John Kaldor Family Collection

John Kaldor has been collecting art for fifty years. His first buy was a Roy Lichtenstein purchased in 1963 for fifty dollars. His collection has since grown to the value of 35 million dollars worth and is now housed in the new Art Gallery of NSW wing, which bares his own name, The John Kaldor Family Collection.

Kaldors successful background in Textiles enabled him to collect works of art from around the globe. This passion has since seen him establish Kaldor Art Projects, which has been listed as a charitable organization since 2004. This company has supported the creation of more than 20 public artworks that include and are not limited to Sol Lewit, Stephan Vitiello and Thomas Demand.[1]

Since 1969 when his first foray into this field brought Christo and his wife Jeanne-Claude to Sydney to wrap Little Bay he has established himself as one of the most prominent patrons of the arts in Australia. Both he and his wife Milgrom have served on various arts committees. [2]

The new collection at the art gallery of NSW is Kaldors personal collection. Most of the pieces have been housed at certain times in his own house. Many works are a testimony to his long-standing relationships with artist. Of these is his bedroom, which has been recreated for the public. Wall drawing #1091:arcs, circles and bands (room) was originally painted by Sol Lewit.[3] Within this collection there are in excess of fifteen Sol Lewit pieces, twelve Christo’s and fourteen Michael Landys’[4]. All three of these artists have been involved in Kaldors Public Art Projects.

Overall the collection is an exciting array of works and insight into a collector’s life. Kaldor and his wife have been involved in all the hangings of works and colour choices for their displays[5]. It is an insightful collection, which documents various temporal and non-temporal works. I believe the Australian public will enjoy a gift which could have so easily have been sold off at various auction houses as a rich and education tool, which invites discourse. This gift to the Australian public further cements John Kaldors great interest in investing in the public’s education and inspiration. 

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[1] Garry Maddox, “A life’s works” review of John Kaldor Family Collection, Art Gallery NSW, Sydney Morning Herald, May7, 2011 http://www.smh.com.au/entertainment/art-and-design/a-lifes-works-20110505-1e8rb.html

[2] Ibid.

[3] Ibid.

[4]Kaldor art Projects “About”. Accessed, June 14, 2012 http://kaldorartprojects.org.au/about/background

[5] Garry Maddox, “A life’s works” review of John Kaldor Family Collection, Art Gallery NSW, Sydney Morning Herald, May7, 2011 http://www.smh.com.au/entertainment/art-and-design/a-lifes-works-20110505-1e8rb.html

Bibliography

Art Gallery NSW, Contemp-Galleries-MR-2.pdf (page 1-7) accessed June 14, 2012.

http://www.artgallery.nsw.gov.au/galleries/contemporary/

Kaldor art Projects “About”. Accessed, June 14, 2012 http://kaldorartprojects.org.au/about/background

Maddox, Garry. “A life’s works” Review of John Kaldor Family Collection. Art Gallery of NSW. Sydney Morning Herald, May 7, 2011. Accessed June 14, 2012

http://www.smh.com.au/entertainment/art-and-design/a-lifes-works-20110505-1e8rb.html

Frazer Ward

Frazer Ward explores the connections between the performance and conceptual art by examining Mirror Piece by Ian Burn (1967) and Step Piece by Acconci (1970). He explains that Conceptual art focuses on the intellectual aspect of art rather than aesthetics. Conceptual art was a movement that focused on the object and it's status by emphasizing the intellectual process surrounding art instead of aesthetic pleasure, often utilizing language to do so. Language was given priority over visuals in an attempt to make the aesthetic experience less elitist. The key difference between performance art and other mediums is that performance art is a 'temporal event', with the body being key. Performance and Conceptual art are seen to be in opposition because some critics state Conceptual art denies the body. Ward argues against the two being constantly in disagreement. Mirror Piece is a perfect example of Conceptual art. The artwork is thirteen pages featuring typed diagrams and notes displayed in frames. It is potentially an unsuccessful artwork because Burn doesn't differentiate between an artwork featuring a concept and an artwork featuring an artist's intention. Mel Bochner, one of the pioneers of Conceptual art in the 1960s, argued that the term Conceptual art confused "concept" with "intention". Step Piece combines performance with Conceptual art, pushing Conceptual art to the limit by how it presents rationality. Acconci isn't taking Conceptualism completely seriously so he escapes the pretensions. Step Piece shows how Conceptualism and performance art can be used to examine each other rather than being deadlocked in opposition. Conceptual art is a movement with defined parameters while performance art is a medium. Because of this, performance art has been used by a variety of artists. Both Step Piece and Mirror Piece are ambiguous about the possibility of the artist communicating with the audience. The artworks originally took place in a private context, documentation and reproduction of them brings into the public realm.

