Uncreative Practise: Week 3
I enjoyed the simplicity of the works house within the Large Glass Gallery.
There was a very homemade feel to the works that celebrate themselves as what they are: somebody else’s
I particularly enjoyed the drawings and their presentation. Used and unfolded, they were scraps, stuff, but still works of art in their own right.
In terms their presentation, I am thinking of moving my drawings into the similar sphere, where they are not made to be wholly aesthetic, but instead personal, (visibly) used objects that show signs of use and significance. This is a trend I have always wanted to explore in my work as in many ways I do not want to elevate its status, but instead present the as they are, as I see them; my tiny scribblings of ‘The People of my Everyday’.
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Things that exist or are used or enjoyed for only a short time.
ORCollectable items that were originally expected to have only short-term usefulness or popularity.
Apparently casual, these announcements or invitation cards or notes are a vivid and atmospheric way into different artists’ worlds. Sometimes conceived of quickly, printed in a rush and dispatched to friends and colleagues, the words and images on simple cards or even a personal note, can carry deliberate artistic significance.
Richard Hamilton printed “Don’t Forget” followed by Marcel Duchamp’s signature capturing Duchamp’s recognition of the power of fleeting messages. Eileen Gray’s graphics on her invitation to the opening of her art deco shop Jean Desert is redolent of the craftsmanship in Paris in the 1920’s; Claes Oldenburg’s “Store” was set up to be impermanent, a messy place for free expression which he called it his cheap East Village Studio – one of the few things that remains is the beautiful, pearly, turquoise notice card.
Other printed material in the show relates to artists including Marcel Broodthaers, Hanne Darboven, Jeremy Deller, Marcel Duchamp, Yves Klein and others. Pieces on display all intimately connect to artists’ practices.
DON’T FORGET: Artists’ Remnants and Paper Scraps
Richard Hamilton Reminder published by Edition Hansjörg Mayer, Stuttgart, 1979
Installation View Don’t Forget: Artists’ Remnants and Paper Scraps 2015
Artists Recording Notes:
- A longstanding familiarity of with the integration of art and printed matter
- Education as an artist coming from printed materials, compared to art education now where most of the information comes from the screen
- Art and its Reproduction? – which sometime an be the artwork itself; lack of intimacy
- playing around with references and recognition (from the viewer)
- Printed matter has a weird quality where it can be released as information or documentation) and over time it can acquire more of a connection to the (original) work that it can be considered as the work of art itself.
- Documents each with their back history (Hamilton and Duchamp ‘readymade’)
- An experience a direct as it would have been experiencing the original work but share in the artistic process of the original piece
- Collection: ambiguity as to the status of the objects, which make for a different kind of experience by the viewer usually experience in galleries; the threshold to accessing the work
- Authority of Work: pushes the spectator away and changes their experiences which is controlled and guided – manipulation of the audience; a strange place of worship
- Ambitious as their status and experience them as art (if you get it0 and stuff (if you don’t). Overall it doesn’t really matter
- The Status of ‘Value’?
- Value as continually changing
- A visual journey of looking through the objects; the more yo know the more enjoyment yo gain through looking around the exhibition; knowledge, familiarity, experience etc.
- Foster an intimacy with the artists work
- Inquisitive streak the it comes to looking at art: the idea of art and beauty which can be an entry point to a personal relationship with art and art objects
- Presentation: Exhibition, managing the diversity of the material, allowing them to remain manageable; a carefree show that remains accessible
- Displayed by value, but also as you you assess its value – allows audience to inflect value
- Removes formalisations of the art work
- Laissez-faire attitude to exhibition layout
- A lot of the works are being sold post-exhibition
Crit Notes:
- Within the work of appropriation, a part of the pleasure (Mulvey) is the recognition of where it (originally) comes from, but in a new context
- Links to Hamilton and Duchamp – if you have pre-exiting knowledge then you would have knowledge from the works
- intended as ephemera an not to be a piece of art. In this way it is like you are gaining insight into their relationship with one another
- think about the process as an artists practise as something you can talk about in casual conversation – informality as the work
- Not meant to be exalted as a work of art although it is. What a contradiction. More an attempt at accessing behind the scenes of the making of the work
- This show appeals to what interest you, opposed to the clarity of the work.
- Demands research
- The idea of value?
- Artistic Market – what decides value?
- ‘Value’ as ephemeral and trend orientated
- Work as interrogative of the market
- Got nothing to do with the works intrinsic value but the context around it
- Exhibition as a contradiction – something to be sold, that was never meant to be, now fetching large amount of money
- Collection as his practise – from auctions. As much a collector as he is a artist. but not a traditional collector as he is not withdrawn from the making of work. He is almost the middle man (managerial position) . Collecting is his processing this normally amount to other (artists) peoples work, most likely on paper
- Managerial aspects as a part of his practise which allows him to be a successful artist. The act is two-fold
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In Relational Aesthetics Nicolas Bourriaud posits “the role of artworks is no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real, whatever the scale chosen by the artist.” To that end, in my practice I promote open-ended scenarios around collaboration, interaction and authorship. My practice integrates the public realm, whether in the form of physical landscape, political environment, social community, or a combination thereof. My videos, installations, photographs, and new media works play with the gap between the actual and the expected within these varied real world contexts.