My chosen artwork by Maria Bartuszová, Untitled, 1973, has very prominent shapes which suggest male and female body parts. As part of my responses to the artwork, I have been paying close attention to the shapes found.
While creating the shapes inspired by the artwork, I found ‘a nest’ forming. The 3 breast like shapes are huddled together like eggs, the circle platform is like a nest, ‘protecting’ them. This also linked to the maternal asscociations that Bartuszová has said are within the piece.
`My next move now is to attend life drawing class to get a better referance of the human body.
Site Specific art pioneered in the late 1950s to mid 1960s. It was a result of the boom of art movements in that era.
Site Specific art started off as a de-contextualisation of the museum space.
The art or practice of designing and constructing buildings: schools of architecture and design’.
An example of architecture within art is the work by Andre Stitt, Nostalgia, 2005. Stitt built a small replica of the Berlin wall for people to walk around. Stitt also performed in the installation and created work that was inspired by political issues.
A social space is physical or virtual space such as a social centre, online social media or other gathering places where people meet and interact.
This piece of art shows the people of Tokyo scrubbing the streets to make a statement on the pollution in Japan at the time.
The use of direct, often confrontational action, such as a demonstration or strike, in opposition to or support of a cause.
Of or relating to a community. Of, belonging to, or shared by the people of a community; public.
Example: Joseph Beuys, 7000 Oaks, 1982. Joseph Beuys planted 7000 Oaks around Kassel, Germany, in 1982. This completely changed the city as there wasn’t many trees or nature there and invited the community to help plant and look after the trees.
I originally chose Josh Faught’s, Untitled (I), from BE BOLD For What You Stand For, BE CAREFUL For What You Fall For, 2013. I saw this piece of work in the Saatchi gallery and was instantly drawn to the scale of the piece and the colours. The tapestry and added objects such as the books, plastic snacks and books made me want to find out more. However, I could not find an awful lot on this artwork online or in the library. I did find out that this piece was made to highlight the queer community.
I decided to go with my first choice and try to make artwork inspired by Faught. I found it difficult to make artwork and know where to start. I then had a group tutorial and was asked to explain why I chose this artwork. I struggled and came away feeling like I did not connect with this piece of work. I realised I chose the work because the colours, scale and materials was something I enjoyed, I couldn’t make work from the internal aspects of the work and that is important to me.
I have now chosen Maria Bartuszová’s, Untitled, 1973. This piece of work carries both maternal and erotic associations. It also suggests the body but does not represent the body. The human body has been a big part in my work in the past and I’m excited to explore Bartuszová’s artwork as of now.
An object is something that resists my will. An object is something that is beyond my complete control. An object offers relief from the turmoil of desire.
An object is unknowable
Perception is always partial. We never perceive the whole object. We never perceive the same object as anyone else.
For example, La Grenouillere, by Pierre Auguste Renoir (left), 1869 and La Grenouillere, by Claude Monet (right) 1869, was painting on exactly the same day together. Renoir’s version of this scene is more social and more chatty like. Monet’s version is more reserved, a quieter painting. They have both painting different versions, they have also painted different river banks.
I am an object (in a world of objects)
What is the difference between subject and object? They are reversible. Therefore I only come to a knowledge of myself through a knowledge of objects.
Is a painting an image or an object?
Piet Mandrian, Composition with Red and Blue, 1929. The paint goes beyond the flat face of the canvas, onto the stretch bar of the canvas. This could be perceived as an object.
I choose an artwork for the brief over the next year, myself and a few friends decided to go to London. We visited: The Saatchi Gallery, Tate Modern, The White Cube and The National Gallery.
A few pieces interested me but I have 3 in mind that I will explore and research to find out if they are suitable for the brief.
One artwork I was drawn to was Josh Faught’s, Untitled (I), from BE BOLD For What You Stand For, BE CAREFUL For What You Fall For, 2013. The colours and the scale really brought me in, also the items that had been sewn into the tapestry where very random. At the time I did not know the meaning. The work is aimed at the ‘queer community’. I enjoy making work to make other people aware of subjects, so this could be a possible artwork.
I’m also interested in Maria Bartuszová’s piece, ‘Untitled’, 1973. The artwork is made from plaster and carries both with maternal and erotic associations. The work suggests a body rather than represent one. The human body has always been a fascination to me and I feel this piece could simulate my work throughout year 2.
At Tate Modern I saw a voice and sculpture/ installation piece by Otobong Nkanga. The installation reflects on contemporary anxieties and suggests how people gather in a crowd. The ropes suggest the networks in today’s society. The concrete balls can also weigh up to 600 kg, so it also implies the impossibility of moving forward alone. The idea behind the work was what appealed to me, I think it is an intriguing way to display a crowd and the anxiety that comes with it for some people.
Now I have to narrow my decisions down to one artwork.
This was the final response to my response and Margarida’s response to Fountain, 1917, by Duchamp. I have tried to combine as many elements from the responses into one piece of work. I used cardboard because it was used to make the sculptures, and orange paint because orange cellophane was used in the sculpture by Margarida. The white lines are imitating the action Margarida wrote about the artwork. In her action, she instructed the reader to draw a box on the floor with white chalk and lie in the drawn box with an orange t shirt on.
I focused on the shapes found in Fountain, 1917, and in both mine and Margarida’s responses. I also signed the artwork with, ‘R. Mutt 1917’, to keep parts of the original artwork in the final response.
I enjoyed this task as we had such a short amount of time to think about what we were going to do that it allowed me to think of ways I wouldn’t have with the artwork. It also allowed me to not be so precious over the artwork I created because it was very fast paced.
During this lecture, we explored artists’ studios, such as Jasper Johns studio space and Francis Bacon’s studio.
Sean Edwards also talked about traditional European studios having high ceilings with big windows, American studios are like factories.
The lecture also introduced the artist, Daniel Buran to me and what he thinks a studio should be. Buran says the studio should be ‘1) a place where work originates. 2) A private place, an ivory tower. 3) A stationary place where portable objects are produced’. Another artist, Marcel Duchamp, has an idea of a studio being like a laboratory.
This lecture was interesting to have an insight into artists’ studios and to understand what a studio means.