Some Relations Between Conceptual and Performance Art – Summary

Some Relations Between Conceptual and Performance Art – Summary

Frazer Ward’s essay, ‘Some Relations Between Conceptual and Performance Art’ seeks to dissect the interplay between conceptual and performance art, with specific reference to Ian Burn’s ‘Mirror Piece’ (1967) and Vito Acconci’s ‘Step Piece’ (1970).  Frazer uses Burn’s work to demonstrate the typically ‘conceptual’; the triumph of language and empirical method over form in order to achieve rational analysis, whilst Acconci’s work is employed as an extension of this in the sense that it conveys the ambiguity brought to supposedly conceptual art by the inclusion of performative elements.

Although performance’s denotation of the body as subject challenges the theoretical rationality of Conceptualism, Frazer argues that due to performance’s high prevalence throughout a wide variety of movements contemporary to conceptualism, performance cannot be interpreted as a direct antithetical reaction to conceptualism.

Frazer describes Burn’s ‘Mirror Piece’ as ‘conceptual in its abandonment of aesthetic authority’, asking the audience to look beyond the physical qualities of the work and consider only the linguistic process undertaken by Burn, one which having required no valorised mastery, can be easily repeated and imitated. However, Frazer then refers to Mel Bochner’s criticism of Conceptualism as extending this transparency to a point where the artist blatantly states not only their experimental method, but also their entire intention, stripping the concept of its expressive role as subject.

On the other hand, the physical, performative aspect of Acconci’s ‘Step Piece’ seems to address some shortcomings of pure conceptualism. Through the shift of subject to the artist’s physical self, the work maintains the empiricism of a linguistic predetermined plan, yet as the work itself does not emerge until the corporeal impacts of this plan upon Acconci’s body are recorded and disseminated, the work gains a tangible aspect instrumental in broadening the work’s reception and appreciation.

‘Step Piece’ demonstrates not only a lack of opposition between conceptual and performance art, but also the synergetic relationship that exists between them. This is further demonstrated through a reversal; the analysis of performance works that include conceptual elements, including Chris Burden’s ‘Shoot’ (1971) and Bruce Nauman’s ‘Art Makeup’ (1967-8).   References to conceptualism emerge through the use of linguistic instruction to contextualise these performances and the necessity of documentation to survive the work, both of which enhance audience understanding.

The integration of performance within conceptual art provides a reflexive critical analysis from within a conceptual framework, highlighting the communicative limitations of each of these practices in isolation. In conceptualism’s ‘striving to demystify aesthetic experience and mastery through rationalism and democracy’, an abstraction of content is utilised, which unwittingly alienates audiences even further. However, through extended comparison and discussion, the inclusion of performance within a conceptual context is shown by Frazer to be of valuable assistance in extending the artist’s ability to convey and execute their triumph of linguistic empiricism.

Annotated Bibliography: Marina Abramović

Relation in Time. October, 1977. Performance, 17 hours. Studio G7, Bologna.

Chrissie Iles, Kristine Stiles and Klaus Biesenbach. Marina Abramovic. PHAIDON PRESS LTD, 2008. 

This book was extremely helpful in giving specific details on her solo performances and collaborations with Ulay. It was almost autobiographical, with an interview that focused on her history of art-making and her thoughts behind them. There were different sections that focused on her childhood and personal issues with her family - these were particularly interesting as Marina's childhood was rough, but it wasn't completely relatable to the presentation.

