph; then onto the catalogue/newspaper paintings; then the Alice in Wonderland pieces; then the almost-self-portrait-works with accompanying text panels; and then the mixed media works. I like the use of the three coloured panels to break up the gallery space and help navigate the audience around the exhibition. 

I do question the placement of the large text panels onto the ground, and whether this helped the viewing of the work or hindered it. 

Over all what ideas do you think this exhibition conveyed?

I definitely think there was an element of self-portraiture throughout the exhibition. Watson put a lot of herself into the works, whether she admits it or not. There is a lot of strong ideas coming through about consumerism, feminism and sexuality. 

'Love Hurts', 1993-94. Jenny Watson.

'Love Hurts', 1993-94. Jenny Watson.

'Boy with a blue guitar', 1992. Jenny Watson.

'Boy with a blue guitar', 1992. Jenny Watson.