Sunday, 25 March 2012

Ron Mueck and Humanism

"For me this shyness is the key to Mueck's extraordinary sculptures, the secret source of their hold on us. By permitting his characters to keep their secrets, he draws out the other crucial figures in any sculptural equation – the ones standing and looking at the sculpture." (Justin Paton, Christchurch Art Gallery Senior Curator)


'Mask II' (2002) Ron Mueck

Questions from the Cadi Blog:

I. Mueck's sculpture is described as 'hyper-real'. Define the meaning of this term and explain how it is evident in 
   his work.
"Hyper-reality" is a new type of art that attempts to 'reproduce' or capture things as they are in reality. It can also be used to describe artworks that are extremely realistic. Mueck's sculptures definitely belongs to this category. Apart from the sizes of the sculptures, Mueck's works are very life-like. Up close we can see lines, hair, blemishes, and very minute details that makes us believe that the sculptures are very real.

II. Mueck says he is not interested in making life size sculpture. Find out why he is more interested in working   
    with the scale of the figure which is not life size, and mention 2 works which use scale that is either larger or 
    smaller than life.
According to Mueck:

"I never made life-size figures because it never seemed to be interesting. 
We meet life-size people every day.'"

One example that is smaller than life:

'Two Women' (2005) Ron Mueck


An example that is larger than life:

'Untitled (Head of a Baby)' (2003)
 
III. Define Renaissance Humanism , and identify which aspects of Humanism can be seen in Mueck's work. 
     Note that the contemporary definition of Humanism is much broader than the Renaissance definition.
Renaissance Humanism is an era during the 15th and 17th Century where people started to have a more secular view of life. People during the era became more independent from the Church and have little rights of their own. They started to appreciate their worldly pleasures and self expressions. 
An aspect of Humanism that we can see in Mueck's sculptures are how people are the central focus. Mueck's works are about depicting the perfection and demonstration of reality. There are no science, political or religious views in Mueck's works. What you see is what you get; Its all about capturing humans and their emotions.


IV. Research and discuss one of Mueck's sculptures that you might find challenging or exciting to experience in 
     an art gallery. Describe the work, upload an image of the work, and explain your personal response to the  
     work.

'Mother and Child' (2003) Ron Mueck

Mueck's 'Mother and Child' is a sculpture that I think will be very exciting and challenging to experience and see. Its not only beautiful but ugly and gore at the same time. The sculpture shows how all life exist because of mothers but also the lovely bond between a mother and child, evident by the umbilical cord that connects between them. The reality of birth is also depicted in the tired and weary face of the mother with her slimy child resting on her stomach. Even though the sculpture is too realistic and naked to be sacred, looking at 'Mother and Child' reminds me of Leonardo Da Vinci's painting, 'Madonna and Child'. Madonna is much more divine since she is a saint however Mueck's 'Mother and Child' shows that all mothers are just as special too.


 Ron Mueck's Art Exhibition at Queensland Gallery of Modern Art
 

Reference:

Sunday, 11 March 2012

Damien Hirst's 'For the Love of God'

"The skull is out of this world, celestial almost. ... At the same time it represents death as something infinitely more relentless. Compared to the tearful sadness of a vanitas scene, the diamond skull is glory itself.” (Rudi Fuchs, Historian)


'For the Love of God' (2007) Damien Hirst


Questions from the Cadi Blog:

I.Describe the work, giving details of the form and materials. 
Damien Hirst's 'For the love of God' is the most expensive art to be ever created, costing between $UK14million and $UK18 million to make. The skull is made out of platinum, human teeth and 8,601 diamonds; a total of 1,106.18 carats. The artwork took 18 months to create.

II.What does the work mean? What is Damien Hirst communicating in the work?
The skull is encrusted with diamonds to glorify the subject and the meaning of victory over our life's end. Hirst have also confirmed that 'For the Love of God' is a celebration of death.

III. How does Hirst's diamond encrusted skull relate to Mercantilism and to conspicuous consumption?
This work of Hirst's is very related to Mercantilism in the Renaissance era, when there was an increase in status of artists. During the Renaissance with the Mercantilism system, wealth was measured by our possessions of precious materials e.g. gems and gold. This display of precious items shows off our wealth as well as our social status. Hirst's work is not only encrusted with diamonds but is the most expensive art to date. This elevates the status of 'For the Love of God' along with Hirst as an artist.

