Research about Project 3
The hole can reflect a process from top to bottom, from shallow to deep, from far to near.
Some observe and research about "Hole" in my life:
The artist about sculpture
Mark Jenkins
(born 1970) is an American artist who makes sculpture street installations. Jenkins' practice of the Street Art is to use the "street as a stage" where his sculptures interact with the surrounding environment including passersby who unknowingly become actors. His installations often draw action attention of the police. His work has been described as whimsical, macabre, shocking and situationist.
One of my favourite work of him
“As ITV moved out of its flagship building for vast renovations, 84 new occupants arrived on its roof. Each of American street artist Mark Jenkins’ 84 jarringly lifelike models had a story to tell: a story of a father, husband, brother, or son whose life was cut short by the brutal and often inescapable effects of poor mental health. Named Project 84, Jenkins collaborated with CALM (Campaign Against Living Miserably), to raise awareness of male suicide, with each of the anonymous figures representing one of the 84 men who commit suicide each week in the UK. ” (Raphael Tiffou, BRD SHT, Lazinc Gallery, Mayfair)
Work cited page
http://kaderattia.de/biography/
https://www.culturewhisper.com/r/visual_arts/art_galleries_london_mark_jenkins_brd_sht_lazinc_gallery_mayfair/11552
Field Research
Olafur Eliasson (Icelandic: Ólafur Elíasson; born 1967)
IN TATE MORDEN
Olafur Eliasson is a Danish-Icelandic artist known for sculptures and large-scale installation art employing elemental materials such as light, water, and air temperature to enhance the viewer’s experience. In 1995 he established Studio Olafur Eliasson in Berlin, a laboratory for spatial research. Olafur represented Denmark at the 50th Venice Biennale in 2003 and later that year installed The Weather Project in the Turbine Hall of Tate Modern, London.
Olafur has engaged in a number of projects in public space, including the intervention Green river, carried out in various cities between 1998 and 2001; the Serpentine Gallery Pavilion 2007, London, a temporary pavilion designed with the Norwegian architect Kjetil Trædal Thorsen; and The New York City Waterfalls, commissioned by Public Art Fund in 2008. He also created the Breakthrough Prize trophy. Like much of his work, the sculpture explores the common ground between art and science. It is moulded into the shape of a toroid, recalling natural forms found from black holes and galaxies to seashells and coils of DNA.
The picture was taken for me.
Work cited page.
The artist about sculpture
Kader Attia
(born1970, France)
The experience with these different cultures, the histories of which over centuries have been characterised by rich trading traditions, colonialism and multi-ethnic societies, has fostered Kader Attia’s intercultural and interdisciplinary approach of research. For many years, he has been exploring the perspective that societies have on their history, especially as regards experiences of deprivation and suppression, violence and loss, and how this affects the evolving of nations and individuals — each of them being connected to collective memory.
His socio-cultural research has led Kader Attia to the notion of Repair, a concept he has been developing philosophically in his writings and symbolically in his oeuvre as a visual artist. With the principle of Repair being a constant in nature — thus also in humanity —, any system, social institution or cultural tradition can be considered as an infinite process of Repair, which is closely linked to loss and wounds, to recuperation and re-appropriation. Repair reaches far beyond the subject and connects the individual to gender, philosophy, science, and architecture, and also involves it in evolutionary processes in nature, culture, myth and history.
One of my favourite work of him.
In Ghost, a large installation of a group of Muslim women in prayer, Attia renders their bodies as vacant shells, empty hoods devoid of personhood or spirit. Made from tin foil - a domestic, throw away material - Attia’s figures become alien and futuristic, synthesising the abject and divine. Bowing in shimmering meditation, their ritual is equally seductive and hollow, questioning modern ideologies - from religion to nationalism and consumerism - in relation to individual identity, social perception, devotion and exclusion. Attia’s Ghost evokes contemplation of the human condition as vulnerable and mortal; his impoverished materials suggest alternative histories or understandings of the world, manifest in individual and temporal experience.
Work cited page:
The artist about sculpture
Rachel Whiteread
(born 20 April 1963) One of Britain’s leading contemporary artists, Whiteread uses industrial materials such as plaster, concrete, resin, rubber and metal to cast everyday objects and architectural space. Her evocative sculptures range from the intimate to the monumental.
