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.

Annonated Biblography----Jenny Holzer

Jenny Holzer

The Art History Archive.(2012). Jenny Holzer.[On-Line] Available:http://www.arthistoryarchive.com/arthistory/contemporary/Jenny-Holzer.html

This reference provided the biography of Jenny Holzer. The basic informations are all mentioned in this reference. Such as she was born in 1950 in Ohio. Her study period is very long which go through the general art in Duke university, painting, printmaking and drawing at the Chicage Uni. BFA at Ohio uni in 1972 and the BFA at the Rhode Island School in 1975. It also provide what kind of artist Jenny Holzer is . Moreover it also provide some of her art works in this reference like Truisms, Living Series.

John BuckWLD.(2012). Jenny Holzer's Truisms: Word Art of The 80s - From New York's Streets To The Gallery.[On-Line] Available: http://rateyourmusic.com/lists/list_view?list_id=49774&start=0&show=25  and Collection Online. (2012). Jenny Holzer. [On-Line] Available:http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=holzer&page=1&f=quicksearch&cr=1 

Both of these two references are talking abou Holzer's first public work ----Truisms. It mentioned the information of this art work and provide a lot of  why she made this work and how to express it. Here is the image of the selection of the Truisms.

Untitled (Selections from Truisms, Inflammatory Essays, The Living Series, The Survival Series, Under a Rock, Laments, and Child Text), 1989. Extended helical tricolor L.E.D. electronic-display signboard, site-specific dimensions.
Of the 250+ truisms that appear to exist, I put my favorites at the top in a bold font. They're followed by all the others I could find. Don't expect Plato, Socrates, Will Rogers or Mark Twain. Bear in mind, Holzer was an artist - not a philosopher. Her truisms - whether you find yourself in accord, rolling your eyes or questioning their contradictory sentiments - are intended to merely inspire thought.

Art21 (2007). "Inflammatory Essays," detail (1979–82). [On-Line] Available: http://www.pbs.org/art21/images/jenny-holzer/inflammatory-essays-detail-1979%E2%80%9382

In this reference, it talked about the details of the infalmmatory Essays. it explain why Holzer use a lot of first person in her art work.Often, I’ll use the first person in my work. I will assume that voice. Or I will represent many people in the first person. There are lots of I’s and You’s in the ‘Inflammatory Essays’, but they’re not me. They’re many different voices on a host of unmentionable subjects. Said by Holzer.


Artconnected (2009). Jenny Holzer, Selections from the Living Series (1989). [On-Line] Available: http://artsconnected.org/resource/90593/jenny-holzer-selections-from-the-living-series-1989
In this resource, it has mentioned about the selection of the Living Series which is made by Holzer and provide some details of this selection.For the work Selections from the Living Series, she engraved a different message on each of the twenty-eight white granite benches. The provocative messages are often contradictory and do not necessarily reflect the artist's own opinion. Holzer's installation offers visitors a place to rest as they think about what they have read and the role that language plays in contemporary society. The benches are arranged in a square, allowing this part of the Garden to be used for performances or other events.

Annonated Biblography

Judovitz D, Unpacking Duchamp: art in transit, University of California Press, University of California, Los Angeles, 1995

Judowitz examines Duchamp's career, in particular the role of language and puns in his artwork. In the second chapter, the ready-mades are focused on. Leonardo Da Vinci and Giuseppe Arcimboldo are examined as an inspiration behind the ready-mades. Duchamp stated that Roussel's Impressions of Africa influenced his work. Duchamp was interested in the nonsensical aspect of language and explored this though the creation of the ready-mades. Duchamp asserts that the painter is using the readymade because paint has been manufactured. Duchamp's originality lay in applying this approach to objects, by doing so he revaluating the iconic status of painting in art history. 