IV.How much did the work cost, and how much was it sold for, and who bought it?
Even though Hirst claimed in 2007 that he received $50 million from an anonymous buyer, the fact is there seems to be no buyer yet. At current date the skull is owned by Hirst himself and White Cube Gallery owner Jay Jopling. The asking price of the skull is still $UK50million.

VI.What are some of the differing opinions of the journalists in the newspaper and blog articles?What did they 
    think of the work?
There are both negative and positive opinions of 'For the love of God'. To some the skull is perfect representation of death and the glory of it. However to most the skull is a publicity stunt by Hirst to get more media attention and to raise the value of his artworks. Robin Simon, editor of the British Art Journal, have said that the artwork is "vacuous nonsense". He have also said the skull's workmanship is very good, however "as art it is extremely dull". Californian private art dealer, Richard Polsky, also agrees "The sale keeps Hirst in the news, reinforces the demand for his work and makes everyone who spent money at White Cube feel good about their investment,... This is all about investment, not about art collecting". There are still talks about 'For the Love of God' today, whether the artwork is an art at all or just kitsch.

VII.Based on your research, what is your opinion of the work, as an object or a work of art.
There are no clear definition of art, therefore the skull can be easily considered as an artwork. I personally love 'For the Love of God', but I see it more as a very good crafted object. To simply celebrate and glorify death the skull is too exaggerating. No matter how much money you have no one can beat death. Though I say this, I also think the skull does lift our spirits up about death. After all, who doesn't want their skull to be encrusted with diamonds?




Reference:

Monday, 5 March 2012

Fiona Hall's New Works: The Kermadecs

'Scrimshaw' (2011) Fiona Hall




'Shooting the Breeze' (2011) Fiona Hall

'Ghost Net' Tapa (2011) Fiona Hall


Hall's recent works focuses on the issues concerning marine life around the Pacific Ocean, especially overfishing. According to Greenpeace, overfishing is the biggest threat to the marine ecosystem. Hall reinforces this idea by the use of her nets, ships, and haunt-like skeletons of the marine animals to give us a message of how important this issue is becoming in the current world. Can we not do something about this image of our future?


References:

Mercantilism and Fiona Hall

Mercantilism was the main economic system in the early Renaissance (16th and 18th centuries) with the aim to increase a nation's power and wealth. While this process was favourable to the Europeans to build up their wealth, the system has led to an imbalance of the commercial and natural world.
  
'Leaf Litter' (1999-2003) Fiona Hall



 
  
 "Money doesn't grow on trees-or does it?" (Fiona Hall)

Australian based artist, Fiona Hall, investigates this imbalance of mercantilism through her work 'Leaf Litter'. The work consists of actual bank notes from various countries and painted leaves; likely to be representing the native plant from the country of origin of the bank notes. These plants have became endangered as a result of economic pressures to grow commercial crops.
Hall's leaves which were carefully and lightly painted with gouache gives the leaves a little bit of transparency. Parts of the bank notes can seen to purposely show that the two subjects are linked.

'Tender' (2003-2005) Fiona Hall


A more recent work of Hall's is 'Tender'. Ironically when looking up close to the work the viewer will see that the nests are constructed of shredded cold cash: the American one dollar bill. The lack of life from the nest gives the viewer a sad feeling of the absence of the bird species, suggesting the danger of globalisation and the American dollar. Again showing the relationship between nature and consumerism

"Tender" (Detail)


Even though Hall doesn't use any bold colours, her choice of materials are able to communicate with the viewers clearly in a poetic and symbolic way. There are almost no sense of life in Hall's works. The bank notes are something that we can all recognize as money. They symbolize the cold and greedy world we live in. Seeing something that is so recognizable in an artwork will make us question about the economy.


References: 
http://score.rims.k12.ca.us/score_lessons/market_to_market/pages/mercantilism_imports_and_e.htm 
http://www.investopedia.com/terms/m/mercantilism.asp#axzz1oEG22v3H 
http://australia.gov.au/about-australia/australian-story/fiona-hall 
http://nga.gov.au/Federation/Detail.cfm?WorkID=26201