Semester 2 with Nathalie Djurberg's 'Claymations'

"Nathalie Djurberg's claymation films are sweet, depraved things that can shock, amuse and confound in equal measure." (Skye Sherwin, Guardian.co.uk)

'Feed All the Hungry Little Children' (2007) Nathalie Djurberg

Questions from the Cadi Blog:

I.What do you understand by the word 'Claymation'?

Claymation is a type of animation that uses clay. The clay objects or figures are moved and filmed using stop-motion photography to bring them to life. Claymation is popular today especially in films aimed at children such as 'Wallace and Gromit'. The term 'Claymation' probably came from the words 'Clay' and 'Animation'. 

II. What is meant by the term 'surrealistic Garden of Eden' and 'all that is natural goes awry'? 

The term 'surrealistic Garden of Eden' was used to describe Djurberg's 'Experiment' in 2009.  The term describes how the Garden of Eden in 'Experiment' was surrealistic - things that are found in the natural world are changed to become a more psychological dream-like state . Djurberg's garden is odd and dark; A Garden of Eden that was formed in Hell.

'All that is natural goes awry' supports this dark Garden of Eden. It describes how Djurberg's natural environment and organic forms in the Garden of Eden are twisted, bizarre, and disturbing - almost an invert of what is in the real natural world. Shown by the nauseating, cold and darker shades of colour.

'Element' (2009) Nathalie Djurberg

III. What are the 'complexity of emotions' that Djurberg confronts us with?
Because of the strange, sweet, yet disturbing horror that Djurberg gives us, we get nostalgic looking at her work with a hint of nightmare at the same time. These contradictory elements creates this complex depth that stirs up the emotions inside of the viewer. Djurberg confronts us with our childhood fantasy but also giving us the fear that we only see in our dreams or the eyes of a child.

IV. How does Djurberg play with the ideas of children's stories, and innocence in some of her work?

Djurberg tends to start her films off with children's stories-like feel and innocence. Keeping the traditional roles of fairy tales such as the good, bad, and kind helper; she blurs these roles by adding gore to make the film more grotesque. She probably wants to show that naivety and innocence do not last long, and the real world is nothing like these pure childish stories. Djurberg also notes that appearances can be deceiving, like children are actually not as innocent as they seem.

V. There is a current fascination by some designers with turning the innocent and sweet into something disturbing. Why do you think this has come about?

The idea of 'sweet and innocent' is very nostalgic and can be related to many people's childhood. By adding dark elements to these ideas it makes things more interesting. Not only does it 'wake up' the viewer, but can also cause some discomfort which is what makes the idea very eye-catching.

Another reason is probably because of the current society. 'Sweet and innocent' obviously falls into the 'light' category. By adding evil to good, dark to light, artist and designers are blurring the line that defines what is good and bad. This is a reflection of the present life of today.

VI. In your opinion, why do you think Djurberg's work is so interesting that it was chosen for the Venice Biennale?

I personally think Djurberg's work was chosen because her work is about grotesque. The disturbing, ugly yet beautiful is a concept that is gaining popularity in current years. Her works also questions the viewer about their perception of right and wrong, showing us a fantasy realm where we have to question these ideas and confront our fears of what we do not understand. Another reason could be the way she lays out her clay sculptures to make a scene is not how you'll see it in a usual gallery. Her works also makes people talk and debate, which is why I think it was good for the Venice Biennale.

VII. Add some of your own personal comments on her work.

Even though I have not seen any of Djurberg's animations, I think her work is very interesting and makes you most aware of how human you are. I think that is why her works are very uncomfortable to look at. Realizing and accepting the truth is not always easy. As we investigate into the dark side of the human soul we realize how much humans are capable of. I think Djurberg's work allows us to question whether there is such a line between good and evil.