One of my favourite work of her.
Holocaust Monument a.k.a. Nameless Library (2000) Holocaust Monument (2000)
During the Holocaust, 65,000 Austrian Jews were executed, and in memory, Monument to the Victims of Fascism was a monument erected to commemorate these lost lives, however, this piece was seen as unsatisfying, so Simon Wiesenthal proposed the idea for a new memorial to the mayor of Vienna. With the condition that this memorial could not be figurative and needed to represent all 65,000 lives and the camps they were executed at, Rachel Whiteread was chosen out of ten artists to create this monument. Her monument Nameless Library was erected in Judenplatz Square in Vienna and appears to be an inside-out library. This structure was built from positively cast cement books which are placed with their spines facing inward. The inability to read these books allude to the lost lives of the 65,000 Austrian Jews whose stories are unable to be told leaving the viewer with a sense of loss and absence. These books have also been seen as referring to the Nazi book burnings. The sculpture also does not include corners or bookshelves which further symbolizes the lack of structure and support.
Work cited page:
https://www.tate.org.uk/whats-on/tate-britain/exhibition/rachel-whiteread
The artist of research
Do Ho Suh is a contemporary Korean artist known for his sculptures and installations. Often based on the subject of architecture, Suh questions standard notions of scale in relation to public spaces. An example of this can be seen in his installation Fallen Star (2012)—a vernacular cottage perched on the edge of the University of California San Diego’s engineering building. “The space I’m interested in is not only a physical one but an intangible, metaphorical and psychological one,” he has explained. Born in 1962 in Seoul, South Korea, he served mandatory time in his country’s military before studying at Seoul National University. Relocating to the United States, he went on to receive his BFA from the Rhode Island School of Design and his MFA from the Yale School of Art. In the years following the completion of his education, the artist has lived an itinerant life and often incorporates his roaming existence into the fabric of his art practice. He currently lives and works between New York, NY, London, United Kingdom, and Seoul, South Korea.
In exquisitely made works, Do Ho Suh explores contemporary arrangements of space and the unstable boundaries of its categorisation along lines of individuality and collectivity, physicality and immateriality, mobility and fixity. Influenced by his peripatetic existence – leaving his native South Korea to study and live in the United States, he has more recently moved between New York, Seoul and London – an enduring theme of the artist's practice is the connection between the individual and the group across global cultures. The multiplicity of individuality is tested through meditative processes of repetition: whether interlinked along a lattice of fishing nets, amassed into monumental tornado-like forms, absent from ranks of empty uniforms, or present in every yearbook photo taken at the artist's high school over 60 years, the artist uses the reproduced human figure to explore sensitively, and with spectacular formal effect, the ways in which personal space inherently extends into the collective sphere.
In times of increasing globalisation and migration, it is more important than ever to stop and reflect for a moment on the significance of individual places. Suh’s work arises from a need to suss out the contours of space and the concept of identity. This is the result of the artist’s personal experience with having to repeatedly uproot his existence and then form new attachments during his many intercontinental migrations. The contrast between the U.S. and South Korea also plays a major role in his work, as it confronts Suh with his own identity. The cultures of the two countries have very different perspectives on the individual and the collective. In his own work, for instance, Suh places the person in opposition to the universal, the physical alongside the incorporeal and the individual versus the collective identity.
Some of his works.
Work cited page
http://www.artnet.com/artists/do-ho-suh/
https://www.voorlinden.nl/exhibition/do-ho-suh/?lang=en
Research about Project 4
In Project 4, I said：All ocean weaves origins from one ocean.
At this point, when I read, I found that the philosopher Deleuze's point of view coincided with me.
