Tuesday 16 November 2010
Saturday 13 November 2010
Victoria Gallery & Museum
Whilst waiting for Andy Holdens performance to start I decided to have a quick look at some other exhibiting artists and came across Astrid Kirchherr's: A Retrospective.
I instantly fell in love with her large black and white photographs. Kirrchherr is well known for her photographs of the early Beatles.
I really liked the way you could see the progression in the Beatles, from her early photographs where they were young and naive, to the later photographs where they had achieved pop stardom and had moved on from the city they had been born and raised.
I found Kirchherrs images of Liverpool after the war really powerful. They reminded me slightly of my own images which are loosely based around the green line in Cyprus displaying the social and economic change because of the war displayed below:
Kirchherr had made her work cohesive through the use of black and white photography and also the link with Liverpool. This is something I need to look into when displaying my work to make sure a clear message is displayed.
I instantly fell in love with her large black and white photographs. Kirrchherr is well known for her photographs of the early Beatles.
I really liked the way you could see the progression in the Beatles, from her early photographs where they were young and naive, to the later photographs where they had achieved pop stardom and had moved on from the city they had been born and raised.
I found Kirchherrs images of Liverpool after the war really powerful. They reminded me slightly of my own images which are loosely based around the green line in Cyprus displaying the social and economic change because of the war displayed below:
Kirchherr had made her work cohesive through the use of black and white photography and also the link with Liverpool. This is something I need to look into when displaying my work to make sure a clear message is displayed.
Friday 12 November 2010
Walker Art Gallery
Since my visit to the Tate it really got me thinking about ways in which to display my own works, and when I found out that Wolfgang Tillmans was exhibiting at the Walker Gallery I thought that it would be a great opportunity to see how a working photographer presented his own works.
Tillmans exhibition consists of nine photographic works which are displayed amongst the gallery's permanent art collection. I love the way Tillman has displayed his version of modern day drapery amongst historic versions, such as Joseph Wright's 'Mrs Frances Hesketh'. The artist has picked out the shades of pink from her gown and reflected it in his cheap looking t-shirt- a complete contrast to the lavish and expensive looking clothes displayed alongside his.
“For an artist like Tillmans the installation functions as a work of art in its own right. Through his interventions he invites us to consider the relationship between works and the locations in which they sit, rather than simply looking at an individual piece." (http://www.artinliverpool.com/blog/2010/09/wolfgang-tillmans-at-the-walker-liverpool/)
The first two works I viewed were 'Beerenstilleben' and 'Gedser' which Tillmans requested were displayed amongst the works by Patrick Caulfield 'Still Life Autumn Fashion' and Michael Craig-martin's 'A Glass of Water.' The artist had chosen these two works to remain in the room with his own because all four works could be visually grouped together by the colour blue and also Tillmans admiration for both British artists.
I feel that by displaying all four together it forces you to focus on the colour blue, which maybe I wouldn't have done if displayed by themselves. I also like the idea that by removing all the other works from the room, leaving only the work requested by Tillmans, it has created empty spaces where work once was, making the viewer aware of the artists deliberate choices.
I love the fact that Tillmans says himself that the photo manipulation in 'Gedser' was poorly executed and would be deemed unacceptable in terms of photo-professional skill, and yet in terms of composition it works.
Overall I think its a really interesting idea having the way that the artwork is installed become an art in itself.
Tillmans exhibition consists of nine photographic works which are displayed amongst the gallery's permanent art collection. I love the way Tillman has displayed his version of modern day drapery amongst historic versions, such as Joseph Wright's 'Mrs Frances Hesketh'. The artist has picked out the shades of pink from her gown and reflected it in his cheap looking t-shirt- a complete contrast to the lavish and expensive looking clothes displayed alongside his.
“For an artist like Tillmans the installation functions as a work of art in its own right. Through his interventions he invites us to consider the relationship between works and the locations in which they sit, rather than simply looking at an individual piece." (http://www.artinliverpool.com/blog/2010/09/wolfgang-tillmans-at-the-walker-liverpool/)
The first two works I viewed were 'Beerenstilleben' and 'Gedser' which Tillmans requested were displayed amongst the works by Patrick Caulfield 'Still Life Autumn Fashion' and Michael Craig-martin's 'A Glass of Water.' The artist had chosen these two works to remain in the room with his own because all four works could be visually grouped together by the colour blue and also Tillmans admiration for both British artists.