Reference:

http://www.designboom.com/weblog/cat/10/view/6886/nathalie-djurberg-experiment-at-venice-art-biennale-09.html
http://blog.art21.org/2009/06/16/nathalie-djurberg-and-paul-chan-making-weird-worlds-at-birnbaums-biennale/
http://we-make-money-not-art.com/archives/2009/10/nathalie-djurberg-who-won-the.php
http://artnews.org/artist.php?i=1211

Kazanjian, D. (2008). Wicked fairy tales. Retrieved from http://dev.www.zachfeuer.com     

      /wp-content/uploads/ND_Vogue_1108.pdf

Schwabsky, B. (2006). Emerging artist. Retrieved from http://www.zachfeuer.com 

       /wp-content/uploads/ND_ModernPainters_0906.pdf

Landscape and the Sublime

"Misrach lives such moments to their sensory brim without standing on any ceremony. He gives us the feeling that what happens out there in the nominal wild happens for him and to him quite in advance of being filtered through any memory of art." (Max Kozloff, American Art, National Museum of Art, Smithsonian Institution)

'Battleground Point #1' (1999) Richard Misrach

  

Questions from the Cadi Blog:

I. Define the Enlightenment, including its context (time and place).
The Enlightenment was likely to have been centred around France during the 18th century but when the Enlightenment truly started is not known nor when it ended. More or less in present day we are still in an Enlightenment world. According to Hamilton, (1992, p. 23) "the Enlightenment was the creation of a new framework of ideas about man, society and nature, which challenged existing conceptions rooted in a traditional world-view, dominated by Christianity". Because of theses new ideas Enlightenment 'intellectuals' raises concerns of the Church's authority, its control of the information media and their traditional views of the world.

II.Define the concept of the Sublime.

'Wanderer in the Mists' (1818) David Friedrich

The Sublime was the ultimate experience of divinity and greatness that is unmeasurable or imitated. The concept is about how "the life of feeling and spirit is in harmony with the larger order of the universe." (AUT University, 2012, p.110) A good example of the Sublime is 'Wanderer in the Mists' by David Friedrich. Instead of a serene and admiration to beauty of the misty mountains treatment; the landscape is full of energy. Landscape is used here to show the Sublime, the feeling of overwhelming greatness yet a mixture of awe as the artist stands on the rocky mountain top.

III. Explain how the concept of the Sublime came out of Enlightenment thought? 
The idea of the Enlightment was to look and have a new view of the world without the influence of the Church. This led people to focus more on humanity and the study of the natural world. As a result Sublime emerged possibly because of the idea how people are compared and incomparable to the enormous universe.

IV. Discuss the subject matter, and aesthetic (look) of Misrach's work to identify the Sublime in his work. Include some quotes from art critics and other writers who have written about his work.

'Swimmers, Pyramid Lake Indiana Reservation, Nevada' (1987-93) Richard Misrach

"But he almost always includes a sense, visible or implicit, of human interaction and presence, and a magisterial manipulation of light and composition." (David Littlejohn)

Misrach captures very captivating, calm and simplistic images yet very complex and mysterious in their ideas. Misrach's main subject matter is the open landscape. He focuses only what is natural and draws people in by the beauty and colour of nature. Taken in the 20th and 21st century he includes no towns, shops, cars or anything that is noisy to disturb his scene.

Like the concept of Sublime, nature is the central focus in Misrach's works. In works like 'Swimmers, Pyramid Lake Indiana Reservation, Nevada', landscape overpowers the figures to give a sense of admirable greatness yet fear of the overwhelming environment that seems to go one forever.

V. Describe how does Misrach's photography makes you feel. How does it appeal to your imagination?

'On the Beach' (2002-05) Richard Misrach

'On the Beach' (2002-05) Richard Misrach

Looking at Misrach's 'On the Beach' works makes me feel very overwhelmed not only by the vast landscape but the truth of reality. In Misrach's works, nature and life seems to go on forever. You hear nothing but the sound of your own breathing and occasionally the sound of a small gust of wind or a gentle roll of wave. Yet the lone figures in the 'On the Beach' series made me realize how fragile and vulnerable we are compared to the world around us. Even though life goes on, Misrach's photos seems to show that we humans don't. His photos also gives me a feeling of sadness. The figures being frozen in their world, not knowing whether they want to move on or to stay and escape reality.

