Allora and Calzadilla

Allora and Calzadilla

                                          stop,repair,prepare-variations on 'ode to joy' for a

                                         prepared piano, 2012

Jennifer Allora and Guillermo Calzadilla are based in san jan, Puerto Rico and have been working collaboratively since 1995. Their works plan across the fields of installation, sculpture, sound ,video and what some would call social interventions (such as their work chalk in which passersby could write in Lima’s central square on the pavement with oversized pieces of chalk). Their work is  purposefully site specific,  very often political. In 2012 they participated in the 26th Kaldor public art project with the  work stop,repair,prepare."This structurally incomplete version of 'Ode to Joy' (the hole in the piano renders two full octaves inoperative) creates variations on the corporeal as well as sonic dimension of the player/instrument dynamic, the signature melody being played, and its pre-established connotations." Allora and Calzadilla - http://kaldorartprojects.org.au/project-archive/allora-and-calzadilla-2012

Art:21 | Allora & Calzadilla

Martin Boyce

Martin Boyce was born in Glasgow, Scotland in 1967.  He has both a BA in Environmental Art and a MFA from Glasgow University and is represented by Tanya Bonakdar Gallery.  He represented Scotland at the Venice Biennale in 2009 and won the Turner Prize in 2011.  He explains his work as a collapse of nature and architecture and creates atmospheric, large scale, site specific installations, using mainly angles and straight lines. 

 

Boyce collaborated with John Kaldor for Project #18, his largest work so far, called We are shipwrecked and landlocked which was installed in Old Melbourne Gaol between 22 October – 30 November 2008.  The installation draws from the angular flower design that Joël and Jan Martel created for the Exposition des arts décoratifs held in Paris in 1925.  Boyce creates both a screen and 'flowers' by repeating and manipulating the original.

 

We are shipwrecked and landlocked
22 October – 30 November 2008
Old Melbourne Gaol, Melbourne

you can read more about the installation here - http://kaldorartprojects.org.au/project-archive/martin-boyce-2008

 

Preparation for Kaldor Talk

Artist list: Allora & Calzadilla (Nick & Bella) Tatzu Nishi (Hannah & Be) Stephen Vitello (Rachel & Georgia) Bill Viola (Lara & Zoe) Santiago Sierra (Lil & Dione) Sol Lewitt (Luke & Chris) Gilbert & George (Eugene)

Mark Dion Bibliography

Mark Dion Bibliography

Kwon M, Bryson N, Corrin L G. Mark Dion. London: Phaidon, 1997.
This book was quite relevant as it contains plenty of information on the artist. The front cover includes a short biography on Dion and the final pages at the back include exhibitions and projects he worked on until 1997. However as the book was published at this time it does not include his more recent artworks which I had to seek information on elsewhere. The book includes an interview with the artist, which includes information on the start of his career and life as an artist. Writings from the artist himself are also present which gives a direct insight into thinking and works. A chapter of the book also focused on an artwork I was looking into which also proved to be quite helpful.

Coles A, Fontana E, Williams R, Cotton J, and Renfrew C. Mark Dion: Archaeology. London: Black Dog Publishing, 1999.
This book looks into the ‘digs’ undertaken by Dion, including the Tate Thames Dig which I had chosen to research. The book includes several images of the work being carried out which help convey the process of the dig. At least half of the book being dedicated to the work, how it was carried out and what came of it, which was more than enough information to interpret.

Dion, Mark. "Mark Dion." Artforum 51, no. 1 (2012): 441-441. http://ezproxy.library.usyd.edu.au/login?url=http://search.proquest.com/docview/1039645515?accountid=14757.
This journal article provided me with an insight into the mind of Mark Dion. The excerpt is direct conversation from the artist, who discusses his style and way of working. He speaks of how the results and contents of his work are often dependent on the site he is working from, and other factors including the budget of the project and the skill level of the team of people assisting him. He also expresses how he likes to include information on the subjects of his works, knowing that while being surrounded and taking in the actual installation works, he also cares deeply of the printed materials he produces.

