Friday, May 12, 2006

Jenny Holzer & Barbara Kruger

When I first saw the work of these artists I was instantly hooked, I loved the way they used text and imagery together to create some really good and thought provoking work.

It wasn't until I started to look in to their work more indepth that I started to realise that their style didn't seem to vary much at all and their work began to appear stale and samey. Don't get me wrong, their work is good, it's needed in the world but you couldn't base an entire project on just one of these artists.

Jenny Holzer





Barbara Kruger




Stick man humour 2

don't know who made them or why, but my mum sent me an e-mail with stickmen humour... gotta love the simplicity! my favourite's the pregnancy one... hahah




Stick men humour 1




Research [Lecture notes]

What types of research there are and how to go about them...

Primary
Finding out new information through direct contact with your subjects such as questionnaires, interviews, observation and hidden observation.

Secondary
Using information that other people have found out about your chosen subject such as from the internet or libraries which can be difficult to gather.

Experiential
Gathering information through direct personal research such as trying out an activity, experience or product or recreating an rexperience which you can't, for some reason, experience directly through the use of role-play.

Visual
Gathering information through visual experimentation, lateral and intuitive connections; basically playing around with out a set thing you are trying to accomplish to see what happens. You can do this by experimenting with materials, visual intervention and playing with images of your chosen subject.

and on the subject of speech making...
you have the 'speaker', the 'subject' and the 'person addressed' - the last one holds the key as to whether communication takes place...

Home



Just thought I'd show you my home... Where i'm spending the summer - enjoy the city life... hahaha

Modernity and Modernism [Lecture notes]

Lecture notes taken from Modernity and Modernism on 12/10/2005 plus my own brain 'blaahs' - yes that is a technical term

'Modern'
Of or relating to recent times or the present: modern history.
Characteristic or expressive of recent times or the present; contemporary or up-to-date: a modern lifestyle; a modern way of thinking.
Of or relating to a recently developed or advanced style, technique, or technology: modern art; modern medicine.
Avant-garde; experimental.


'Modernity'
The state or quality of being modern


'Modenity'
Modern thought, character, or practice.
Sympathy with or conformity to modern ideas, practices, or standards.
A peculiarity of usage or style, as of a word or phrase, that is characteristic of modern times.
often Modernism The deliberate departure from tradition and the use of innovative forms of expression that distinguish many styles in the arts and literature of the 20th century.


Definitions

Modernity: The idea od 'modern' then, is linked to the idea of progress. The idea of progress is central to our understanding of 'modernity' and the significant changes that took place broadly between 1750-1950. This process of modernisation did not, obviously, happen overnight, although we can fix it historically as being aligned to the processes of industrialisation and ubranisation. Central features of 'modernity' are: The City, Communication, Progress, and Reason & Rationality. in which we see progress and developments in all areas such as the creation of telegraphs, scientific processes, and a movement from reliance upon the church to people relying more on the Government and its policies to influence, change and improve our lives.

Moderism: Is the term used to describe the cultural expressions of modernity in relation to the experience of modernity. Theoretical features identified with modernism in art & design include: Social Morality, Truth, Technology, Function, Progress, Anti-Historicism, Internationalism, Transfomation of Consciousness and Theology.

the term Modern relates directly to: Contemporary and was coined by John Rushkin (1819 - 1900) a modern painter from the PreRaphaelites.

It is used to suggest 'art of its day'

in the 20th Century it meant 'new' and thought of as better than before: improved, up to date.

Modernity is officially said to be between 1750 and 1950, however, some would say we are still in a period of modernity.

Industrialisation is a feature of Modernisation in which people moved from farming to factory production, and factory work became the most common form of work. Industrialisation also saw a great improvement in transportation and communication with the invention of electricity.

Urbanisation was seen with the effect of a growth in city sizes, people were moving from the country side to be closer to the city in which they thought they would improve their quality of life with the new leisure centres and cinemas and more well paid job prospects. In the 18th Century factories were being run 24/7 - no longer were we ran by the seasons. By the 19th Century time became standardised with what we know now: Greenwich Mean time.

Enlightenment was a period in the late 18th Century when scientific/philosophical thinking made leaps and bounds in which people became more scientific and less religious: Secularisation.

The modern experience relied on being able to grasp peoples attention so the 1800's saw the realisation of psychology and peoples attention spans and the use of advertising to do so, it also saw the rise of the science of 'Psysionomy' which was the perception of people around you and directly links in with psychology and advertising. One problem found with larger cities was a sense of alienation of the people as they worked towards this 'better world'.