Klaus Peter Biesenbach. Marina Abramović: The Artist Is Present. Museum of Modern Art (New York) 2010.

This book was great as it focused on the progression of Marina's art practice. It was also written and constructed in chronological order, which made it a lot more easier for my research on her artworks and different era's of art making. With the book being made available as a part of her retrospective exhibition of her performance works, it had a lot of focus on the retrospective, focusing more on what she thought about her works now, rather than her thoughts before. 

Marina Abramovic "The Star" YouTube video: http://www.youtube.com/watch?v=ISotAeqpEd8

This forty minute YouTube video was not very helpful with information, but was a great way to look inside and watch the world of Marina's performances. You could hear her direct thoughts because she does a voice-over throughout the entire video. I found by watching these pieces being re-performed, I got the essence of her performances and what she was aiming to communicate to the audience and to herself. 

‘Some Relations between Conceptual and Performance Art’ - Frazer Ward, Summary

Frazer Ward’s article outlines the typical perceptions that surround conceptual and performance art and their similarities and differences to one another. Ward discusses that “Conceptual and Performance Art are engaged in a continuing dialogue, sometimes a conversation, sometimes an argument.”

Conceptual art is considered as a “work that emphasises the underlying conditions of aesthetic experiences.” Implying that conceptual thought comes before aesthetics and appearances. This questions the viewers reaction and acceptance of the practice and the respect it gives to language over the material form and sensory perception. Performance Art in comparison is directly addressed “as a form of art that happens at a particular time.” It is a physical act that is often presented in front of an audience in a specific location. Performance art is confined by its temporality and its strong connection to the physical. This highlights the notable difference between the two, performance art is “temporal,” where as conceptual art can be considered forever.

In the late 1960’s and 1970’s the inter-relationship between conceptual and performance art became evident, subsequently it is considered that performance art has ultimately challenged the foundations of conceptual art. Ward explores conceptual art within the artists and artworks of Ian Burns ‘Mirror Piece’ (1967), described as typically conceptual, and the ambiguously conceptual explored through Vito Acconci’s ‘Step Piece’ (1970).  “The juxtaposition helps to reveal the ambiguity imported into the category of the conceptual with elements of performance.” The two works reveal the artists intention of stimulating and challenging the traditional principles and exclusive qualities of visual arts. Ward questions that performance art has been regarded to have challenged some of the limitations of conceptual art, particularly its notion of rationality.

Reflecting on the predominant role performance has had within the art context, it becomes clear the dynamic elements performance has enforced onto conceptual art. Instead of observing them as separate entities, Ward provides us with the insight into the way that a concept can unite aesthetic and physical qualities. Considering how performance art can provoke conceptual branches, we gain understanding that they both depend equally upon each other.

The John Kaldor Family Collection

 The gallery of NSW is now holding Australia's most comprehensive representation of contemporary art from 1960 till now. And in May 2011, they opened their new contemporary galleries, featuring the John Kaldor Family Gallery. In 1968, the textile businessman and art collector John Kaldor invited Jeanne Claude and Christo to Australia to wrap the rocky coast of Little Bay in Sydney.

For more than 50 years, John Kaldor has been Australia’s most passionate collector of international contemporary art, developing lasting relationships with some of the most important artists of our time. More recently, Kaldor has donated his family's personal collection of more than 200 works to the art galler of New South Wales in Sydney. The 200 works include in-depth representation of christp and Jeanne-Claude, Jeff Koons ,Sol LeWitt, , Robert Rauschenberg and Ugo Rondinone also among others. There’s also a focus on Pop art and a strong thread of German photography including some excellent works by Bernd and Hilla Becher, Thomas Struth, Andreas Gurksy and Thomas Demand.These works spanning 50 years of works from the leading artists of our time.

The collection of John Kaldor Family has done a great donation for the NSW Gallery, The first display from the Kaldor Collection features works by Robert Rauschenberg, Christo and Jeanne-Claude, Donald Judd, Carl Andre and others, moreover it will be a number of commissioned and newly installed site-specific artworks, including five vast installation by Ugo Rondinone. A lot of major works would also be shown from artists such as Jannis Kounellis, Mike Parr, Anselm Kiefer, Doris Salcedo, Rosemary.....

