Subject, Katharina Grosse

From the lecture given by Susan Adams, One of the artists mentioned was Katharina Grosse, I liked the look of her work and thought it’ll be interesting to look her up. She was commissioned to make a site specific art for the 2015 venice beinale in the Arsenale venue under the concept of All The World’s Futures. A lot of work that was also created for this project was very dark in colour and content but Grosse work was vibrantly painted with spray painted fabric sheets draping from the ceiling and styrofoam from sitting on top of piles of dirt and rocks. from looking at various pictures of Grosses installation i like the gestural marks of paint on the fabric to show there can be some colour even if what you’re going through is dark and i like that conceptual idea behind her installation, I also like the movement and depth the fabric gives as it holds lots of forms and shadows that display a different attitude to every viewer and could possibly have a movement to them if some air brushed past. what I find interesting is that she has managed to pull off bringing something that you would think work best outside, inside, the way she has achieved this is remarkable and incorporated colour whilst keeping that important message.

Grosse has influenced my thinking about exhibition by making me think about how i can use a space to its fullest potential and how i could use it to captivate the viewer.

Key Concept, What is Site specific Art. Susan Adams

In todays lecture we looked at what is site specific art and looked at artist that have created site specific art,

we looked at Rachael Whitbread house 1993, a cast was taken of the house that was due for demolition and then once it was cast the work stayed on place for 11 weeks until the council destroyed it as they found it to be an eyesore.

Anthony Gormley we also looked at, Angel of the north 1998, i learned that he made the statue out of the steel from  around the area, i found this interesting as he thought of everything about that place and even kept the material local.

we looked at site responsive art such as,

-Installation

-site specific

– in a gallery

-outside gallery

-an intervention

-a permeant work commissioned for the site.

Looking at these gave me ideas about how and where my work could be placed.

we looked at other artists and had a brief background about their work and this is the list of the artists,

• Mike Nelson (In memory of HP Lovercraft, 1999-2008)
• Thomas Hirshorn (Caveman)
• Katrina Grosse (venice biennale 2015)
• Simon Starling (Shedboatshed 2005)
• Richard Long (A line made walking 1967)
• Mark Rothko ( Texas Chapel(spiritual)

I found this lecture useful to my thinking and found that it filled me with ideas as how to think about my work being a site specific place.

London gallery

( Unkown Artist name )

Walking past a few galleries in London i came across a gallery that had works in there that made me think of how this piece would look like outside a gallery setting. I started thinking as if this would be my own piece and where i would put it. I think this would look interesting in a place such as an abandoned building or somewhere thats grungy as it gives of a rough feel and has got an edgy look to it, i believe people would have a different perception of it and hold an entire different meaning to it as it would with in a gallery.

London, White cube. Park Seo-Bo

20th Jan – march 11th

Whilst in london I went to the White Cube Gallery and saw an Exhibition by Park Seo-Bo and was interested in his work as i found the textures very interesting and also that a white canvas with texture on it can have such a presence on you. I moved around the room and viewed it from different angles and found that each time i moved  i saw another aspect of the painting in which i hadn’t seen before.

London, Henry Moore

Went to the Tate Briton and came across work by Henry Moore, even though there is no connection between his work and mine, i still find his works very interesting as the way his sculptures are formed and the presence they have over the viewer, I want my work to have a presence over the viewer and make them feel something when they view my paintings. Whilst looking at Moores work i felt that his work would also look good outside of a gallery setting and would still have that same presence as it does in the gallery.

The way Moore has presented his sculptures is very Thought provoking the plinths have been made around the sculptures and the plinths are almost like seats and perches, almost making the plinth part of the sculpture.

London trip, Russian Revolution

Went to the Russian Revolution Exhibition in london and found this very interesting and the art beautiful and Educational, even though i didn’t find a work that i could connect to my work i still found the exhibition interesting as i learnt things that i wouldn’t of previously looked at otherwise.

The few works that stood out to me was kazimir Malevich, Suprematism. i liked this one because of the way the lines and shapes interacted with each other and also the way the colours completed each other,

The other painting that also stood out to me is the Formula of petrograd proletariat, 1920-21 because of the business and that your eye always has to move around the painting to take in the information you’re seeing, i also like the colours that are used and noticed that theres only a few colours that are used.