Buchhart D, Gamper V. Mark Dion: Concerning Hunting. Ostfildern, Germany: Hatje Cantz Verlag, 2008.
Goffredo, Theresa. "Sculpture Park is an Art Treasure." The Herald, Jan 19, 2007. http://ezproxy.library.usyd.edu.au/login?url=http://search.proquest.com/docview/334279086?accountid=14757.
Glueck, Grace. "The Line between Species Shifts, and a show Explores the Move." New York Times, Aug 26, 2005. http://ezproxy.library.usyd.edu.au/login?url=http://search.proquest.com/docview/433133219?accountid=14757.
Temin, Christine. "Scavenger's Mark Dion's `Urban Archeology' Seeks Not Historical Truth but Beauty." Boston Globe, May 27, 2001. http://ezproxy.library.usyd.edu.au/login?url=http://search.proquest.com/docview/405394192?accountid=14757.
Mark Dion <http://www.tate.org.uk/art/artists/mark-dion-2789> Tate
Mark Dion <http://www.art21.org/ > Art21
Mark Dion <http://edu.warhol.org/app_dion.html>The Warhol

 

"Aviary (Library for the Birds of Massachusetts)"
2005
Steel, maple tree, plywood, books, and mixed media

20 x 18 x 20 feet

Shaun Gladwell - Annotated Bibliography

 

Shaun Gladwell

 

·         Shaun Gladwell: Stereo Sequences Exhibition Catalogue (Victoria: Australian Centre for the Moving Image, Schwartz City)

This exhibition catalogue of the Stereo Sequence Exhibition shown at ACMI was very important in my research. Not only did it display a wide variety of film stills of Gladwell’s work, but it also had relevant essays by Sarah Tutton, Rex Butler and Adrian Martin.  Tutton’s essay goes into detail on a selection of Gadwell’s works and explains them well.  As it is hard to find the full video works online to view for most of Gladwell’s films, it is valuable to get a thorough description of the works.  I found that this publication allowed me to increase my understanding of the works and their installation at ACMI in more detail.  Butler’s Essay was helpful in providing an insight into the works created in Afghanistan which were hard to find specific info on.  The other crucial part of the catalogue was the extensive list of video stills along with all the info such as type of video, performers, sound, how it was displayed and when it was made.

·         Blair French, “Return to Earth,” in Shaun Gladwell: Videowork, (Sydney: Artspace Visual Arts Centre, 2007)

I found Blair French’s essay on Gladwell’s work very useful, mainly due to the comprehensive explanation of themes that Gladwell explores in his work.  Themes such as gravity, place and status are discussed along with Gladwell’s background in painting.  The discussion on how his painting background affects and shows itself within his video work, through his framing and choice of perspective and shots, I found noteworthy as it was something I had never considered in terms of mark making and painting within video and film space.  French’s essay also helped me understand Chrissie Iles’ Video and Film Space essay in more depth.

·         “Australian Story: War Paint,” ABC1 Monday September 3, 2012, also online http://www.abc.net.au/iview/#/view/998528

Even though this Australian Story was specifically about Ben Quilty it gave me a better background understanding into the duties and position of being a war artist. Gladwell’s work in Afghanistan, I found, was the most difficult out of all his artworks to get information on. This Australian Story gave me an idea about what is involved in being a war artist and what exactly the Australian War Memorial commissions artist to do.  The interviews with the troops were particularly insightful and the preconceptions they have about the war artists and the subsequent relationships they form are very interesting.  Overall I think the most important thing I became aware of from watching the program was the emotional intensity that is connected with being a war artist.

 

Sally Breen, “Remixes for a new[ish] millennium,” in Shaun Gladwell New Balance Exhibition Catalogue, (Perth: Perth Institute of Contemporary Arts, 2004)

Igor Holubizky, “Shaun Gladwell: Beating a path, an enactment,” in MMXBreakless Sessions Exhibition Catalogue, (Paddington: Sherman Galleries, 2005)

Chrissie Iles, “Video and Film Space,” in Space, Site and Intervention: Situating Installation Art, trans. Erika Suderburg (Minneapolis: University of Minnesota Press, 2000): 252-62

Daniel Baumann, “Shaun Gladwell: Public space, translation and beauty,” Art &Australia 44 No.4 (2007): 570-575.

