I think the section of the White Cube by Brian O'Doherty was interesting in stating that the white wall's (in a gallery) apparent neutrality is an illusion. I think the white walls of a gallery space is "Neutral" but may not be the best option for specific paintings. The paintings in my opinion should almost blend in with its surroundings as to not be distracted by anything around it including the "neutral" white wall. The white walls, as said in the book, can make people act differently and become very judgmental. The white walls are not neutral and comforting. They change people into something they were not before. The white walls could eventually drive you mad and gear for a change such as Michael Asher, Galleria Toselli, Milan//1973.
I did find the reading a little challenging however this is one of the areas I need to focus on and improve. In the introduction by author/editor Claire Doherty finding a specific location outside of a gallery or inside the gallery can have a substantial meaning to the work in question. Bruce Naumans' Square Depressions in Munster is a good example on how public art or art in a public space can be fixed and highly critiqued, according to Rosalind Krauss' diagram of sculpture in the expanded field commented on how Nauman's piece isn't a landscape, a sculpture and there doesn't appear to be any likeness to architecture, hence highly criticized but does draw a crowd.
For an artist to find a location for installation can be very difficult. The artist may want to get a specific point across in which the location needs to be ideal in order for that point or message to get across to the viewer or spectator. I really enjoyed Michael Asher's installation (Caravan) where his West German trailer was located in a different spot each week in Munster (1977). I feel this installation the caravan is a good representation of how a location, place or a space is extremely important to artists work. In his installation it wasn't about the specific caravan however it was the surroundings around the caravan that were changing during each week each year and that alone has meaning in itself (placement of work).
I personally have encountered the same problem. During my second year study abroad University I had to locate specific sites to capture specific sounds. There were some locations that I needed permission, there were some locations that had very harsh restrictions such as no filming but I could record audio, and there are others that would not allow me or permit me on the premises at all to record sound.
This image is a commentary on the use of space and situation that the reading was mostly focussing on. I chose a monumental piece of architecture (in a photograph, which already deteriorates the majesty of it vs. in person) and enclosed it within a confined view. The view then alters the public and natural space surrounding the tower and heavily limits the situational awareness of the tower itself. I decided then to allow the tower to bleed into a white void, inspired by the “white cube” but as since it is a digital void and not a real physical space, I wanted to ask: is the tower being enclosed in the circular frame any different from the tower escaping that frame into another blank space that is still enclosed by the blank space’s boundaries. Each frame, the circle or the white space, still presents its own different connotations and relays the importance of no matter where or how an art piece is presented; the environment is still detrimental to how the art is perceived.
1 The theme of vulnerability is discovered in the works not by exposing or revealing themselves but by using a persona. This persona creates distance between the artist and the viewers, thus making the performance vulnerable, not just the artists themselves. The audience eyes become vulnerable to the acts as they view them. The audience becomes vulnerable through the act of looking. Some artists from the festival took things a step further in keeping their actual name confidential, using an anonymous name or disguised in the third person. Other artists such as Jeff made the topic of vulnerability quite literal in putting his own body in harms way and having his skin or body vulnerable to the elements of his performance. Through this literal performance there was also vulnerability felt within the audience making them uncomfortable while Jeff rolled along the ground with shards of broken beer bottles between his flesh and overalls. Corporal Otis created an interesting piece as he dressed up as a storm trooper and stalked his victims to “assassinate” them. Making himself visually distinct from others and easily recognisable created a back and forth play with vulnerability. There were times when he would stealthily stalk his targets as well as times when his victims only noticed him. When the storm trooper became visible there is a sense of panic since a game of cat and mouse has started and you have become the vulnerable mouse.