His works also gave me as a viewer a world where I can escape to from the wild and busy reality. His works makes me feel as if I'm longing something. The colours and calmness that he managed to capture hypnotically draws me in and drowns me into his world.

VI. Identify some other artists or designers that work with ideas around the Sublime, from the Enlightenment era as well as contemporary artists.

'The Widow of an Indian Chief Watching the Arms' (1785) Joseph Wright of Derby

We can see the Sublime in this painting by how the landscape (or more specifically the sky) is dramatic which adds to the feeling of the great natural world, both beautiful and fearsome.

 

'Hidden Lake of Memories Blue' (2010) John L. Mendoza

Like Derby's painting, the dramatic use of colour and brushstrokes shows the idea of the Sublime.

VII. Add a Sublime image of your choice to your blog, which can be Art or just a Sublime photograph. 

'The Colours of Winter' (2011) Leonid Afremov

Reference: 
http://www.bu.edu/wcp/Papers/Aest/AestGilm.htm 
http://seesawmagazine.com/misrachpages/misrach_interview.html 
http://www.pdnphotooftheday.com/2010/01/3367 
http://www.edelmangallery.com/misrach-bio.htm 
http://online.wsj.com/article/SB10001424052970203914304576631420492598888.html 

Clewis, R. R. The Kantian sublime and the revelation of freedom. Retrieved from
   http://www.cambridge.org/servlet/file/store6/item2495325/version1   
   /item_9780521516686_excerpt.pdf 

Hamilton, P. (1992). The Enlightenment and the birth of social science, in Hall, S. & Gieben 
   B. (eds), Formations of Modernity. Cambridge: Open University Press.

AUT University. (2012). Landscape and the sublime. Academic Literacies in Visual 
   Communication 1. Auckland, New Zealand: Lyceum Press.

The Social Status of the Artist - The Renaissance and Now

"The French term Renaissance emerged in the 19th century and was used to describe an entire period of rebirth, occurring between the 14th and 17th centuries. Artists of this time looked back to those before them while incorporating a greater sense of light and color through new mediums. Creating a sense of space was also a major innovation of the time, as was perspective, a clever device that causes your eye to see in three-dimension." (Maria Lacy Kitchin)

'Self Portrait in Fur Coat' (1500) Albrecht Durer

Questions from the Cadi Blog:

I. Identify aspects of Durer's self portrait that show a changing view of the artist's view of himself as an individual.

During the Renaissance artists began to see themselves as intelligent people of society. They see themselves as part of the liberal arts, like the architects and writers. We can see the new way artists' view themselves in Durer's 'Self Portrait in Fur Coat'; how he paints himself identical to the godly Christ. Durer possibly see himself as high human being because like Christ, Durer is also a 'creator'. Through the pose and position of the portrait and the use of Latin words; Durer shows the viewer that he is a genius, intelligent and powerful artist.

II. Explain how the artist's social status increased during the Renaissance period. Briefly explain why this  

    happened.

The social status of artists increased during the Renaissance perhaps because of Mercantilism. Driven by mercantilism, more artists were hired by wealthy merchants and nobles to fill their homes with paintings. Because higher class people were commissioning artists, they see the right to have more fame and be more noble in society as well.

Another key movement to the increased social status of artists during the Renaissance was 'Humanism'. Humanism was the revival of classical antiquity and learning such as mathematics and science. Because individuals was the new encouraged focus, artist were painting more famous men and wanting equal fame for themselves. To increase their status, artist incorporate more intellectual knowledge into their work to be more superior over the traditional 'craftsmen'. This also led them to be higher in social status, known as educated men, a part of the liberal arts and a part of the Humanist society.

III. Comment on Gavin Turk's work in relation to individualism, status of the artist and egotism.  

'Knob' (1997) Gavin Turk

An autograph is a signature that most people will relate with fame and popularity. Turk's 'Knob' shows that his signature represent his own individual self. It could also be interpreted as arrogance because he see himself as very famous or of such high importance that his signature needs to be made into an artwork (with colours).