Elizabeth Fortescue, “Shaun Gladwell on life in Afghanistan,” The Art Newspaper, January 13, 2010, accessed August 20, 2012, http://www.theartnewspaper.com/articles/Shaun-Gladwell-on-life-in-Afghanistan/20001 

Reuben Keehan, “Shaun Gladwell’s moving pictures,” Art &Australia 45 No.4 (2008):650.

 

John Kelly, "The Beauty of Distance," Art Monthly Australia 221 (2009):10-13.

Steve Meacham, “Catching a creative wave,” The Age October 8, 2011, accessed August 20, 2012, http://www.theage.com.au/entertainment/art-and-design/catching-a-creative-wave-20111006-1la3t.html

Joanna Mendelssohn, “Shaun Gladwell,” Artlink 23 no 3 (2003), accessed August 9, 2012, http://www.artlink.com.au/articles.cfm?id=2334

Daniel Palmer, “Shaun Gladwell,” Frieze 114, April (2008), accessed August 8, 2012, http://www.frieze.com/issue/review/shaun_gladwell/

Michael Young, “Shaun Gladwell – Riding with Death: Redux,” Art Asia Pacific Online, accessed August 20, 2012, http://artasiapacific.com/Magazine/WebExclusives/RidingWithDeathReduxShaunGladwell

“Shaun Gladwell,” Anna Schwartz Gallery, accessed August 22, 2012, http://www.annaschwartzgallery.com/works/works?artist=86&c=s

“Shaun Gladwell– Afghanistan,” Australian War Memorial, accessed September 1, 2012, https://www.awm.gov.au/exhibitions/gladwell/

“Shaun Gladwell,” Australian Centre for the Moving Image, accessed August 8, 2012, http://www.acmi.net.au/shaun-gladwell.aspx

 “Josh Raymond Projects,” Josh Raymond, accessed August 20, 2012, http://www.joshraymond.com/projects/

“Shaun Gladwell: Move Video in Schools,” Kaldor Public Arts Projects, accessed August 20, 2012, http://kaldorartprojects.org.au/move-artists/shaun-gladwell

 Penny Craswell, “PROFILE: SHAUN GLADWELL,” accessed August 8, 2012, http://www.experimenta.org/mesh/mesh17/gladwell.htm

“Art Nation - Shaun Gladwell,” ABC Arts Online, Last modified April 23, 2010, http://www.abc.net.au/arts/stories/s2881260.htm

“Shaun Gladwell: Stereo Sequences Interviews,” ACMI online, last modified June 6, 2011, http://www.youtube.com/watch?v=ataRzGlLlsw

“Shaun Gladwell,” DasPlatforms, last modified November 27, 2011, http://www.youtube.com/watch?v=2MeOguswrc0&feature=related

 

 

 

Interceptor Surf Sequence (Exit), 2009 2-channel, HD video,16:9, silent
27:42 minutes

WK 7: Review Week / No Class

Hi All, There will be NO class this week for Studio Theory. We will meet again in WK 8 - 19th September. As far as I am aware - you will still have your review with Michael tomorrow. Regards, Amanda.

An Archival Impulse Hal Foster, Clock Time Rosalind Krauss

Summary:

An Archival Impulse 

Hal Foster

In An Archival Impulse Hal Foster discusses how the archive has become a popular form again since it first emerged in the pre-war period. Foster explores the presence of archival art in contemporary art through the use of three contemporary artists Thomas Hirschhorn, Tacita Dean and Sam Durant all working with the archive in completely different ways.  Archival art makes the historical, lost or forgotten physically present.  This can take many forms with most artists favoring the medium of installation. Showing the diversity in how the archive can be sourced and presented.Hirschhorn works in public spaces creating his sculptures, altart, kiosks and monuments and aims to "connect what can not be connected." Dean finds forgotten historical stories ,researching and re-enacting the found information this can create unfinished work or ongoing as what she finds grows. Dean is drawn to stories about abandonment and failure this is the opposite of Hirschhorn’s  art that is about known cultural figures like artists and writers.  Durant shows the struggle between the upper class of design and the working class through multiple mediums like drawing, photography and installation in unusual ways.Similar to a museum they are piecing together and trying to create what has been lost or found from there world. To bring together the missing pieces information their art making is a collection or ramifications of this information. Archival art attempts to relate and ‘connect what cannot be connected’, from the desire ‘to recoup failed visions in art, philosophy, and everyday life into possible scenarios of alternative kinds of social relations, to transform the no-place of the archive into the no-place of a utopia’.