Camfield W, Marcel Duchamp’s Fountain: Aesthetic Object, Icon or Anti-Art?”, The MIT Press, Cambridge,1991

In order to reassess Duchamp's ready-mades generally and Fountain in particular, Camfield examines the correspondence and articles by Duchamp's contemporaries. Two of whom noted Fountain's resemblance to a Buddha and Madonna which disputes it's status as anti-art. Fountain also expresses a duality of gender. The artistic influence of Brancusi and Stieglitz is examined. Having explored various interpretations of Fountain, it becomes apparent the audience has appropriated the ready-mades for their own objectives. Reintroducing the historical context of the ready-mades into the discussion about them will enrich our understanding of Duchamp's oeuvre. 

Housefield J, Marcel Duchamp's art and the geography of modern Paris, Jstor, Geographical Review, Volume 92, 2002, pp. 477-502, 18.03.2012

Examining the ready-mades shows the relationship between modern art and geography. Duchamp is one of the most influential artists of the twentieth century; he is famous for ready-mades, which were selected by the artist instead of being made. Until the 1960s the ready-mades were shown alone or seen in small groups. Close friends and patrons saw them in Duchamp's studio that gave them a personal meaning. Housefield agrees Duchamp was recreating the Parisian landscape in his New York. Fountain is representative of the Basilique du Sacré-Coeur. Multiple meanings can be found in the ready-mades, individually and as a group. 

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'But is it art?'^[1] Heartney opens with this question about the Quotidian object and goes on to examine its place in twentieth art from Duchamp's Fountain to the works of contemporary artists, which highlights the artistic value of using the everyday object. Heartney, discusses critics' perspectives on the Quotidian object which provides a useful intellectual framework for analysing the cultural significance of it. She comes to the conclusion that Duchamp's ready-mades challenged art as well as broadening its horizons. 

v Antliff A, The Making and Mauling of Duchamp, Canadian Art, Volume 23, 2006, pp. 56-61,  18.03.2012

v Goldsmith S, The Readymades of Marcel Duchamp: The Ambiguities of am Aesthetic Revolution, Jstor, The Journal of Aesthetics and Art Criticism, Vol. 42, pp. 197-208, 18.03.2012

v Housefield J, Marcel Duchamp's art and the geography of modern Paris, Jstor, Geographical Review, Volume 92, 2002, pp. 477-502, 18.03.2012

v Speyer J, Marcel Duchamp Exhibition, Bulletin of the Art Institute of Chicago, Volume 68, pp.16-19, 18.03.2012

v Heartney E, Art and Today, Phiadon Press, New York, 2008

v Judovitz D, Unpacking Duchamp: art in transit, University of California Press, University of California, Los Angeles, 1995

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^[1] Heartney E, Art and Today

Donald Judd

DONALD JUDD

Donald Judd. ‘Untitled’, 1968. Stainless steel and amber plexiglass. 6 boxes, each 34”x34”x34”, with 8” intervals.

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

The third chapter in Eleanor Heartney’s Art and Today, ‘Art and Abstraction: Retreat from Purity’, provides a comprehensive overview of abstraction within art. This concept is traced from its post WWII origins as a movement away from utopian thinking, through formalism, abstract expressionism, minimalism, and pop art, to postmodernism, post minimalism and art as we know it today.  Given the broad informative nature of the book, individual artists are only mentioned briefly, so this chapter was not used particularly for investigating Donald Judd specifically. It was however very useful in contextualising his work, framing it with preceding movements to show influence, and following movements to show impact.

·         Batchelor, David. Movements in Modern Art: Minimalism. London: Tate Publishing, 1997

This book outlines the key concepts and practicing artists of the movement retrospectively termed as ‘minimalism’. It deals with in particular the work of people such as Donald Judd, Robert Morris, Carl Andre, Dan Flavin, Frank Stella and Sol LeWitt. The book is carefully structured, providing information about each of the artists under the headings of ‘Introduction’, ‘Of Painting and Sculpture’, ‘Of Objects and Subjects’ and ‘Of Texts and Contexts’. This categorisation provides a frame of progression in which Judd’s work can be followed, alongside that of his peers.

·         Coplans, John. Don Judd: By John Coplans for the Pasadena Art Museum. Pasadena: The

Castle Press, 1971.

