I am interested in fashion and photography so I started exploring ways in which I can translate the process of divorce through apparel film. I came across some inspirational websites and art works...
1. Alexander Mcqueen - Stripped Bare
2. www.trashthedress.com
3. Phillip Toledano - Balloons in Dresses
4. Hussein Chayalan - The dress that leaves the wearer naked
5. Helen Story - Green Fashion (the dress that disappears in water)
6. Hussein Chayalan - spring/summer 98
Thursday, 13 May 2010
Tuesday, 11 May 2010
Ch ch ch changes...
Focusing on the deconstruction of art and things was appealing however after exploring the definitions of undo, I found Annul was the only one I found my self perplexed with. Whenever I hear annul I assume people are talking about marriage, so I saw this as a challenge and began to research Annulment, undoing the I do and Divorce. Divorce isnt a topic that is alien to me so I knew quite a bit already, however it occured to me that there isnt much art that refers to divorce or covers it in any way people tend to avoid the topic. I saw this as an opportunity to embrace the matter, celebrate it, even commemorate it. I wish to convey this process of divorce through art in an optimistic light.
Tuesday, 4 May 2010
Changing Direction
I have been exploring an array of concepts and forms where undo applies, from this I was inspired and thought about the forms I would like my FMP to take, and what form would be most appropriate in communicating what I want to say. I have decided to explore the word Annul in relation to my trigger word, however I have decided to explore it in terms of Marriage. I would like to explore the breakdown of marriage and divorce. Although this project has taken a different direction the idea was inspired by researching and exploring 'undo.' Here are my favourite discoveries from researching undo...
Since Hurricane Katrina, refuse and squalor have inspired a popular aesthetic in the art world. There’s a laissez-faire decadence in a work like Peter Garfied’s “One: Number 31, 1950” (2008) sculpture at Pierogi Brooklyn (below).
The Destroyed Room 1978
'My first pictures like The Destroyed Room emerged from a re-encounter with nineteenth-century art', Wall has said. Here, the work in question is The Death of Sardanapalus (1827) by Eugène Delacroix, which depicts the Assyrian monarch on his deathbed, commanding the destruction of his possessions and slaughter of his concubines in a last act of defiance against invading armies
Artist Michael Landy, who once destroyed his possessions in the name of art, has turned a gallery into a giant bin for the disposal of artworks. Over the next six weeks, hundreds of works by artists both famous and unknown will be dumped in the "Art Bin" at the South London Gallery.
So far, pieces by Tracy Emin and Damien Hirst, have been thrown away.
Landy said he hoped the bin would gradually fill up to create "a monument to creative failure".
Hierarchy
Members of the public have been invited to submit their own work for consideration, and they could end up in the giant container next to work by better-known artists.
"Some of this stuff is worth a lot in the outside world, but in the bin then it has no value, it has no worth," Landy told the BBC.
"In the outside world there is a certain hierarchy. In the bin there is no hierarchy, so everything is treated the same."
The Destruction in Art Symposium (DIAS) was a gathering of a diverse group of international artists, poets, and scientists to London, from 9-11 September, 1966. Included in this number were representatives of the counter-cultural underground who were there to speak on the theme of destruction in art.
The Honorary Committee, led by Gustav Metzger, attracted the attention of both the international media and international art community to the symposium.[1]
Since Hurricane Katrina, refuse and squalor have inspired a popular aesthetic in the art world. There’s a laissez-faire decadence in a work like Peter Garfied’s “One: Number 31, 1950” (2008) sculpture at Pierogi Brooklyn (below).
The Destroyed Room 1978
'My first pictures like The Destroyed Room emerged from a re-encounter with nineteenth-century art', Wall has said. Here, the work in question is The Death of Sardanapalus (1827) by Eugène Delacroix, which depicts the Assyrian monarch on his deathbed, commanding the destruction of his possessions and slaughter of his concubines in a last act of defiance against invading armies
Artist Michael Landy, who once destroyed his possessions in the name of art, has turned a gallery into a giant bin for the disposal of artworks. Over the next six weeks, hundreds of works by artists both famous and unknown will be dumped in the "Art Bin" at the South London Gallery.
So far, pieces by Tracy Emin and Damien Hirst, have been thrown away.
Landy said he hoped the bin would gradually fill up to create "a monument to creative failure".
Hierarchy
Members of the public have been invited to submit their own work for consideration, and they could end up in the giant container next to work by better-known artists.
"Some of this stuff is worth a lot in the outside world, but in the bin then it has no value, it has no worth," Landy told the BBC.