2 Vulnerability tome can come from any of the human senses that make that person in particular unprotected or uneasy. Since our senses communicate strongly with our mind it makes sense that they are what make us vulnerable. Vulnerability can happen through touch, smell, sound, taste and sight. . Looking back to my first year at brock when I began to draw the human form, even though the subject was vulnerable to everyone’s gaze it was I who somehow felt vulnerable. Through the act of looking I felt as though I was not supposed to look without anything other than the artistic view of the body. With that in mind the vulnerability came to me from looking at other students of the class and them judging my every look. Therefore, I attempted to avoid looking at areas of the body for long periods of time in this vulnerable state of judgment. I also worked on a project last year that involved a friend of mine from home and events he has been through. This project focused on a specific event from his past that I wanted to understand. Through a few video calls we had talked about that specific event. Trying to grasp all the thoughts and emotions coming from him made me think if this could ever happen to me or if I could ever hit that point in my life. It made me understand him better and also understand more of a subject I could never grasp. In his story he became weak and with it came along a story that will continually keep me feeling helpless at all moments of every day of the perceivable future.
3. I believe the artists communicate the idea of vulnerability quite well and accomplish this in many different was. These ideas are physical (Jeff), visual (Corporal Otis), or a combination such as visual and audio (Emma-Kate). It seems the artists play with many aspects revolving around the idea of vulnerability. Names for example, as stated earlier, become tied in with the theme as well such as Corporal Otis persona where Otis actually means nobody which keeps his real name at bay. This created character keeps his true identity from coming forward and from being revealed to the world. The artists play with this term in many other ways as well, making their audience more vulnerable than the artists themselves. This statement corresponds to Jeff’s work where he endured physical damage and torture to his own body in front of onlookers. The artist was vulnerable in his exposure as well as the physical elements tied in with his performance while the audience felt vulnerable through this performance for his safety and well-being. In sum the artists of this year’s festival were interesting and not only presented the theme in interesting ways but also seemed to create the festivals theme within the audience or onlookers.
Having now started our readings for class this book is a wonderful read. The way Claire Doherty has put this series together documenting major themes and ideas in contemporary art is pretty interesting. The writing style itself I found to be a bit tricky at first to read but once you break it apart slowly and go over each artist’s surveyed it becomes easier. Some topics that really stood out to me were the meaning of place, the role of the artist, the role of the curator and the relationship between action and public space.
One of the documents in the text that I want to expand on is the one by Michael Asher about his exhibition at Galleria Toselli, Millan, 1973. His proposal for the exhibition was to have the walls and ceilings completely sand blasted so that every layer of white paint that had been covered over the years at the gallery was removed down to the underlying plaster. He states how it took four days to work on the removal with a small group of people. I found it so interesting and amazing when he writes about how the process of subtraction was also a process of addition in the sense that the exposed plaster is something someone could view as added material. The really amazing part to me that Asher has pointed out through his exhibition and talks about is how the white display surface walls are such a fundamental part of the gallery space and presentation of works in a gallery. Its funny how the plaster then becomes just as important and integral as the crisp white walls of a gallery.
I did a creative response to reading this at home in my own bedroom. I stripped it down to the bones by moving my furniture away from the one side. The pictures show before and after and as I was doing this I was surprised about how it made me feel. It’s a space that I am in every single day but have never really thought that intensely about the space itself before. Seeing it emptied out and just sitting in the space created a wave of emotions. What an interesting experience!
I think the section of the White Cube by Brian O'Doherty was interesting in stating that the white wall's (in a gallery) apparent neutrality is an illusion. I think the white walls of a gallery space is "Neutral" but may not be the best option for specific paintings. The paintings in my opinion should almost blend in with its surroundings as to not be distracted by anything around it including the "neutral" white wall. The white walls, as said in the book, can make people act differently and become very judgmental. The white walls are not neutral and comforting. They change people into something they were not before. The white walls could eventually drive you mad and gear for a change such as Michael Asher, Galleria Toselli, Milan//1973.
ReplyDeletehttps://fbcdn-sphotos-c-a.akamaihd.net/hphotos-ak-frc3/1238737_569674556422293_843994290_n.jpg
ReplyDeleteThe White Cube 1
https://fbcdn-sphotos-e-a.akamaihd.net/hphotos-ak-ash4/1003225_569674539755628_1037825771_n.jpg
The White Cube 2
https://fbcdn-sphotos-h-a.akamaihd.net/hphotos-ak-prn1/1240095_569674523088963_1105987616_n.jpg
The White Cube 3
This comment has been removed by the author.