"Now Creative Evolution advances a second thesis, which, instead of reducing everything to the same illusion about movement, distinguishes at least two very different llusions. The error remains the same - that of reconstituting movement from instants or positions - but there are two ways of doing this: the ancient and the modern. For antiquity, movement refers to intelligible elements, Forms or Ideas which arethemselves eternal and immobile. Of course, in order to reconstitute movement, these forms will be grasped as close as possible to their actualisation in a matter-flux. These are potentialities which can only be acted out by being embodied in matter. But, conversely, movement merely expresses a 'dialectic' of forms, an ideal synthesiswhich gives it order and measure, Movement, conceived in this way, will thus be the regulated transition from one form to another, that is, an order of poses or privileged instants, as in a dance. The forms or ideas are supposed [. . .] to characterise a period of which they expressthe quintessence, all the rest of this period being filled by thetransition, of no interest in itself, from one form to another form [....] They noted, then, the final term or culminating point(telos, acmè), and set it up as the essential moment: this moment, that language has retained in order to express the whole of the fact, sufficed also for science to characterise it."
Gilles Deleuze
Cinema1 The Movement-Image
Published by the University of Minnesota Press (5th printing)
Chapter 1.2
Page3-4
In general, the ancient people tend to believe in the eternity and the movement of an element as an entirety, which is based on the transcendentalism of human’s being special. Like angels, there isn’t a need to explain our existence and priorities because we are special; thus, the way our memory and cognitive means works on moments or events which is special, considering the rest of them as part of the order or a approach to which. Modern science is defined by its approach to take time as an independent variable. The sensible analysis to elements replace the transcendental theory of synthesis, therefore through any moment instead of the special ones we approach the “soul” of movement itself. As all the seas we’ve defined, appreciated , origin from one ocean both subjectively and objectively.
An observation and thinking
In the modern era, many painters are also sculptors and installation artists.
When I was researching these artists (sculpture, painting, installation), I found that in contemporary art, the boundaries between 2D and 3D were blurred. Two-dimensional can exist in the surface of three dimensions, the three-dimensional body changes the principles of two-dimensional, they are juxtaposed. Like space, in many cases, two-dimensional erodes into three-dimensional space, such as buildings, walls or the ground, the plane at this moment changes due to the fluctuation of the space, which they are integrated with the entire space.
Artist Katharina Grosse is a very good example.
Artists increasingly focus on placing their 2D planes on different interfaces and materials. It could be a stone, the cover of the house, or it could be placed on wood or metal, and the pigments and colours show different vitality and texture because of the divergent media materials. The two-dimensional pattern is not limited to Shown on a two-dimensional plane. Another point is that the two-dimensional plane can change the space and even create (giving) an immersive experience because of the three-dimensional nature of the space. For Example, Painting on walls and grounds. Paintings are all two-dimensional, but the entire work could indeed create a new three-dimensional space.
The artist about painting
Katharina Grosseis a contemporary German painter known for her brightly coloured acrylic paintings and installations. Made with an industrial airbrush and mounds of pigmented dirt, her work attempts to create a bodily, psychedelic-like experience for the viewer in which they are submerged in a world of colour and mood, rather than merely being a bystander looking in. “The painting process is a curious coincidence of thinking and acting,” she has said. “It is the continuous flux of visual intelligence constituting reality in every moment. Aggression is the energy that enables you to bear the loss of what has to go. It feeds and sustains that process.” In her inventive use of materials and colour, Grosse combines the unlikely pairing of Color Field painters like Morris Louis with Conceptual Land artists like Robert Smithson. Approaching painting as an experience in immersive subjectivity, she uses a spray gun, distancing the artistic act from the hand, and stylizing gesture as a propulsive mark.
Born on October 2, 1961, in Freiburg, Germany, she went on to study at the Kunstakademie Düsseldorf, where she now serves as a professor. Grosse’s works can be found in the collections of the Centre Pompidou in Paris, the Kunsthaus in Zürich, and The Museum of Modern Art in New York, among others. She lives and works between Düsseldorf and Berlin, Germany.
“A painting is simply a screen between the producer and the spectator where both can look at the thought processes residing on the screen from different angles and points in time. It enables me to look at the residue of my thinking.”
—Katharina Grosse
Some of her works.
Work cited page
http://www.artnet.com/artists/katharina-grosse/
https://gagosian.com/artists/katharina-grosse/
https://gagosian.com/exhibitions/2018/katharina-grosse-prototypes-of-imagination/
Field Research
Mark Rothko
IN TATE MORDEN
Mark Rothko sought to make paintings that would bring people to tears. “I’m interested only in expressing basic human emotions—tragedy, ecstasy, doom, and so on,” he declared. “And the fact that a lot of people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions….If you…are moved only by their colour relationships, then you miss the point.”For him, art was a profound form of communication, and art-making was a moral act.