"In the outside world there is a certain hierarchy. In the bin there is no hierarchy, so everything is treated the same."
The Destruction in Art Symposium (DIAS) was a gathering of a diverse group of international artists, poets, and scientists to London, from 9-11 September, 1966. Included in this number were representatives of the counter-cultural underground who were there to speak on the theme of destruction in art.
The Honorary Committee, led by Gustav Metzger, attracted the attention of both the international media and international art community to the symposium.[1]
Undoing Aesthetics
undoing aesthetics
It seems that for every generation of artists and thinkers about art there is a favoured philosopher, an avatar for their preoccupations and critical frameworks. A concept and a name begin to circulate around artistic networks. Filtered through articles and citations, a body of thought becomes, often to the surprise of its author, the theoretical touchstone for a discipline he or she may be only remotely connected with. For example, at one end of the 20th Century the French philosopher Henri Bergson found prominence through the attentions of European sculptors; and towards its end psychoanalyst Julia Kristeva found herself coopted into a discourse around feminism, desire and the image.
Related Results
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Dick Bengtsson: Moderna Museet
Carmel's quiet season: explore the original art town by the sea on a poster...
It is exciting when we are offered direct access, live and in person, to those intellectuals who have become iconic in this way but who are known largely through their published works. Yet it can also be a confounding experience. For while the contemporary art world picks out--with magpie-like unconcern for academic propriety--the sparkly bits from the oeuvres of political philosophers, psychoanalysts, anthropologists, cultural theorists and even art historians, things can go wrong when those who have been temporarily lured into the ambit of contemporary art try to return the compliment.
In association with the Centre for Research in Modern European Philosophy at Middlesex University, Tate Britain presented a one-day conference featuring Eric Alliez, professor of contemporary French philosophy at Middlesex University and co-author of La Pensee-Matisse, 2005, and L'oeil-cerveau: nouvelles histoires de la peinture moderne, 2007; Georges Didi-Huberman, professor of art history at EHESS, Paris, whose recent books include Confronting Images, 1990, and La ressemblance par contact, 2008; Elisabeth Lebovici, art historian, critic and co-author of femmes/artistes, artistes/femmes, 2007; and the man who is currently dominating anthologies and essay footnotes, professor of philosophy at the University of Paris, Jacques Ranciere, whose book, The Politics of Aesthetics, 2000, has provided an echo chamber to recent conceptions of the social dimension of art.
The film featured the director Mohsen Makhmalbaf calling for one thousand people to audition for a part in a film about themselves. He is filmed filming their desperate attempts to grab hold of an audition form; things turn ugly and a near riot breaks out with people being trampled underfoot. Later, during an audition, a young man affects blindness to impress the director, who dismisses his charade. Apparently for Didi-Huberman this cinema verite exemplified 'The Extra' becoming the subject of the film. But in fact the director abuses his power and manipulates the crowd with the false promise of 'being on camera'. Unlike Warhol's screen testers, individuals are homogenised into a desperate and dangerous mob. It struck me how this also differed from Jeremy Deller's Battle of Orgreave, 2001, where the miners' reenactment offers a genuine history of those who had been 'without name or speech'.
Related Results
New films, special screenings, large format and continuing films
Hearty sides made smarter: our experts weigh in on eight common side...
Dick Bengtsson: Moderna Museet
Carmel's quiet season: explore the original art town by the sea on a poster...
Lebovici's paper, titled 'This is Not My Body', took as its starting point the cover of a well-thumbed paperback book of Roland Barthes, illustrated with a painting by Sophie Tauber Arp. From Sophie and Hans Arp, Lebovici's presentation ranged through Dada and Surrealism, Louise Bourgeois, Carolee Schneeman, Claude Cahun, the Judson Dance Theatre and Zoe Leonard, via the writings of feminist theorists such as Monique Wittig and Judith Butler. She cited Wittig: 'only the feminine is a gender--the masculine is still regarded as the universal'. Battling against technical glitches, Lebovici could not always show the works she referred to. Paradoxically, her thesis turned on the notion of invisibility as a strategy. She argued that, forced to emblematise 'difference', women artists recognised their invisibility as both a condition and a potential strategy. She proposed that women artists adopted the tactic of invisibility, of masking, acting out and appearing in disguise in order to challenge the aesthetic image, and the image as gender. Lebovici briefly discussed Sophie Tauber Arp's acceptance of the pre-eminence of Hans Arp, introducing the concept of voisinage or 'neighbourliness'. Here two distinct yet complimentary orders work side by side, as with the Arps who represented two sensibilities working in concert. Rather than pursuing a central argument, however, Lebovici offered a montage of practitioners and quotations that was frustratingly wide-ranging, offering a reiteration of familiar themes in feminist art history rather than new perspectives.