Summary: 

Clock Time 

Rosalind Krauss

This essay talks about Christin Marclay's different choice of medium. Christin Marclay is a video artist using commercial film as his medium.  In his work Video Quartet sound is used, to make silence heightened and uses time in his recent work The Clock displayed recently at the MCA . Christin has selected sections from commercial films showing a clock and placed them in a way as to form a clock that plays for 24hours running combination of film clips which relate to each exact time of day. He makes a clock by using clocks but The Clock in ‘real time’ does not correspond to that of the original film that they were extracted from.It engages the audience makes them think about time and the space they are in, but while watching the work they also loose track of time by thinking about it. Featuring shots of actors reactions to time, this makes the audience look at their watch, seeing it is the same time,bring up the question  of reaction should there reaction be the same ? The Clock creates a new medium, time. Combining the time in movies reel time into the real time of the current, humanizes the fictional movies by putting them in the present creating a new film medium.

Janet Cardifff and George Bures Miller

Annotated Bibliography

-Engberg, Juliana, Macdonald, Anna, and Meehan, Olivia. Cinema Paradiso. South bank Victoria: Australian centre for Contemporary Art, 2007.

This book provided me with useful information on the cinematic and film devices used in the works of Cardiff and Bures Miller, particularly shedding light upon the work The Muriel Lake Incident. Cinema Paradiso described the devices of sound to enhance a work and the utilisation of this tool by Janet Cardiff and George Bures Miller to create atmospheric narratives and transport viewers into the mindsets of its creator.

-Scharrer, Eva. "Janet Cardiff & George Bures Miller Interviewed by Eva Scharrer." C Magazine no. 87 (2005): 18-21.

This online article was an insightful interview into the intentions, opinions and thoughts of Janet Cardiff and George Bures Miller and their art making choices and style. This further enabled me to understand the intentions of particular works and how the initial solo artists fused together create cohesive and structurally complex installations and works complimenting both strengths of each artist.

-Milroy, Sarah. "Janet Cardiff." The Globe and Mail, Dec 29, 2001.

This online article was an informative source which covered Cardiff’s initial works as a solo artist and her later partnership with Bures Miller; it describes the initial phases of the artists, career and the rise to their success as collaboration. This source informed me of the history or brief biography of Cardiff and Miller and in doing so, allowed me to research further upon the development of Janet Cardiff and George Bures Miller's partnership.

Bibliography

-Engberg, Juliana, Macdonald, Anna, and Meehan, Olivia. Cinema Paradiso. South bank Victoria: Australian centre for Contemporary Art, 2007.

-Scharrer, Eva. "Janet Cardiff & George Bures Miller Interviewed by Eva Scharrer." C Magazine no. 87 (2005): 18-21.

-Milroy, Sarah. "Janet Cardiff." The Globe and Mail, Dec 29, 2001.

-Withers, Rachel. "Janet Cardiff and George Bures Miller." Artforum 45, no. 5 (2007): 125-125.

-Hanna, Deirdre. "Janet Cardiff." Canadian Art 19, no. 4 (2002):

-Johnson, Ken. "Janet Cardiff & George Bures Miller." New York Times, Apr 02, 2010

-“Janet Cardiff and George Bures Miller” <http://www.cardiffmiller.com/about.html> (accessed 27/08/12)

-Fleming, Marnie. “Janet Cardiff”<http://www.thecanadianencyclopedia.com/articles/janet-cardiff > (accessed 30/08/12)

-Searle, Adrian. “Fire up the Killing Machine” <http://www.guardian.co.uk/artanddesign/2008/oct/23/art> (accessed 01/09/12)

- Okwui Enwezor, Ingvild Goetz. Janet Cardiff & George Bures Miller: Works from the Goetz collection.

The Killing machine, 2007,

Janet Cardiff and George Bures Miller

Mixed media, sound, pneumatics, robotics