Annotated bibliography Roxy Paine

Dempsey, Amy. Destination Art, London: Thames & Hudson, 2006

Destination Art examines sculptures which are site specific to the natural environment. Dempsey discusses how these must be ‘travelled’ to experience the true meaning and totality of each piece. This book only briefly mentions one of Paine’s dendroids and was no use to my presentation.


Heartney, Eleanor. Art & Today. London: Phaidon Press Limited, 2008.

The chapter Art, Nature and Technology provides an overview and loose timeline of nature, technology and the body in Contemporary art. Heartney discusses numerous artists and their works in relation to this theme. Roxy Paine’s sculptures and paintings are only briefly touched on. Although this book was useful for a brief summary of the artist’s work, the chapter allowed to put contextualise his work.


Heartney, Eleanor. Roxy Paine, Munich, New York: Prestel, 2009

Roxy Paine by Eleanor Heartney is a comprehensive examination of the artist’s works, his themes and philosophies. She discusses his three oeuvres - automated art machines, replicants and dendroid, how his artworks relate to each other and how they fit within the theme of nature and technology. Heartney includes detailed illustrations of Paine’s works including his sketches and models. This book is a ‘bible’ for anyone who is interested in Roxy Paine or as a study tool.


Schimmel, Paul; Sutton, Gloria. Ecstasy : in and about altered states, edited by Lisa Mark, Los Angeles, Calif. : Museum of Contemporary Art; Cambridge, Mass. : MIT Press, 2005.

Ecstasy examines the connection between the human consciousness and Contemporary art. This book gives the reader a brief insight into his first major piece Drug Ziggurat, 1994, a nine-foot-tall tower consisting of addictive products and his realistic models of highly toxic mushrooms. It is just an overview of Paine’s work with real no benefit to my assignment.

annotated bibliography: zhang huan

1/2
1998, Beijing, China

Yilmaz Dziewior, RoseLee Goldberg, Robert Storr, Zhang Huan. ZHANG HUAN. PHAIDON PRESS, 2009.
overall, a good book. with three different perspectives (one including the artist himself) i found it very painless to learn about him. i personally am a fan of phaidon books, so i find them very helpful. i always appreciate the photographs they include in the book.

Essay by Zhang Huan: Altered States, Published by Charta and Asia Society, 2007.
this was an essay written by the artist himself. it is an autobiographical document of his life as an artist. i found this very interesting and really learnt and took in what he wrote; things about himself and about why he creates, his values and beliefs. 

Richard Dale. ZHANG HUAN. 1999.
this was a little book only specifying in his earlier photographic performances. it really helped me to understand and fully grasp his intentions on why he chooses to only use photographic documentation. it was a really great descriptive document, not only explaining the piece but giving in full detail the materials and hours and planning that was made in order to create the piece. details that i couldn't find anywhere else. 

Forbat Sophie, 40 years Kaldor Public Art Projects, (Kaldor Public Art Projects: Art Gallery of NSW) 2009
This provides a good introduction to Tatzu Nishi's practice and provides a short critical analysis of his artwork. There is a brief biography and several of his artworks are touched upon and colour photographs of his artwork are featured. The focus is on War and peace and everything in between (2009) which was a Kaldor Public Art Project so there are reproductions of his plans for that installation. Direct quotes from the artist are featured alongside the text and photographs.

Parry Ben, Cultural Hijack: Rethinking Intervention (Liverpool University: Cambridge) 2011
This discusses Villa Victoria (2002) and War and peace and everything in between in particular. The writer argues that whether or not it is intentional, Nishi's artworks parodies colonialism. The surreal experience created by his installation is examined by how the sculptures are presented in domesticated settings. The writer relates his experience of Villa Victoria. The writer praises Nishi and consider himself a successful artist as his artwork allows the viewer too see the world in new ways.

Lasky Julie, New York Post, A Living Room Suspended Over Columbus Circle
last modified September 19, 2012
http://www.nytimes.com/2012/09/20/garden/a-living-room-suspended-over-columbus-circle.html
In this interview Nishi discusses Discovering Columbus (2012), the focus of this interview how he creates the living spaces based on what he considers to be the average living space instead of his personal aesthetic taste. Nishi explains that he choose the monument of Christopher Columbus as the site because of its height not the historical significance of Columbus. He explains that having his name translated from one Japanese character to the alphabet is why he took on having a series of new names as an artwork.