Also referring to photographs by Walker Evans, Lewis Hine and the contemporary artist Rineke Dijkstra, he designated a zone 'between thinking and unthinking--between art and non art, passivity and activity'. Their subject matter is the social: the poverty of a sharecropper's kitchen, a factory worker who is only a child, an awkward eastern European teenager on the beach. But the composition of each image is aesthetic and those portrayed are abstracted, 'disappropriated'. Each subject offers their face but conceals their thoughts. For Ranciere, beauty lies in this expression of indifference.
Related Results
New films, special screenings, large format and continuing films
Hearty sides made smarter: our experts weigh in on eight common side...
Dick Bengtsson: Moderna Museet
Carmel's quiet season: explore the original art town by the sea on a poster...
With regard to Hines' child worker, Ranciere cited Hegel's observation that what makes the Olympians divine is that they do nothing. He pointed to the popularity of a European genre of painting featuring beggar boys playing or eating. They are squalid, yet in their unashamed idleness they ascend to the realm of the divine. For Ranciere this is where the political lies: 'Pensiveness suspends the representational logic of action, suspends conclusion.' He cited Flaubert as offering a literary equivalent where a servant, an insect and an aristocrat can all occupy the space of the novel through a random series of 'sensory micro-events'.
Ranciere showed two film clips: one by Abbas Kiarostami of a boy on a mission to collect a notebook who is deflected from a direct route by a zig-zag hillside path, making his journey abstract; and a video titled The Art of Memory by Woody Vasulka, 1987. This computer-generated flow of montaged images offered some strikingly problematic juxtapositions. The mushroom clouds of an atomic bomb or atrocities from Vietnam flowed arbitrarily along with a stream of images and colours, undifferentiated from one another. As an artist in the audience later remarked, this work was reminiscent of sophomoric editing exercises in downloading images from the internet, sadly characteristic of the adolescent male.
It seems that for every generation of artists and thinkers about art there is a favoured philosopher, an avatar for their preoccupations and critical frameworks. A concept and a name begin to circulate around artistic networks. Filtered through articles and citations, a body of thought becomes, often to the surprise of its author, the theoretical touchstone for a discipline he or she may be only remotely connected with. For example, at one end of the 20th Century the French philosopher Henri Bergson found prominence through the attentions of European sculptors; and towards its end psychoanalyst Julia Kristeva found herself coopted into a discourse around feminism, desire and the image.
Related Results
New films, special screenings, large format and continuing films
Hearty sides made smarter: our experts weigh in on eight common side...
Dick Bengtsson: Moderna Museet
Carmel's quiet season: explore the original art town by the sea on a poster...
It is exciting when we are offered direct access, live and in person, to those intellectuals who have become iconic in this way but who are known largely through their published works. Yet it can also be a confounding experience. For while the contemporary art world picks out--with magpie-like unconcern for academic propriety--the sparkly bits from the oeuvres of political philosophers, psychoanalysts, anthropologists, cultural theorists and even art historians, things can go wrong when those who have been temporarily lured into the ambit of contemporary art try to return the compliment.
In association with the Centre for Research in Modern European Philosophy at Middlesex University, Tate Britain presented a one-day conference featuring Eric Alliez, professor of contemporary French philosophy at Middlesex University and co-author of La Pensee-Matisse, 2005, and L'oeil-cerveau: nouvelles histoires de la peinture moderne, 2007; Georges Didi-Huberman, professor of art history at EHESS, Paris, whose recent books include Confronting Images, 1990, and La ressemblance par contact, 2008; Elisabeth Lebovici, art historian, critic and co-author of femmes/artistes, artistes/femmes, 2007; and the man who is currently dominating anthologies and essay footnotes, professor of philosophy at the University of Paris, Jacques Ranciere, whose book, The Politics of Aesthetics, 2000, has provided an echo chamber to recent conceptions of the social dimension of art.
The film featured the director Mohsen Makhmalbaf calling for one thousand people to audition for a part in a film about themselves. He is filmed filming their desperate attempts to grab hold of an audition form; things turn ugly and a near riot breaks out with people being trampled underfoot. Later, during an audition, a young man affects blindness to impress the director, who dismisses his charade. Apparently for Didi-Huberman this cinema verite exemplified 'The Extra' becoming the subject of the film. But in fact the director abuses his power and manipulates the crowd with the false promise of 'being on camera'. Unlike Warhol's screen testers, individuals are homogenised into a desperate and dangerous mob. It struck me how this also differed from Jeremy Deller's Battle of Orgreave, 2001, where the miners' reenactment offers a genuine history of those who had been 'without name or speech'.
