Sunday 14 April 2013
Y1 Final Major Project - Artist Research - Tracy Emin
In 1997 her work Everyone I Have Ever Slept With 1963–1995, a tent appliquéd with names, was shown at Charles Saatchi's Sensation exhibition held at the Royal Academy in London. The same year, she gained considerable media exposure when she appeared drunk and swearing on a live Channel 4 TV discussion.
In 1999, Emin had her first solo exhibition in the United States at Lehmann Maupin Gallery, entitled "Every Part of Me's Bleeding". Later that year, she was a Turner Prize nominee and exhibited My Bed — an installation, consisting of her own unmade dirty bed with used condoms and blood-stained underwear.
It may seem a bit strange that I have chosen to research Tracy Emin as an artist as well as her artwork due to its provocative nature and highly sexual content. But, I've given this artist a lot of thought over a few days or so and I've found that throughout her work she has been through a journey, a sexual journey. Through her use of time scale (Everyone I Have Ever Slept With 1963-1995) she displays the journey she has been on. Her other works display a journey that she has been on throughout her life, subtle hints drop in every piece. I will not be using her work in my outcomes but it has been interesting to look into he work and her as an artist.
In 1999, Emin had her first solo exhibition in the United States at Lehmann Maupin Gallery, entitled "Every Part of Me's Bleeding". Later that year, she was a Turner Prize nominee and exhibited My Bed — an installation, consisting of her own unmade dirty bed with used condoms and blood-stained underwear.
It may seem a bit strange that I have chosen to research Tracy Emin as an artist as well as her artwork due to its provocative nature and highly sexual content. But, I've given this artist a lot of thought over a few days or so and I've found that throughout her work she has been through a journey, a sexual journey. Through her use of time scale (Everyone I Have Ever Slept With 1963-1995) she displays the journey she has been on. Her other works display a journey that she has been on throughout her life, subtle hints drop in every piece. I will not be using her work in my outcomes but it has been interesting to look into he work and her as an artist.
Y1 Final Major Project - Artist Research - The Boyle Family
Boyle Family aims to make art that does not exclude anything as a potential subject. Over the years, subjects have included: earth, air, fire and water; animals, vegetables, minerals; insects, reptiles, water creatures; human beings and societies; physical elements and fluids from the human body. The media used have included performances and events; films and projections; sound recordings; photography; electron-microphotography; drawing; assemblage; painting; sculpture and installation.
Boyle Family is best known for the earth studies: three dimensional casts of the surface of the earth which record and document random sites with great accuracy. These works combine real material from the site (stones, dust, twigs etc) with paint and resins, preserving the form of the ground to make unique one-off pieces that suggest and offer new interpretations of the environment, combining a powerful conceptual framework with a strong and haunting physical and visual presence.
The random selection serves several purposes: nothing is excluded as a potential subject; the particular is chosen to serve as a representative of the whole; the subjective role of the artists and creators is re-designated to that of ‘presenters’. Boyle Family seeks to present a version of reality as objectively and truthfully as possible, calling this process ‘motiveless appraisal’.
Once the random selection of subject has been made, the artists recreate the site in a fixed and permanent form as a painted fibreglass relief. They recognise that each work is in some respect necessarily flawed because the selections can never be truly random and that it is impossible to eliminate themselves and their own subjective influences. They attempt to present a slice of reality as they found it at the moment of selection, but no matter how good the re-creation, it is still a re-creation and only an approximation of reality. Boyle Family know that it is impossible to tell the truth, the whole truth and nothing but the truth, but in their work they try to isolate and reduce randomly chosen elements to as truthful an approximation as is within their power.
Their search is to find out if it is possible for an individual to free him/herself from conditioning and prejudice. To see if it is possible to look at the world, or a small part of it, without being reminded consciously or unconsciously of myths and legends, art of the past or present, art and myths of other cultures. ‘We also want to be able to look at anything without discovering in it our mothers' womb, our lovers' thighs, the possibility of handsome profit or even the makings of an effective work of art. We don't want to find in it memories of places where we suffered joy and anguish or tenderness or laughter. We want to see without motive and without reminiscence this cliff, this street, this field, this rock, this earth.'
The reason why I have chosen to research The Boyle Family for my FMP 'Journey' brief is obvious: all of their work symbolises a journey of some kind, particularly their urban work of pavements and the ground in urban environments (cities etc) relates to a simple journey like walking down the street.
Boyle Family is best known for the earth studies: three dimensional casts of the surface of the earth which record and document random sites with great accuracy. These works combine real material from the site (stones, dust, twigs etc) with paint and resins, preserving the form of the ground to make unique one-off pieces that suggest and offer new interpretations of the environment, combining a powerful conceptual framework with a strong and haunting physical and visual presence.
The random selection serves several purposes: nothing is excluded as a potential subject; the particular is chosen to serve as a representative of the whole; the subjective role of the artists and creators is re-designated to that of ‘presenters’. Boyle Family seeks to present a version of reality as objectively and truthfully as possible, calling this process ‘motiveless appraisal’.