 

 

key concept/ Exhibition, Jonathan Clarkson.

I found this lecture very interesting as i didn’t know that there were so many different ways that you can present and exhibition and the ways to perceive the exhibition also.

we looked at the brief history of the exhibition and saw that they displayed their paintings all over the wall such as this example from the royal academy, I found this interesting because of how busy it must of been in that room and that you couldn’t possibly see every detail of all the paintings in the room.

we then looked at does an exhibition educate you and found that in the big galleries such as the royal academy that they do educate you because they have lots of writing next to a painting or a sculpture that give a history upon that piece and then also in the room the paintings are being shown in you have a few paragraphs about the artists and also a few quotes, there are also books, magazines and also audio books.

we looked at the types of exhibitions such as,

-A exhibition is making public

– An Exhibition is an argument, we looked at the relation between space, support and object, such a sculpture on a plinth, does that plinth then become part of the sculpture or the sculpture part of the plinth?

– An Exhibition is temporary

– What is the future of exhibitions, will there be any physical form?

A lot of the topics we covered in this lecture were very thought provoking and made me think more about how I’m creating my work, and also how it would look in an exhibition setting.

 

 

Key concept/ Portable Exhibition, James Green.

In this lecture with James we looked at art that can be moved around, such as masks and art that can be sent through the mail. And I found this really interesting because i like the thought of sending your art through the mail and having no idea of how it will turn up to the person you’re delivering it too, would it turn up with it all in tact or bits missing or actually no damage at all, you can never tell.

In the seminar with James the next day was interesting as we learnt a bit more about postal art and making art with a fellow artist that is being sent through the postal system. as a side project we were asked to send an artwork to a peer and vice versa so we can create an artwork from theirs and then send it back and make a continuation of artworks that get sent through the post.

Key concept/ Site situation, Andre Stitt

For the first key concept lecture we looked at site specific art and also what site specific art is. Site specific art is art that is made with the place in mind, a decontextualisation of a museum space. so an artist takes into consideration the surroundings before they make the art work.

we looked at artists who have done site specific works such Richard Serra,

In 1989 Richard Serra said:

“The works become part of the site and restructure both conceptually and perceptually the organization of the site.”

I really like that quote from Serra because of its honesty in the way that the art work will change the way you think about the surroundings.

we also looked at architectural site art, such as the berlin wall, even though at the time the wall was built it wasn’t perceived as art, but as the years go on the artistic aspect of the wall is becoming more prominent.

we looked at some of Banksys work such as, Ramallah checkpoint, West Bank, Palestine, i sound this piece striking because of the bright image of this very bare and horrible looking wall and found it very thought provoking.

Marina Abramovic & Ulay, The Lovers Great wall of China, 1988 I’ve come across before and found i was moved to tears after reading into this piece because of the thought of the heartache that they both must of been feeling. of all the artists that we looked at during this lecture i still find this one being the most prominent and the one that stayed with me.

some more of the artists that we looked at:

• Bonnie Shirk, Public Lunch San Francisco Zoo, 1971

• an McKeever, Painting for a Hole in the Ground, Cobham Common 1976-77 [installed 1976]

• Eltit Diamela, Washing the Front of a Brothel, Santiago, Chile 1980

• Joseph Beuys, 7,000 Oaks Kassel, Germany 1982

• Gordon Matta Clark, Food New York 1971-72
• Krzysztof Wodiczko, Homeless Vehicle New York 1989
• Rachel Whiteread House Bow, London 1993

• Mel Chin, Revival Field 1990-91

   

 

 

 

Fluid Panting Ideas/ Research

I found another video by Mely D and enjoyed watching this video, even though it being similar to the previous post, i found it interesting to see how she would’ve done a larger canvas, and i also liked the way she poured the paint on to the canvas as i think that initial pattern and way of pouring ultimately makes up the way the paint is going to flow and merge within the other paints. To try and improve my paintings I’m going to use the technique that she has used and see if that works with the style that I’m trying to achieve.