Pogrebin Robin, New York Times, High Above Columbus Circle, a Living Room, TV Included
last modified August 12 2012
http://www.nytimes.com/2012/08/13/arts/design/in-columbus-circle-tatzu-nishi-to-build-living-room.html?pagewanted=all&_r=0
This article provides technical information about Discovering Columbus like the safety regulations such as the limit of fifty people in the space at one time and the ticketing system. The reactions to the artwork are featured, including that were protestors at the installation. This article is good for learning about how the general public react to his artworks.

I can't post an image with this because I don't have a functional computer but will have it up Thursday. Sorry.

Exhibition Links

http://www.whiterabbitcollection.org/ http://www.mca.com.au/ http://www.annaschwartzgallery.com/works/exhibitions?artist=19&year=&exhibition=404¤t=1&c=s http://www.artgallery.nsw.gov.au/ http://www.manly.nsw.gov.au/attractions/art-gallery-museum/current-exhibitions/ http://www.sherman-scaf.org.au/exhibitions/

Annotated Bibliography: Janine Antoni

Annotated Bibliography:  Janine Antoni

"Slip of the Tongue." edited by The Irish Museum of Modern Art. Dublin, 2000.

This book was very relevant as it contained multiple photos of each work that it explored, as well as a brief overview of each piece at the back. The first few pages give an overview of Antonis’ artists practice and a very brief summary of her background. Some works it depicted further then others, for example there is much more writing on “Slumber” then on “Lick and Lather” (just over a few lines worth). A good starting point to Antonis’ practice and covers some of her most celebrated works.

http://blog.art21.org/2009/10/07/talking-with-janine-antoni-part-one/ (Accessed: October 4^th 2012)

A short, but helpful interview with Janine Antoni. It doesn’t focus on any works in particular, but focuses more on her practice in general. It was done in 2009 so there is a lot of artistic history that Antoni can look back on, and she does, constantly referencing her pieces whilst discussing her general practice. She also elaborates on how her educational background has influenced her practice, as well as the role of specific artists and their influences. This interview was helpful for general purposes but nothing specific.

Weintraub, Linda. Art on the Edge and Over. New York: Art Insights, Inc, 1996.

This book covered a great deal of contemporary artists, as well as some major themes within contemporary art, and is further illustrated through examples of  the artists. It is also organized into categorical chapters which explore different aspects of contemporary art, such as; ‘Some Mediums’ and ‘Some Purposes.’ There isn’t too much depth surrounding each artist, but enough to give one an overall understanding of their practice.

( Janine Antoni is on page 124-128).

Santiago Sierra Annotated Bibliography :

Santiago Sierra 

Annotated Bibliography :   

Santiago Sierra.”Art facts net.” www.artfacts.net/en/artists/santiago-sierra_9963/profile.html

(Accessed October 3,2012)

A time line with information on biography including birth and place of residence ,exhibitions and art works.

Santiago Sierra.”Bombsite.”http://bombsite.com/issues/86/articles/2606

(Accessed October 1,2012)

An over look at Santiago Sierra’s work. Listing big impact works accompanied by multiple photographs . Containing convocation with Santiago on this sight provided to be insightful about the artists views.

Santiago Sierra.”Lisson Gallery.” www.lissongallery.com/artists/santiago-sierra

(Accessed September 29, 2012)

Artists page for Santiago Sierra the page talks about exhibitions and how santiago often addresses structures of power that operate in our everyday existence.

Santiago Sierra.”Marco.” www.marcovigo.com/en/content/santiago-seirra

( Accessed September 29, 2012)

Discussion of the history of shows by Santiago and key interesting elements about santiago , why he is different.

Santiago Sierra.”One day sculpture.” www.onedaysculpture.org.nz/ods_artistdetail.php?idartist=18

(Accessed October 9,2012)

The career of Santiago having a constant interest in political and social issues that art then present in his work.

web sights have been used for annotated bibliography due to difficulty accessing books - limited written resources 

Annotated Bibliography - MONA HATOUM

Hatoum, Mona. Mona Hatoum: The entire world as a foreign land. Curated by Stephen Deuchar. TATE Museum of Modern Art, 2000. Exhibition catalogue. 

- This exhibition catalogue details significant works, as well as an insightful overview of inspirational artists and issues Hatoum uses. Hatoum's exhibition examines the world around us, through ideas of displacement, social inequality and feminism. 

Hatoum, Mona. Mona Hatoum: Unhomely. Curated by Besonderer Dank an, Galerie Max Hetzler Berlin, 2008. Exhibition catalogue. 

- This exhibition catalogue describes previous works in relation to present works in the exhibition. The overview section of the catalogue examines influences of each works, whilst comparing Hatoum's personal history with the work. An important reading based upon its forethought into future exhibitions.  