Once the random selection of subject has been made, the artists recreate the site in a fixed and permanent form as a painted fibreglass relief. They recognise that each work is in some respect necessarily flawed because the selections can never be truly random and that it is impossible to eliminate themselves and their own subjective influences. They attempt to present a slice of reality as they found it at the moment of selection, but no matter how good the re-creation, it is still a re-creation and only an approximation of reality. Boyle Family know that it is impossible to tell the truth, the whole truth and nothing but the truth, but in their work they try to isolate and reduce randomly chosen elements to as truthful an approximation as is within their power.
Their search is to find out if it is possible for an individual to free him/herself from conditioning and prejudice. To see if it is possible to look at the world, or a small part of it, without being reminded consciously or unconsciously of myths and legends, art of the past or present, art and myths of other cultures. ‘We also want to be able to look at anything without discovering in it our mothers' womb, our lovers' thighs, the possibility of handsome profit or even the makings of an effective work of art. We don't want to find in it memories of places where we suffered joy and anguish or tenderness or laughter. We want to see without motive and without reminiscence this cliff, this street, this field, this rock, this earth.'
The reason why I have chosen to research The Boyle Family for my FMP 'Journey' brief is obvious: all of their work symbolises a journey of some kind, particularly their urban work of pavements and the ground in urban environments (cities etc) relates to a simple journey like walking down the street.
Y1 Final Major Project - Artist Research - David Nash
David Nash is known for works in wood and shaping living trees. His large wood sculptures are sometimes carved or partially burned to produce blackening. His main tools for these sculptures are a chainsaw and an axe to carve the wood and a blowtorch to char the wood.
Nash also makes land art, of which the best known is Wooden Boulder, begun in 1978. This work involves the journey of a large wooden sphere from a Welsh mountainside to the Atlantic Ocean. Wooden Boulder is a large wooden sphere carved by Nash in the North Wales landscape and left there to weather. Over the years, the boulder has slipped, rolled and sometimes been pushed through the landscape following the course of streams and rivers until finally it was last seen in the estuary of the river Dwyryd. It was thought to have been washed out to sea but, after being missing for over five years, the boulder reappeared in June 2009. Indications are that it had been buried in sand in the estuary. Nash had no idea of its location, and 'enjoys the notion that wood which grew out of the land will finally return to it'.
Nash also makes sculptures which stay in the landscape. For example, Ash Dome is a ring of ash trees he planted in 1977 and trained to form a domed shape. The dome is sited at a secret location somewhere in Snowdonia and whenever it's filmed, crews are taken there by a circuitous route to guard its security.
I have decided to look at his 'Wooden Boulder' piece because the art piece/sculpture itself has made it's own natural journey through the power of movement, without the influence of mankind.
Nash also makes land art, of which the best known is Wooden Boulder, begun in 1978. This work involves the journey of a large wooden sphere from a Welsh mountainside to the Atlantic Ocean. Wooden Boulder is a large wooden sphere carved by Nash in the North Wales landscape and left there to weather. Over the years, the boulder has slipped, rolled and sometimes been pushed through the landscape following the course of streams and rivers until finally it was last seen in the estuary of the river Dwyryd. It was thought to have been washed out to sea but, after being missing for over five years, the boulder reappeared in June 2009. Indications are that it had been buried in sand in the estuary. Nash had no idea of its location, and 'enjoys the notion that wood which grew out of the land will finally return to it'.
Nash also makes sculptures which stay in the landscape. For example, Ash Dome is a ring of ash trees he planted in 1977 and trained to form a domed shape. The dome is sited at a secret location somewhere in Snowdonia and whenever it's filmed, crews are taken there by a circuitous route to guard its security.
I have decided to look at his 'Wooden Boulder' piece because the art piece/sculpture itself has made it's own natural journey through the power of movement, without the influence of mankind.
Y1 Final Major Project - Artist Research - Julian Opie
Julian Opie was born in London in 1958 and raised in Oxford. He graduated in 1983 from Goldsmith's School of Art, where he was taught by conceptual artist and painter Michael Craig-Martin. He emerged as an influential figure in the British art scene of the 1980s after producing a series of painted metal sculptures that humorously combined loosely painted imagery with steel shapes. Portraits and animated walking figures, rendered with minimal detail in black line drawing, are hallmarks of the artist’s style.
Opie's graphic portrait style and his use of computer aided design has enabled him move between the fields of contemporary art and commercial design: in 2000, he was commissioned to design an album cover for British pop band Blur, and in 2006, he created an LED projection for U2's Vertigo world tour.
I have decided to use Opie's 'Street Furniture' to research for this brief as I feel it relates to the theme of 'Journey'.
Opie's graphic portrait style and his use of computer aided design has enabled him move between the fields of contemporary art and commercial design: in 2000, he was commissioned to design an album cover for British pop band Blur, and in 2006, he created an LED projection for U2's Vertigo world tour.
I have decided to use Opie's 'Street Furniture' to research for this brief as I feel it relates to the theme of 'Journey'.
Mounted samples - Print
I like these mounted samples that I have done for both my none traditional and traditional material samples for print. I feel they translate the work for Brad Rickerby (whose work is on this blog). I have used inks on all of my samples to give my desired background effect. I have also used embroidery on every one of my samples besides one where I have used drawing ink instead to highlight flower head shapes within the tie dyed fabric. I find the colours, textures and techniques to be very interesting on these pieces and I think that they all tie together making this a very successful outcome in my eyes.
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