Modernisim emerges out of the subjective responses of artists/designers to modernity (subjective experience - experience of the individual in the modern world)

Modernism in Design:
Anti-Historicism - campaigning against using old styles to influence work.
Truth to materials - appropriate to form - using materials that work for the design despite apperance.
Form follows Funtion - similar to truth to material in which the design was kept as simple as possible working to function rather than apperance.
Technology - created new materials for artists and designers to play around with such as concrete/steel/reinforced glass/aluminium/plastics.
Mass production - items made quickly and cheaply which were more widely accessible.
Internationalism - A language of design that could be recognised and understood on an international basis.

Modern - not a neutral term, suggests improvement and novelty.

Modernity - 1750-1950, social and cultural experiences of people.

Modernism - Range of ideas that sprang from Modernity.

Artists/Designers

Caillebotte

Bauhaus

Monet

Manet

Identity and the "Other" [lecture notes]

These are some notes taken in a critical studies lecture on 30 November 2005 about Identity and the "Other" along with some more info...

[Within Cultural Studies]...this question of 'difference' and 'otherness' had come to play an increasingly significant role... 'difference' is ambivalent. It can be both positive and negative. It is both necessary for the production of meaning, the formation of language and culture, for social identities and a subjective sense of the seld as a sexed subject - and at the same time, it is threatening, a site of danger, of negative feelings, of splitting, hostility and agression towards the 'Other'
S. Hall (1997) Representation: Cultural Representations and signifying practices, Sage, London, p. 238

Lacan's - The Mirror Stage:

Having first adopted an identity from outside the self, we go on identifying with what we want to be, but which is separate from the self, so that the self is permanently devided within itself
K. Woodward (ed. 1999) Identity and Difference, Sage, London, p. 44-45

Lacan stressed the point that there is no subject except in representation, but that no representation captures us completely. I can neither be totally defined nor can I escape all definition. I am the quest for myself. Lacan believes that how we present ourselves is always subject to interpretation by others. On the other hand, any attempt to 'totalise' someone else, to grasp the other completely, is bound to fall short - no description does the other justive. Moreover, ove can only see oneself as one thinks other see one
M. Sarup (1993) Post-Structurealism and Postmodernism, Harvester, Hemel Hempstead, p. 13

Who are we and how others percieve who we are is the cultural framework within which out identities are formed, expressed and regulated. Identity Formation is term keyed by psychoanalysists such as Jaques Lacan for this process.

The 'Mirror Stage' happens between the ages of 6 and 18 months old as a child forms their individuality, they become separate beings from their mothers even though they are still dependant. [what happens when the child is taken away from the mother - does this affect their 'Mirror Stage' or do they just pick up on the other natural Mother Figure they may be in contact with?]

The Mirror Stage creates a sense of self for the child which is all subjective and will be built on over their life. They also create an illusion of 'wholeness' and begin receiving views from others [6-18 months seems awfully young to begin being affect by others views of oneself?] The result of this is that ones subjectivity is very fragile.

Constructing the 'Other'
The Other is made by what you are not: eg. I am white because I am not black, I am female because I am not male. One problem lies in assumptions of opposition and radical otherness and steriotypes: eg. black being very different to white.

In the same way that we create our own idetities in opposition to what we are not so too does a society which leads to or can create discrimination eg. racism, sexual discrimination.

Analysis of visual example
Identities are stabalised by the construction of 'Others'. Through identifucation - associating ourselves with groups to strengthen the 'us' as opposed to 'them', creating a reassurance of a 'group identity'.

Summary
Consider influencing factors on our sense of self and how identity is expressed through outward choices. eg. clothing, tattoos, piercings, hair cuts/colours.

Accoding to Lacan identity is based on the view we have of ourselves from others.

Constructing the 'Other' attempts to solidify who we are; in doing so we set up oppositions and catagorise some as radically other (which can lead to discrimination and hate crimes)

This process of forming the 'Other' is seen throughout society and can create hostility to the 'Other' in question and causes people to emphasise otherness because of it's context.

Throughout history we can see where people have tried to enforce their sense of 'Otherness' on nations, one very obvious times being World War II in which Hitler and his Nazi party created mass destruction and hatred towards nations. Victimising the Jewish, disabled, gay even down to people who had brown hair. Hitler was trying to create a nation of Aerian people: blonde hair, blue eyes which in itself is ironic as it would mean killing himself off as he had brown hair and didn't fit into his idea of "Perfection"

Object of Desire



We were given a project title which was "Object of Desire" and told about how they wanted us to go about the project by using things we held dear to us and create something in our chosen subject areas (eg. ceramics, photography, textiles etc) but this really didn't appeal to me so I decided to twist my brief to focus on what people in general tend to hold desirable.




I ended up basing my project on human flesh and soon came round to dealing with prositution and lust. I used a friend of mine who was also on my course to do some nude modelling which I assured her would be tasteful and anonymous. I took the images in a studio setup and used a digital camera so I could take them and play around with them on photoshop and edit the images, adding text, colour and filters to get the desired effect. I then choose a couple of the images and had them printed large scale to display in my exhibition.