I feel that by displaying all four together it forces you to focus on the colour blue, which maybe I wouldn't have done if displayed by themselves. I also like the idea that by removing all the other works from the room, leaving only the work requested by Tillmans, it has created empty spaces where work once was, making the viewer aware of the artists deliberate choices.
I love the fact that Tillmans says himself that the photo manipulation in 'Gedser' was poorly executed and would be deemed unacceptable in terms of photo-professional skill, and yet in terms of composition it works.
Overall I think its a really interesting idea having the way that the artwork is installed become an art in itself.
Wednesday 10 November 2010
Tate Liverpool
My first reaction to the works by Jamie Isenstein 'Empire of Fire' was a mixture of confusion and amazement.
The artist had compiled a series of old fashioned pieces of furniture in the middle of the room and they were all on fire. She had turned tables, chairs, books and even a straw, into a sort of oil candle. i thought it was a really interesting idea that these everyday objects, which should have been consumed by the fire, were in-fact harvesting it.
To the left of the furniture was a fire hose hanging on the wall, but where the nozzle to the hose should have been there was a hand. I remember feeling excited to see whether the hand was real or not and just as i was beginning to think that it was fake, it twitched!
The artist then hung a be right back sign and came out to talk to us about her works. She explained that the idea for the works had originated from the play 'No Exit' which is set in a hotel room, supposedly in hell and where the characters have to live for all eternity. The symbolism of the fire hose is that its ironic, as its something that should extinguish the fire but instead there's a hand in its place. I wondered whether it was playing on the idea of lending a hand.
Throughout the works the artist plays on the fascinating idea of inanimate objects becoming animate. It made me think about the way in which work is presented and the idea of the artist being inside the sculpture. Is it a sculpture, performance or endurance art?
Nina Canell's 'Anatomy of rising tide' is a large hanging sculpture made of glass tubes which are suspended from the ceiling. Inside the tubes are samples collected at different depths or the Mersey river.
The artist had compiled a series of old fashioned pieces of furniture in the middle of the room and they were all on fire. She had turned tables, chairs, books and even a straw, into a sort of oil candle. i thought it was a really interesting idea that these everyday objects, which should have been consumed by the fire, were in-fact harvesting it.
To the left of the furniture was a fire hose hanging on the wall, but where the nozzle to the hose should have been there was a hand. I remember feeling excited to see whether the hand was real or not and just as i was beginning to think that it was fake, it twitched!
The artist then hung a be right back sign and came out to talk to us about her works. She explained that the idea for the works had originated from the play 'No Exit' which is set in a hotel room, supposedly in hell and where the characters have to live for all eternity. The symbolism of the fire hose is that its ironic, as its something that should extinguish the fire but instead there's a hand in its place. I wondered whether it was playing on the idea of lending a hand.
Throughout the works the artist plays on the fascinating idea of inanimate objects becoming animate. It made me think about the way in which work is presented and the idea of the artist being inside the sculpture. Is it a sculpture, performance or endurance art?
In particular I loved the photograph of the candle bending away from the candle snuffer as though it doesn't want to be put out. I really like the idea of photo manipulation and maybe this is something I should look into in my own works.
My first thought was that it was a piece of irony. I thought that the sculpture was supposed to represent a giant wind chime, and felt that the choice of glass juxtaposed the conventions of a wind chime i.e. it would smash. This reminded me of my own work with the idea of playing on the absurd.
I thought that the space in which the piece was exhibited was really significant. The room had a large window letting in loads of light, revealing the bits of silt in the water, as well as the fact that the window overlocked the river Mersey. I think that presentation in the way that work is displayed is as important as the art itself. I really feel that I need to think about how I will present my own works and experiment with different ideas, as well as locations.
Wednesday 27 October 2010
Biennial Visit- Fact
Upon entering Fact I was struck by the enormous hanging sculpture constructed entirely from clothing.
Kaarina Kaikonen's piece draws on her childhood memories, with the idea of her relationships with her parents and the smell of washed and unwashed clothes.
I love the fact that the installation is created from second hand clothing donated from the public, the idea of recycling and also that each item of clothing has its own story and personality. To me the piece feels symbolic of tight-knit community. I like the idea that the artist has used these objects to reflect and symbolize a time in her childhood i.e. the smell of freshly washed clothes. I feel this is slightly similar to my own works in the way that I have collected objects which to me reflect home and my childhood.
Tehching Hsieh's 'One Year Performance' (1980-1981) consists of the artist taking a photograph of himself on the hour every hour for the duration of one year.
Hsieh shaved his head bald at the beginning of the performance and as the photographs progress you can see his hair growing back. From what I understand it seems the artist wanted to show clearly that he had not cheated in the performance and I suppose watching his hair grow back is a way of proving this.