ReplyDeletehttp://visa3f96-2013-14.blogspot.ca/2013/09/visa-3f96-assignment-1.html
ReplyDeletehttps://docs.google.com/file/d/0BzCyy4t9fAA9aWxSbFpQVW1HUnM/edit?usp=sharing
ReplyDeleteI did find the reading a little challenging however this is one of the areas I need to focus on and improve. In the introduction by author/editor Claire Doherty finding a specific location outside of a gallery or inside the gallery can have a substantial meaning to the work in question. Bruce Naumans' Square Depressions in Munster is a good example on how public art or art in a public space can be fixed and highly critiqued, according to Rosalind Krauss' diagram of sculpture in the expanded field commented on how Nauman's piece isn't a landscape, a sculpture and there doesn't appear to be any likeness to architecture, hence highly criticized but does draw a crowd.
ReplyDeleteFor an artist to find a location for installation can be very difficult. The artist may want to get a specific point across in which the location needs to be ideal in order for that point or message to get across to the viewer or spectator. I really enjoyed Michael Asher's installation (Caravan) where his West German trailer was located in a different spot each week in Munster (1977). I feel this installation the caravan is a good representation of how a location, place or a space is extremely important to artists work. In his installation it wasn't about the specific caravan however it was the surroundings around the caravan that were changing during each week each year and that alone has meaning in itself (placement of work).
I personally have encountered the same problem. During my second year study abroad University I had to locate specific sites to capture specific sounds. There were some locations that I needed permission, there were some locations that had very harsh restrictions such as no filming but I could record audio, and there are others that would not allow me or permit me on the premises at all to record sound.
Please open URL for creative response:
https://soundcloud.com/danzzz/blogpost1
Seems like you got it Dan, good job!
Deletehttp://imgur.com/sZJodef
ReplyDeleteThis image is a commentary on the use of space and situation that the reading was mostly focussing on. I chose a monumental piece of architecture (in a photograph, which already deteriorates the majesty of it vs. in person) and enclosed it within a confined view. The view then alters the public and natural space surrounding the tower and heavily limits the situational awareness of the tower itself. I decided then to allow the tower to bleed into a white void, inspired by the “white cube” but as since it is a digital void and not a real physical space, I wanted to ask: is the tower being enclosed in the circular frame any different from the tower escaping that frame into another blank space that is still enclosed by the blank space’s boundaries. Each frame, the circle or the white space, still presents its own different connotations and relays the importance of no matter where or how an art piece is presented; the environment is still detrimental to how the art is perceived.
- Bryan
https://docs.google.com/document/d/1AaC-cOTfz_FLJLAmfjYj6A-fiEpKNXUarNHTeJT7XC8/edit?usp=sharing
ReplyDelete-Jamie
(sorry about the time, couldn't figure out how to post!)
Hi Jamie
Deletecan't seem to access link, can you post the image to Sakai? Thanks!
Assignment 2 - Visualeyez Vulnerability
ReplyDelete1 The theme of vulnerability is discovered in the works not by exposing or revealing themselves but by using a persona. This persona creates distance between the artist and the viewers, thus making the performance vulnerable, not just the artists themselves. The audience eyes become vulnerable to the acts as they view them. The audience becomes vulnerable through the act of looking. Some artists from the festival took things a step further in keeping their actual name confidential, using an anonymous name or disguised in the third person.
Other artists such as Jeff made the topic of vulnerability quite literal in putting his own body in harms way and having his skin or body vulnerable to the elements of his performance. Through this literal performance there was also vulnerability felt within the audience making them uncomfortable while Jeff rolled along the ground with shards of broken beer bottles between his flesh and overalls.