Piece of Final Major Project work



This is one of the pieces I created for my Final Major Project at the Isle of Man College for my National Diploma in Design.

I was working on a self set projects that was called "What do you know?" I was inspired by the Join Me project to ask as many people as I could to e-mail me, fill in forms and questionnaires to find out what people know... while on this project I got stuck along the way and wrote the quote you can see in the above painting - "I don't know where I'm going and I'm not sure where I began all I know is that I'm stuck somewhere in the MIDDLE" I was playing around with the text (as it was a text based project) and made this simple design. I love working large scale and so being given the prospect to be able to have my design painted large scale on the floor outside the window which I had been - at times - idly gazing out of for the past year seemed perfect. The project took a great deal of organising and planning in which I had to compose formal letters to the principal ask for permission to do the painting as it was to be a permanent feature using road marking paint. Once I had permission I had to get funding from the College to buy the paint and had to worked with the Painting and Decorating department who helped me create the stencils for the text and gave me tips and techniques on how to do the painting. The it was down to me and four days of crawling round on the floor painting away in the sunshine with music blarring... it was good fun and the results were pleasing and certainly unusual to see in the End of Year Exhibition.

Inside - Outside



These are some pictures I took while working on a project called "Inside - Outside". I found an old broken-down, eerie house in the fields near to where I live in the Isle of Man while out walking my dog one day and used the house as the setting for my project. For the project I was trying to add more depth to images by using mirrors to give the viewer more views of the surrounding scenery.



I then selected a series of final images which were then printed in black and white and displayed on some of the roof tiles from the old house itself...

Dingle Peninsula



Dingle Peninsula can be found in the south-west of the Republic of Ireland, it is the longest peninsula of all the pensinsulas that run along that coast and is home to lots of amazing scenery and beaches.

I went to Dingle while on a holiday in Ireland a few years back when I was about 14 - firstly visiting Dublin and loving the life of that amazing city. I wasn't particularly looking forward to going to Dingle as it sounded a little boring compared to Dublin. I'm glad I went in the end, we visited all the regular tourist traps - the village of Dingle is basically a bit of a tourist village so it was a little boring and not the sort of thing I liked. Then we visited a beach called Inch - it is roughly 4 miles long, and flat with huge tide ranges. Leading off the beach is mile and miles of sand dunes that captured my imagination immediately.




I loved that place, it was so calm and peaceful but yet held a kinds of mystery. I'm hoping to go back there this summer for a weekend and go quad biking down the beach/sand dunes, should be good. Can't wait for the sun, sand and surf.

Castletown Hockey Club




This is the Link for the Castletown Hockey Club website that my brother and I have been creating, it is currently under construction...but you get the idea...

James Turrell



This vibrant rectangle (above), a field of luminous scarlet pierced with violet and yellow-white lines, evokes the smooth, two-dimensional surface of the great Colour Field painter such as Barnett Newman or Mark Rothko. Its eerie beauty, however, is not achieved with paint on canvas. Rather, is it an effect of coloured light projected into three-dimensional space, creating chromatic depth and volume. Turrell had been dazzling viewers with his optically challenging light projections since the late 1960s, when he and the artist Robert Irwin founded the Los Angeles "Light and Space" movement. Turrell's installations challenged conventional notions of physical space, transforming perception itself into a medium.



"My work is as much about your seeing as it is about my seeing, although it is a product of my seeing"

Bill Viola



I was first introduced to Bill Viola when I saw an exhibition of his work in London about two years ago which contained many of his video artwork being played around the gallery. One piece I vividly remember - a large video projected on the wall about a meter across which was a group of people all staring into the camera, slowly they all swapped around - the ones at the back moving forwards until they had travelled full circle - all staring, concentrating and looking confused into the camera. After a while we got the feeling that while we were viewing the people they were also viewing us, we became part of the art work... it was a weird feeling to get and made the hairs on the back of your neck stand up. Other amazing pieces I have seen are ones such as "The Crossing" which is a two sided huge screen, one side is a man projected with flames that grow and consume him, while at the same time on the opposit side of the screen there is the same person being drenched with water that eventually consumes him. All this is mixed with the sounds from each video... atmosphere at its best.


Bill Viola Website

Thursday, May 04, 2006

Fetishman



A friend of mine introduced me to fetishman the comic, after we had seen a flyer advertising it in Vernon Street College - a seemingly new-ish silly comic following the crime fighting duo Fetishman and Lactose Intolerant Boy helped by Mistress Domination as they fight crime of the world in an X-rated batman style fashion. The comic is full of random harmless sex jokes and general piss-taking of other more "serious" comics on the market.




Fetishman