The piece to me is clearly a form of endurance art. I cant imagine him being able to sleep properly or hold down a job throughout the year of making the performance.
I love the way he is getting the viewer to question time, whether we waste it or make the most of it. I really love the way the artist displayed his works. I really feel that by displaying all the components together that make up the 'film' piece really works. It allows the viewer to look at every frame, every hour and compare him from one to the next. I really like the idea of displaying in a grid-like format.
My first thoughts on the work were that it reminded me of a boat/ship in the way that it was shaped. Almost Noah's Ark like. I love the idea that the clothes could represent people from all around the world joining together to create a huge boat sail.
I love the fact that the installation is created from second hand clothing donated from the public, the idea of recycling and also that each item of clothing has its own story and personality. To me the piece feels symbolic of tight-knit community. I like the idea that the artist has used these objects to reflect and symbolize a time in her childhood i.e. the smell of freshly washed clothes. I feel this is slightly similar to my own works in the way that I have collected objects which to me reflect home and my childhood.
Hsieh shaved his head bald at the beginning of the performance and as the photographs progress you can see his hair growing back. From what I understand it seems the artist wanted to show clearly that he had not cheated in the performance and I suppose watching his hair grow back is a way of proving this.
The piece to me is clearly a form of endurance art. I cant imagine him being able to sleep properly or hold down a job throughout the year of making the performance.
I love the way he is getting the viewer to question time, whether we waste it or make the most of it. I really love the way the artist displayed his works. I really feel that by displaying all the components together that make up the 'film' piece really works. It allows the viewer to look at every frame, every hour and compare him from one to the next. I really like the idea of displaying in a grid-like format.
Biennial Visit- Renshaw Street
I love the idea of holding the exhibition in the disused hardware store formerly known as 'Rapid'. I often found myself more interested in the peeled wallpaper and exposed walls, than I was in some of the works because it relates to my current project.
My method in viewing work is to always view the pieces before reading about them, so that my initial reaction isn't hindered by what the artist has intended. Although in doing so I seem to have forgotten to take note of any of the artists and their works making this write-up impossible.
Tim Eitel's paintings appeared dark and sinister and the I love artists use of subtle light. The artist captures the lighting of the moon revealing what appears to be a homeless man pushing a shopping trolly with what could be perceived as his life's belongings. The use of subtle tones reflects the mood of the work I don't think would work as well if it wasn't for the sheer size of the work, I think it delivers a bigger impact as a result. Could it be the bigger the painting the bigger the point or problem the artist is trying to get across? Its as though he's saying take notice.
The film works found in the basement by Ryan Trecartin titled Trill-ogy Comp, made me feel uneasy and ill. The audio had been sped up to make the voices irritating and unbearable causing me to leave. On reflection was this what the artist intended? The idea of having the installation in the basement where there's only artificial lighting encourages feelings of claustrophobia and unease.
I found myself immersed into the artwork 'Sky Gazers' by NS Harsha. The work consisted of the floor painted with people looking up, and the ceiling was constructed out of mirrors. I loved the way the piece invites the viewer to become part of the artwork as when you look up you too become a 'sky gazer'.
I found the piece simple but overwhelming. The idea that you have these 2D paintings of figures beneath you, and its as though your erupting from the floor as a 3D figure - reminiscent of a pop-up book. Then the idea that your being transfered back into 2D with the use of the mirror. I left the work thinking 'I wish I'd thought of that...'
Tim Eitel's paintings appeared dark and sinister and the I love artists use of subtle light. The artist captures the lighting of the moon revealing what appears to be a homeless man pushing a shopping trolly with what could be perceived as his life's belongings. The use of subtle tones reflects the mood of the work I don't think would work as well if it wasn't for the sheer size of the work, I think it delivers a bigger impact as a result. Could it be the bigger the painting the bigger the point or problem the artist is trying to get across? Its as though he's saying take notice.
I found myself immersed into the artwork 'Sky Gazers' by NS Harsha. The work consisted of the floor painted with people looking up, and the ceiling was constructed out of mirrors. I loved the way the piece invites the viewer to become part of the artwork as when you look up you too become a 'sky gazer'.
I found the piece simple but overwhelming. The idea that you have these 2D paintings of figures beneath you, and its as though your erupting from the floor as a 3D figure - reminiscent of a pop-up book. Then the idea that your being transfered back into 2D with the use of the mirror. I left the work thinking 'I wish I'd thought of that...'
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