Corporal Otis created an interesting piece as he dressed up as a storm trooper and stalked his victims to “assassinate” them. Making himself visually distinct from others and easily recognisable created a back and forth play with vulnerability. There were times when he would stealthily stalk his targets as well as times when his victims only noticed him. When the storm trooper became visible there is a sense of panic since a game of cat and mouse has started and you have become the vulnerable mouse.
Assignment 2-2
ReplyDelete2 Vulnerability tome can come from any of the human senses that make that person in particular unprotected or uneasy. Since our senses communicate strongly with our mind it makes sense that they are what make us vulnerable. Vulnerability can happen through touch, smell, sound, taste and sight. . Looking back to my first year at brock when I began to draw the human form, even though the subject was vulnerable to everyone’s gaze it was I who somehow felt vulnerable. Through the act of looking I felt as though I was not supposed to look without anything other than the artistic view of the body. With that in mind the vulnerability came to me from looking at other students of the class and them judging my every look. Therefore, I attempted to avoid looking at areas of the body for long periods of time in this vulnerable state of judgment.
I also worked on a project last year that involved a friend of mine from home and events he has been through. This project focused on a specific event from his past that I wanted to understand. Through a few video calls we had talked about that specific event. Trying to grasp all the thoughts and emotions coming from him made me think if this could ever happen to me or if I could ever hit that point in my life. It made me understand him better and also understand more of a subject I could never grasp. In his story he became weak and with it came along a story that will continually keep me feeling helpless at all moments of every day of the perceivable future.
Assignment 2-3
ReplyDelete3. I believe the artists communicate the idea of vulnerability quite well and accomplish this in many different was. These ideas are physical (Jeff), visual (Corporal Otis), or a combination such as visual and audio (Emma-Kate). It seems the artists play with many aspects revolving around the idea of vulnerability. Names for example, as stated earlier, become tied in with the theme as well such as Corporal Otis persona where Otis actually means nobody which keeps his real name at bay. This created character keeps his true identity from coming forward and from being revealed to the world. The artists play with this term in many other ways as well, making their audience more vulnerable than the artists themselves. This statement corresponds to Jeff’s work where he endured physical damage and torture to his own body in front of onlookers. The artist was vulnerable in his exposure as well as the physical elements tied in with his performance while the audience felt vulnerable through this performance for his safety and well-being.
In sum the artists of this year’s festival were interesting and not only presented the theme in interesting ways but also seemed to create the festivals theme within the audience or onlookers.
http://visa3f96-2013-14.blogspot.ca/2013/09/assignment-2.html
ReplyDeleteHaving now started our readings for class this book is a wonderful read. The way Claire Doherty has put this series together documenting major themes and ideas in contemporary art is pretty interesting. The writing style itself I found to be a bit tricky at first to read but once you break it apart slowly and go over each artist’s surveyed it becomes easier. Some topics that really stood out to me were the meaning of place, the role of the artist, the role of the curator and the relationship between action and public space.
ReplyDeleteOne of the documents in the text that I want to expand on is the one by Michael Asher about his exhibition at Galleria Toselli, Millan, 1973. His proposal for the exhibition was to have the walls and ceilings completely sand blasted so that every layer of white paint that had been covered over the years at the gallery was removed down to the underlying plaster. He states how it took four days to work on the removal with a small group of people. I found it so interesting and amazing when he writes about how the process of subtraction was also a process of addition in the sense that the exposed plaster is something someone could view as added material. The really amazing part to me that Asher has pointed out through his exhibition and talks about is how the white display surface walls are such a fundamental part of the gallery space and presentation of works in a gallery. Its funny how the plaster then becomes just as important and integral as the crisp white walls of a gallery.
I did a creative response to reading this at home in my own bedroom. I stripped it down to the bones by moving my furniture away from the one side. The pictures show before and after and as I was doing this I was surprised about how it made me feel. It’s a space that I am in every single day but have never really thought that intensely about the space itself before. Seeing it emptied out and just sitting in the space created a wave of emotions. What an interesting experience!