Outlines of a theory of the Light Sense (1964) by Ewald Hering translated by Leo M. Hurvich and Dorothea Jameson. Harvard University Press Cambridge, Massachusetts 

- Scientific journal which gives an overview of the colour spectrum in relation to the human eye perceiving colours. Relates strongly to Hatoum's use of colour and the pyschological issues colours create in art.   

Jennifer Allora & Guillermo Calzadilla

Jennifer Alloraborn 1974, Pennsylvania, USA
lives and works in San Jan, Puerto Rico
Guillermo Calzadilla
born 1971, Havana, Cuba
lives and works in San Jan, Puerto Rico


For the 26th Kaldor Public Art Project in Australia, internationally renowned artist duo Jennifer Allora and Guillermo Calzadilla present the celebrated project Stop, Repair, Prepare: Variations on 'Ode to Joy' for a Prepared Piano in the State Library of Victoria’s Cowen Gallery. Presented to great acclaim at the Museum of Modern Art in New York, Stop, Repair, Prepare combines sound, performance and sculpture, a captivating new experience for audiences. For this piece, the artists carved a hole in the center of a grand piano, through which a pianist plays the famous Fourth Movement of Beethoven’s Ninth Symphony, usually referred to as “Ode to Joy.” The performer leans over the keyboard and plays upside down and backwards, while moving with the piano across the vast atrium. The result is a structurally incomplete version of the ode—the hole in the piano renders two octaves inoperative—that fundamentally transforms both the player/instrument dynamic and the signature melody, underlining the contradictions and ambiguities of a song that has long been invoked as a symbol of humanist values and national pride.

Annotated Bibliography

Annotated Bibliography

Baudrillard, Jean. Simulacra and Simulation. Translated by Sheila Faria Glaser. United States of America: University of Michigan Press, 1994.

Baudrillards, Simulacra and Simulation is an extensive theoretical analysis of sign systems and the implementation of them into a media soaked and capitalist driven society. Discussions of reality centering around assimilation of signs to be ‘realer than real’ assisted in the chapter ‘The implosion of Meaning in the Media’. Here Baudrillard discuss’ Malcolm McLuhan’s ‘the medium is the message’ in regards to mass media which thus assisted in applying a theoretical framework outside of just visual analysis.

Nakas, Kassandra & Britta Schmitz, edit., The Atlas Group (1989-2004) : a project by Walid Raad. Köln: Buchhandlung Walther König, 2006.

Nakas and Schmitz’s retrospective publication in conjunction with the exhibition of the same title held at Nationalgalerie im Hamburger Bahnhof – Museum für Gegenwart – Berlin provides an extensive breakdown of the groups work I the titled date ranges. This was extremely useful in developing a critical eye that fell simply beyond and archival visual analysis. Particularly in the development of a media centric political reality framework

The Atlas Group Archive. Accessed September 5, 2012. http://www.theatlasgroup.org/

Serving as the online component of the Atlas groups archive the website catalogues all works in the mediums produced. The website (although asked not to be used in course outline) was fundamental in understanding the archives system of cataloguing. It also served as an interesting observation in the sites two loading speeds, this triggering the need to consider what exactly Lebanon’s geographical and contemporary positioning meant in regards to the media critique.

Document Title: Missing Lebanese wars_Notebook Volume 72

by and/or attributed to: Dr. Fadl Fakhouri

date of production: 1989

Number of plates: 20

Dimensions of plates: 25 x 32 cm

Format: Colour photographs

Santiago Sierra

Sierra's most well-known works involve hiring laborers to complete menial tasks. These works are meant to elucidate the nature of the laborer within capitalist society, how the laborer sells his physical labor and thus his body, political issues such as immigration and continual immigrant poverty in Capitalist countries, the nature of work in Capitalist society, and the isolation of economic classes. He achieves this through a number of techniques that present these themes and also question the nature of the art institution. While Sierra is critical of capitalism and the institutions which support it, he is also considered a successful artist. He seems to be aware of this contradiction when he says, “Self-criticism makes you feel morally superior, and I give high society and high culture the mechanisms to unload their morality and their guilt.”

Scottish artist Martin Boyce was born in 1957 and his oeuvre features sculptures and installations. He was the winner of the 2011 Turner prize. Boyce created We are shipwrecked and landlocked for Kaldor’s 18^th project, an installation in Old Melbourne Goal’s courtyard. It’s stylised form references the modernist sculpture Exposition des arts décoratifs, 1925 by Joël and Jan Martel.