This book was written to accompany the 1971 exhibition of Judd’s sculptural and relief work at the Pasadena Art Museum. It is divided into three sections; an introductory essay, an interview between John Coplans and Donald Judd, and a pictorial inventory of the exhibition. The essay provides a wealth of information about the artist’s practice and work, as well as information specific to this exhibition, including its context and its inclusion of only Judd’s metal works. More important, however, is the interview, which through its nature succinctly provides signposted, specific responses from Judd that directly address his art making motives and intentions.

·         Warwick Thompson, Paul; Bloemink, Barbara; Cunningham, Joseph; Judd, Donald; Burton,

Scott; Tuttle, Richard. Design ≠ Art. Functional Objects From Donald Judd to Rachel Whiteread. London: Merrell Publishers Limited, 2004.

This book dissects the relationship between design and art through the inclusion of essays that support, contest and reconcile this relationship. After which, the artistic writings referenced in these essays are included, predominantly Judd’s 1993 essay, ‘It’s hard to find a good lamp’.  It is this essay that he states: ‘the art of a chair is not its resemblance to art, but is partly its reasonableness, usefulness, and scale as a chair…’ – ultimately differentiating between art and design and crucially articulating his idea that a thing or materials’ beauty essentially lies within it; a concept which defines his art making practice and greatly improved my understanding of it. 


BIBLIOGRAPHY

·         Batchelor, David. Movements in Modern Art: Minimalism. London: Tate Publishing, 1997

·         Coplans, John. Don Judd: By John Coplans for the Pasadena Art Museum. Pasadena: The 

Castle Press, 1971.

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

·         Butler, Adam; Van Cleave, Claire; Stirling, Susan. The Art Book. London: Phaidon Press

Limited, 1994.

·         Warwick Thompson, Paul; Bloemink, Barbara; Cunningham, Joseph; Judd, Donald; Burton,

Scott; Tuttle, Richard. Design ≠ Art. Functional Objects From Donald Judd to Rachel Whiteread. London: Merrell Publishers Limited, 2004.

·         Getlein, Mark. Living With Art. New York: McGraw-Hill, 2008.

·         Donald Judd. Tate Modern. www.tate.org.uk/modern/exhibitions/judd/

(Accessed: 24/3/12)

·

 

 

New Hoover Convertibles, Green, Blue, New Hoover Convertibles Green, Blue Doubledecker

Four Hoover Convertibles, Plexiglas, fluorescent lights
294.6 x 104.1 x 71.1 cm
1981-1987

Annotated Bibliography – Jeff Koons

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

          This chapter was useful in providing a background to the quotidian object and its place in the art world. Dates and names of artists were mentioned, along with a closer specific look at relevant artists and their works. Large coloured photographs of the mentioned artworks are used throughout the chapter. This source was helpful as a starting point for further research.

Koons, Jeff. The Jeff Koons handbook. London : Thames and Hudson : Anthony d'Offay Gallery, 1992.

          This source contained many quotes from the artists about both specific works and his general philosophies on art. It does also contain ‘Notes on Jeff Koons’ by Robert Rosenblum. These contain Rosenblum’s own opions and thoughts about Koons’ life and work, and not just straight out facts. A selection of the artist’s works is shown throughout this source. Primarily it was used to cross reference other sources.

Muthesuis, Angelika (ed.). Jeff Koons. Cologne : Benedikt Taschen, 1992.

            This source provides lots of coloured photographs, an interview with the artist, along with a simplified timeline and list of Koons’ works and exhibitions up till 1992. It provides all the text in English, German and French. Found it be a very useful source with a lot of information directly from the artist.

Weintraub, Linda, Arthur Danto, Thomas McEvilley. Art on the Edge and Over. Litchfield: Art Insights: 1996.

          Primarily explores the artist’s intertwined personal and professional lives. There is a lot of focus on Koons’ marriage and more controversial moments. This text provides relevant quotes from the artist with very good references to their origins. Not as straight-up fact-based as other sources. The writing seemed quite ‘flowery’ and emotive; however this chapter did provide different view-points that helped with a more complete understanding of the artist.