IV. Comment on Damien Hirst's use of his work and the media for self promotion.

Damien Hirst with 'The Physical Impossibility of Death in the Mind of Someone Living' (1991)

Hirst uses very controversial materials and sometimes unethical ways of obtaining and making his artworks. People are also questioning whether his works should be called "artworks" since he didn't have much relationship with the making progress. Such as 'The Physical Impossibility of Death in the Mind of Someone Living', the work could either be in a museum or science lab but why was it considered art? Hirst's works questions the audience and media and forces them to debate about his ideas and subjects which puts Hirst at the center of media attention.

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

Hirst also uses money to promote himself clearly seen in his 'For the Love of God', a diamond encrusted skull. With the $50 million asking price the work became the most expensive artwork by a living artist. With the price and the title its hard not to get the media's attention.

V. Find 2 images of work by any artist or designer that reflect some of the ideas of individualism, self promotion 

    or egotism that have been discussed on this blog. Upload images to your blog, title and date the work, 

    identify the artist/designer and comment on the work in relation to the question.

 

Saber, Skywriting

Saber at New York City, Opera Gallery

Saber is a graffiti artist and takes his works out to the streets; using the walls and the sky as his canvas. Saber shows his individualism by painting and expressing his name in graffiti. 

By etching his names on walls out in public, he self promotes by having everyone passing by to see 'him' and his name. His works are also grabbing the media's attention as graffiti is not really considered 'art' but is more known as damaging the city landscape. However this idea is even better as it lets the people know that 'Saber' exist.

VI. How do you think artists and designers are viewed in Western society today?

In Western society nowadays, artists and designers are seen as people who express their thoughts and ideas into their crafts and materials. Some can be a reminder of our past, and some can show us their glimpse of the future. Saying this, in today's world there are no clear definition to what is art and what is not. So all artist and designers have the freedom to express whatever.


Reference:
http://voices.yahoo.com/individualism-secularism-humanism-during-renaissance-2157826.html 
http://www.jstor.org/discover/10.2307/2708126?uid=2129&uid=2&uid=70&uid=4&sid=47699015910067 
http://employees.oneonta.edu/farberas/arth/arth200/artist/durer_koerner.html 
http://www.mieonline.org/home/attachments/GENIUS.pdf 
http://www.students.sbc.edu/kitchin04/artandexpression/renaissance%20art.html 
http://www.guardian.co.uk/artanddesign/2002/nov/30/art.artsfeatures1 
http://www.guardian.co.uk/artanddesign/2012/mar/16/damien-hirst-art-market 
http://www.3news.co.nz/Skulls-sharks-and-polka-dots-in-Damien-Hirst-show/tabid/418/articleID/249082/Default.aspx 
http://artfulhelix.wordpress.com/2012/02/21/artist-of-the-day-22112-graffiti-2-saber/ 

Barker, E, Webb, N. Woods, K. (1999). Historical introduction: the idea of the artist. In E. 
    Barker, N. Webb and K. Woods (Eds.), The Changing State of the Artist (pp.7-25). 
    London: Open University

Blunt, A. (1962). Artistic Theory in Italy 1450-1600. Oxford: Oxford University Press 

McManus, A. (2012, May). Saber x Revok. Juxtapoz, 19(136), 106-117. 

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:

http://christchurchartgallery.org.nz/bulletin/162/shyness-sculpture/

http://www.hyperrealart.com/index.htm 

http://sunseven.hubpages.com/hub/Awesome_Sculptures_Of_Ron_Mueck 

http://www.historyguide.org/intellect/humanism.html 

http://www.guardian.co.uk/artanddesign/2006/aug/06/art2 

http://eklektx.com/ron-mueck/ 

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:

http://www.gagosian.com/artists/damien-hirst/

https://www.othercriteria.com/browse/all/projects/for_the_love_of_god_project/

http://www.artknowledgenews.com/Damien_Hirst_For_The_Love_Of_God.html

http://www.geekologie.com/2007/06/damien-hirsts-for-the-love-of.php
http://www.dailymail.co.uk/news/article-459204/Damien-Hirst-unveils-jewels-crown-50m-diamond-studded-skull.html 

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:

http://www.greenpeace.org/international/en/campaigns/oceans/overfishing/

http://www.thekermadecs.org/