This sculpture interacts with the landscape, existing in a place between a place between the real and the imaginary, which is achieved by how he manipulates basic shape referencing the concrete trees from Exposition des arts décoratifs by reshaping them which contrasts the surrounding landscape. This juxtaposition creates a surreal feeling which is emphasised that suggests the sculpture is not a natural element of the landscape. A metal fence and mesh-wire rubbish bins are the main materials used in this sculpture. 

Bill Viola

BILL VIOLA b. 1951 New York, United States

Going forth by Day: First Light 2000

video/sound installation

Dimensions variable

• Instrumental in the establishment of video as a vital aspect to contemporary art practise
• An artists thus far for 40years
• Uses video to explore the phenomena of sense perception as an avenue to self knowledge
• Kira Perov - wife and executive director of Bill Viola Studio

http://www.billviola.com/biograph.html 

Bill Viola

Bill Viola is an American artist born in 1951. He is internationally recognised and was seen as influential to the establishment of video in contemporary art, his works being shown in museums and galleries all over the world. His works involve ‘videotapes, architectural video installations, sound environments, electronic music performances, flat panel video pieces, and works for television broadcast’. His work often focuses on universal human experiences such as birth, death and the unfolding of consciousness, trying to explore the sense perception as an avenue to self-knowledge. His videos communicate to a wide audience by using the inner language of subjective thoughts and collective memories.

Viola has been involved in the Kaldor Projects in both 2008 and 2010. In 2008, two works from Viola’s 2005 series The Tristan Project were presented nightly at St Saviour’s Church in Redfern, Sydney. The darkened church was lit with a larger-than-life projection of Fire Woman and Tristan’s Ascension (The Sound of a Mountain Under a Waterfall), the memorizing images accompanied by sound. After the presentation in Sydney for Project 17 in 2008, these works were installed again for a second time for Project 21, inside a church in Parkville, Melbourne. A second work, The Raft, was also presented at the Australian Centre for the Moving Image as part of the project.

 

 

Fire Woman
Tristan’s Ascension (The Sound of a Mountain Under a Waterfall)

Gilbert & George

Gilbert Proesch and George Passmore are a collaborative art duo known for their eccentric, yet highly formal appearance and manner in their performative, graphic/photo-based works. From an art education based in Austria and Germany, Peroesch moved to England where he met Passmore, also with an art education, claiming that it was 'love at first sight'.

Gilbert & George

The Singing Sculpture

1973

The Singing Sculpture is known best as their launching artwork. As the duo dressed in suits with their heads and hands painted with metallic-bronze coloured powders, and a table as their plinth, they sung along to two songs, one of them being 'Underneath the Arches', whilst making mechanical gestures as if they were in a music box. 

SANTIAGO SIERRA

Spanish conceptualist sculptor and performance artist Santiago Sierra (b.1966) won’t talk about his background or have his portrait taken, yet for someone so seemingly shy his works are very contentious and often extremely confronting.

His performances focus on the inequality of the social and economic systems using the marginalised of society, such as the unemployed, dispossessed, illegal immigrants and prostitutes as his ‘performers’. These performer’s were ‘paid’ , however, their ‘payment’ could be seen as being ‘equivalent’ to their ‘life story’, for example,  ‘In 2000 he hired a tattooist to tattoo a continuous thin line across the backs of four drug-addicted prostitutes in return for the price of one hit of heroin.

 
160 cm Line Tattooed on 4 People El Gallo Arte Contemporáneo. Salamanca, Spain. December 2000 
Sierra’s events test individual and social boundaries to expose social and cultural inequalities1
 
In 2010 Santiago produced a piece for John Kaldor’s Project 22, titled

  

7 forms measuring 600 x 60 x 60 cm constructed to be held horizontal to a wall, in which he unifies ‘sculpture and performance to create a physical portrait of the labor economy. Hired for the minimum wage, the employees hold monolithic structures on their shoulders for the duration of a working day. They recall the caryatid or atlas figures whose sculpted forms stand as pillars to support the weight of classical architecture. Carrying casket-like forms on their shoulders, they represent what Sierra calls the ‘social burial’ of labor..... Sierra stipulated that they must be paid the minimum wage and be genuinely in need of work.’2  
Santiago Sierra’s performances are remarkably confronting and thought provoking due to reality of the ‘performers’ lives and the public nature of these works. 

1. http://kaldorartprojects.org.au/project-archive/santiago-sierra-2010
2. http://kaldorartprojects.org.au/project-archive/santiago-sierra-2010