Many of Rothko's influences were intellectual. Mark believed that there was little left to say, artistically, about portraits and landscapes and there was a need to discover new ways to express the important things in life; the strong feelings raised by what was happening in Nazi Germany and the general fascist views around the world, not to mention the human condition in urban society during the post-depression years in America. His work throughout the beginning of his career took on a very childish form. Trying to express the simple and most basic feelings in life in the most uncomplicated way possible led to his Scenes in the Subway series which depict the monotony of life through rhythmic use of colour and shapes, and minimal details.
Additional intellectual influence came from the work of the philosopher, Friedrich Nietzsche, specifically, The Birth of Tragedy. Nietzsche's work basically outlines a theory that the lessons of Greek myth are the building blocks for a meaningful life, and without the guidance of the tragedies, man is doomed to live an ignorant and joyless existence. Armed with this clear mandate, Rothko began to try to free man from his gaol of expressionless being. Through his art, Mark worked to reinstate a spiritual and emotional framework for modern living. Most interestingly his interpretation of this high intellectual ideal was light-filled colour in all its glorious forms.
The picture was taken for me.
Work cited page.
https://www.moma.org/artists/5047
The artist about painting
André Butzer is a contemporary German artist known for his large-scale Neo-Expressionist works of colourful canvases covered with thickly-applied paint. Often characterized as “Science-Fiction-Expressionism,” Butzer’s oeuvre represents a highly articulate style, somewhere between abstraction and figuration.
Butzer’s work, while heavily influenced by German Expressionism and popular culture, is further defined by the development of artificially exaggerated realities.
His early work displayed an influence of Albert Oehlen and Asger Jorn, while his aesthetic has evolved into flat, geometric forms in broad swathes of colour in his acclaimed N-paintings series. Born in 1973 in Stuttgart, Butzer graduated from Hamburg’s Akademie Isotrop in 2000. The next year he formed the Institut für SDI-Traumforschung (Institute for SDI Dream Research) in Berlin with Björn Dahlem. Currently living and working in Rangsdorf, Butzer has this to say about his unique brushstrokes: “A gesture might speak of an individual who produces authority behind such a trace or mark, but what I do is not about me.” His work has been the subject of solo exhibitions at Galerie Christine Mayer in Munich, Galerie Max Hetzler in Berlin, and Patrick Painter in Santa Monica, among others.
Some of his works.
Work cited page
The artist about painting
Mark Bradford is a contemporary African-American artist. Working in a wide-ranging conceptual practice, he is best known for his multimedia abstract paintings whose laborious surfaces hint at the artist’s excavation of emotional and political terrain. “For me, it's always a detail—a detail that points to a larger thing,” he observed of his process. “I start to imagine what it points to, and that's when my imagination really goes.” Born in 1961 in Los Angeles, CA, Bradford studied at the California Institute of the Arts, graduating with an MFA in 1997. His work often displays the atrocities and struggles of race and poverty, as seen in his site-specific installation Help Us (2008). In the work, the artist displayed pieces of wood salvaged from the aftermath of Hurricane Katrina on top of Los Angeles building, spelling out “HELP US,” recalling the desperation of hurricane survivors in New Orleans rooftops. In 2017, Bradford represented the United States pavilion at the Venice Biennale with his work Tomorrow is Another Day. He currently lives and works in Los Angeles, CA. Today, the artist’s works are held in the collections Hirshhorn Museum and Sculpture Garden in Washington, D.C., The Museum of Modern Art in New York, the Tate Gallery in London, and the Walker Art Center in Minneapolis, among others.
Mark Bradford’s abstractions unite high art and popular culture as unorthodox tableaux of unequivocal beauty. Working in both paint and collage, Bradford incorporates elements from his daily life into his canvases: remnants of found posters and billboards, graffitied stencils and logos, and hairdresser’s permanent endpapers he’s collected from his other profession as a stylist.
Some of his works.
Work cited page