UN-MONUMENTAL Summary

The concept of the unintentional.

There is no longer the suggestion, art is about the narrative. 

Thought processes and practical process.
Taking everyday objects the "Combines" or "assemblage" which give new meaning to the materials used.
The juxtaposition between the found and the ready made.

Performance Summary

Frazer Ward states that artists who utilise their bodies for their practise ‘have had a critical effect by pointing to the contingent, social construction of subjectivity’[1]. The shift from the object towards the subject indicated that the body during performance is a pathway to language as it is used as a material substance. The artist's body serves as the primary medium, communicated through presentational and representational means. The reading emphasises that the aesthetic of the work is second to the linguistics. The body itself is a pathway to language. 

The art of performance links the act of making, there is a relationship between private and the social production of art. Vito Acconci's Step Piece (1970) challenges the reception of art and how accessible it is to the public. 

Performance in relation to conceptual is the questioning of form and the influence of politics. Performance linked with conceptual practise criticises work that must be physically present, not work that is ephemeral.  

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[1] Rosenthal, Mark. “Understanding Installation Art from Duchamp to Holzer”,  (2002): 61.

Site specific Installation: Interventions (often easily removed)

In Rosenthal’s chapter Site-specific Installation: Interventions we are introduced to the many investigations of which installation can explore (these being physicality, functionality, intellectual, and institutional character).  Rosenthal informs us of the use of the listed frameworks and how with their use within the practice of installation served as a stepping stone for the practice to serve as a literal questioning of the surrounding space. The work Within and Beyond the Frame (1973) of Daniel Burren is utilized as an example of the questioning of the then spiritual modalities of modernism. Burren did this by extending the work ,literally curtains flowing into the street, in order to question the identity of the gallery.[1]

This progression of fusing the governed and the public spheres is analyzed via various modernist practitioners. We are of course presented with Duchamp as an academic explanation mark before the point is made.  One line however serves as to give sway to this often too seen reference this being ‘he played behavioral games with the viewers physical movements’. We are after all talking of the negotiation of space and the artists power to influence this beyond the architects original intentions.[2]

But to carry on from this sore spot and a perceived laissez-faire use of intellect, we can follow Rosenthal’s trail in search of sit specify into the sixties. Before this occurs how ever we are given a quick insight into the work of Frank Stella who altered the very shapes of his canvas’. This altering of the very canvas (also coincidently not unlike a floor plan of a white cube) is suggested to have helped move the works from the wall and across the space themselves. This trend (or use of material and space) was quickly picked up by movements such as minimalism, conceptual art and land art. It is with this new mode of practice that a mode of practice could now serve as to interject itself on the space and the viewer themselves.[3]

Via the works of Richard Serra and Bruce Nauwman a statement is made as to the very impact that a site filling and site specific could have. I would like to here to refer to a grouping of words that actually caused me to stop reading and served as a point of contention, this being ‘one that could be easily removed’. This sentence when used after the site specify point is one that serves as to go against the very intention of such a term. It in mind falls here to a matter of creating a mode of practice when presented in a gallery is one of attention seeking. I do believe in the concept of site specify but unfortunately its place lives in land art and the usually boil-esque public sculpture.

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[1] This is an interesting take as one could see the open curtain and window as a semi voyeuristic invitation to peer through. An intrusion when viewed via the feminist notions at the time would serve to directly impede and cause questioning of identity.  This is further extended in the discussion of the decentralizing of the ‘space’ be this museum or designated gallery space.

[2] This screams for a reference to the Matrix, and god damn it, I am a sucker for that movie. How ever and I know I mentioned it, I believe it to be more along the lines of the MTV music awards Will Farrell re-enactment of the architect. mentioning Duchamp. .

[3] I think it important to here actually point put that by ‘space’ what I believe Rosenthal to be referring to is the institution itself.