Related Results
New films, special screenings, large format and continuing films
Hearty sides made smarter: our experts weigh in on eight common side...
Dick Bengtsson: Moderna Museet
Carmel's quiet season: explore the original art town by the sea on a poster...
Lebovici's paper, titled 'This is Not My Body', took as its starting point the cover of a well-thumbed paperback book of Roland Barthes, illustrated with a painting by Sophie Tauber Arp. From Sophie and Hans Arp, Lebovici's presentation ranged through Dada and Surrealism, Louise Bourgeois, Carolee Schneeman, Claude Cahun, the Judson Dance Theatre and Zoe Leonard, via the writings of feminist theorists such as Monique Wittig and Judith Butler. She cited Wittig: 'only the feminine is a gender--the masculine is still regarded as the universal'. Battling against technical glitches, Lebovici could not always show the works she referred to. Paradoxically, her thesis turned on the notion of invisibility as a strategy. She argued that, forced to emblematise 'difference', women artists recognised their invisibility as both a condition and a potential strategy. She proposed that women artists adopted the tactic of invisibility, of masking, acting out and appearing in disguise in order to challenge the aesthetic image, and the image as gender. Lebovici briefly discussed Sophie Tauber Arp's acceptance of the pre-eminence of Hans Arp, introducing the concept of voisinage or 'neighbourliness'. Here two distinct yet complimentary orders work side by side, as with the Arps who represented two sensibilities working in concert. Rather than pursuing a central argument, however, Lebovici offered a montage of practitioners and quotations that was frustratingly wide-ranging, offering a reiteration of familiar themes in feminist art history rather than new perspectives.
Also referring to photographs by Walker Evans, Lewis Hine and the contemporary artist Rineke Dijkstra, he designated a zone 'between thinking and unthinking--between art and non art, passivity and activity'. Their subject matter is the social: the poverty of a sharecropper's kitchen, a factory worker who is only a child, an awkward eastern European teenager on the beach. But the composition of each image is aesthetic and those portrayed are abstracted, 'disappropriated'. Each subject offers their face but conceals their thoughts. For Ranciere, beauty lies in this expression of indifference.
Related Results
New films, special screenings, large format and continuing films
Hearty sides made smarter: our experts weigh in on eight common side...
Dick Bengtsson: Moderna Museet
Carmel's quiet season: explore the original art town by the sea on a poster...
With regard to Hines' child worker, Ranciere cited Hegel's observation that what makes the Olympians divine is that they do nothing. He pointed to the popularity of a European genre of painting featuring beggar boys playing or eating. They are squalid, yet in their unashamed idleness they ascend to the realm of the divine. For Ranciere this is where the political lies: 'Pensiveness suspends the representational logic of action, suspends conclusion.' He cited Flaubert as offering a literary equivalent where a servant, an insect and an aristocrat can all occupy the space of the novel through a random series of 'sensory micro-events'.
Ranciere showed two film clips: one by Abbas Kiarostami of a boy on a mission to collect a notebook who is deflected from a direct route by a zig-zag hillside path, making his journey abstract; and a video titled The Art of Memory by Woody Vasulka, 1987. This computer-generated flow of montaged images offered some strikingly problematic juxtapositions. The mushroom clouds of an atomic bomb or atrocities from Vietnam flowed arbitrarily along with a stream of images and colours, undifferentiated from one another. As an artist in the audience later remarked, this work was reminiscent of sophomoric editing exercises in downloading images from the internet, sadly characteristic of the adolescent male.
Defining Undo
Definitions of undo on the web:
-cancel, annul or reverse an action or its effect, 'I wish i could undo my actions.'
-unmake: deprive of certain characteristics
-cause the ruin or down fall of; ' A single mistake undid the president and he had to resign.'
-untie: cause to become loose; 'undo a shoelace' 'untie a knot'
-unwrap: to remove the outer cover of; 'lets unwrap the gifts'
-cancel, annul or reverse an action or its effect, 'I wish i could undo my actions.'
-unmake: deprive of certain characteristics
-cause the ruin or down fall of; ' A single mistake undid the president and he had to resign.'
-untie: cause to become loose; 'undo a shoelace' 'untie a knot'
-unwrap: to remove the outer cover of; 'lets unwrap the gifts'
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