Gustave Moreau

One of my favourite painters, part of the symbolist movement and expressed an interest in mythology and christian figures

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Art for Networks (2002)

This exhibition is discussed in New Media in the White Cube and Beyond and has caught my eye mainly because of the range of works that were included within the show. Sarah Cook describes this show as “a travelling group exhibition focusing on a practice engendered by new media (“networking”) presented in a range of media and art forms”

Cook discusses the need for museums to change how they interact with artworks, and describes the downsides of trying to display new media art projects within this environment. As she goes on to discuss alternatives to the traditional museum exhibition this particular show is used as a case study. Comparing the show to a software programme she states:

A premise of the project was that it could change its installation and checklist with each new gallery exhibiting it, in essence offering an ever-changing data flow that could be modified to demonstrate different aspects of each project and to produce different outcomes, depending on the audiences and the organisers.

The show function as one of the first exhibitions that featured new media art to cross the boundary into the white cube space and though not focussing on the effect of the technology as part of the show, the idea of the network takes forefront

The context for the art (its interconnectedness in a network, computer generated or not, that involved an audience of active participants) says something significant about its content – in part by describing the process behind the making of the artwork

I think this is quite an interesting topic to look at, this show demonstrates the networks ability to adapt and change to different venues that serve different purposes (with reference to new media projects or otherwise).

I also like to see shows that incorporate both new media and traditional artworks

Appropriation

Gradually over the course past weeks I feel the idea of appropriation and originality have been issues that pop up quite often, in particular to work created within the digital realm. I think it would be an interesting topic to investigate more, the idea surrounding my original topic of the body in contemporary art and digital technologies can still find it’s place within this.

The term itself can be defined as “the use of borrowed elements in the creation of a new work”, and has been a fundamental aspect of the creation of art works in the past and increasingly more so as the development of digital technologies progresses. Examples such as Picassos collages and Duchamps readymades can be seen as early 20th century appropriation artworks, indeed any readymade work could be viewed in some sense as an act of appropriation.

The progression of digital technology has made the possibility of appropriation and creation of work from it all the easier with the ability to copy and paste, along with the ability to take assets from sources such as the Internet, something that I focussed on in my dissertation which I will make a post about at a later date. Works such as the LHOQQ by Duchamp took the image of the Mona Lisa and let the artist create his own version, which has its digital counterparts such as Gary Andrew Clarke’s pixelated Mona Lisa to ASCII versions of the classic artwork (examples of these can be found here: http://www.studiolo.org/Mona/MONA43.htm)

To relate to things I’ve been doing, Second Life itself is an appropriated version of the real world, the work I created from it with the glitches are simply appropriated images of things that other have created in order to create a new composition, but then again the images of the environments that I “stole” where stolen from the real world in the first place. It’s just becoming one big thieving match. In my recent chat with Jonathan he said to me in relation of my Monet Glitch “you have not just put 2 things together but you have brought a larger narrative to the image, the history of western painting and art, and a digital space, that is very real to some but seems to lack physicallity and made something new from it.” This kinda gave me a good idea of a direction to go in.

Will continue to develop the idea of appropriation

Michael Landy

Really like Michael Landy’s work, would also love to do some digital form of this portrait painting kind of like he’s doing in this video.

Also love the process stuff he does like the project where he destroyed all his belongings and the art bin projects.

Martin Creed

Loves and Hates about Martin Creed: First time I saw his work was an instant dislike, with an after thought of questions about how people can look at it as art, or more importantly what dafty is actually going to buy it. But like other things over the course of time I’ve come round to it and begun to appreciate it, and appreciate him, not as some brilliant artist but as a guy who appears to be getting away with not having a clue what he’s doing, but  doing something that he wants to do.

From watching this talk and listening to him discussing the idea of not really knowing what to do and letting this happen as part of a process I’ve started to feel a bit less anxious about creating work for this MA. One problem that I have encountered is the idea of having too many ideas in my head at the one time, too many unrelated idea which end up with the loss of a narrative in the general scheme of things. He talks about adopting several artists practises into his work as he feel he doesn’t know what the best thing is to do, providing him with the ability to change his mind in the middle of creating if he feels it is necessary and also does not constrict him with working with the same materials or techniques all the time. He also tends not to call himself an artist or refer to any of his work as art, often when asked by interviewers he will refuse to be pigeon holed into a particular style of art, such as conceptual which is were many people would place him. I quite like this quote from him

The more I work, the more I think I don’t know what I am doing. I have absolutely no idea what I am doing. It is like sweat or shit. It comes out as I go along. As you do one thing over here, something else comes out over there. It is not what you think you are doing. It is like scum on top of things or like sediment at the bottom. It builds up while you are doing other things.

He also sums up pretty well the feeling of trying to start something

It’s easy to say it’s easy to start, but it’s difficult to start too. It means choosing and feeling your way, being careful, worrying and guessing, creeping and peeping, and after interminable humming and haaing, plumping and dumping. I want to move in all directions at once; like a sound, or like a wave from a thrown stone.

Overall I do like his work, as he numbers them they appear to show a continual experiment towards the end goal or the end number, if these “things” will end is anyone guess, one thing that can be said about him is that his music is terribly shite.

 

 

Monet

went back took some more pictures of the pond that reminded me of Monet’s water lilies.

Goldin and Senneby

Objects of virtual desire

OVD penguin ball
This project explores the value of immaterial production in a virtual world, and if and how this can be transferred into an economy of material production.

We have collected a series of immaterial objects produced and owned by inhabitants in the 
online world Second Life. The objects have been chosen based on their sentimental value for the avatar (a person’s virtual identity) who made or owned them. Copies of these objects were acquired, along with their owner’s personal story.

Three of these objects have been reproduced in physical form. They were exhibited at Bergen 
Kunstall in 2005 and at Galeria Vermelho, Sao Paulo, in 2008, together with interviews with the original (avatar) owners. Further material reproductions are offered on demand.