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Tag Archives: Art

Works of Art for All Surfaces

26 Aug

Works of art can be designed to be installed practically anywhere, but one under used area is the ground we walk on. ArtCritiqued.com has tracked down a selection of artists making work both for and with floor surfaces that could be used by the dedicated collector, if you wished, to cover that last remaining blank space in your home.

Detail of 3, 2, 1, 0 A A and away 1, 2.. (2011) by Carlos Noronha Feio

Carlos Noronha Feio has designed a series of Arraiolos carpets, which depict images of modern technology that may be used in war such as jet fighter planes, tanks, rockets and satellites, although they can also have many other peaceful technological and exploratory functions. This is highly political work, like the doormat-size carpet seen in the window of a Mayfair carpet dealers depicting a United States Five Dollar Bill across its entire width, which offers conflicting potential views of American patronism and luxury, versas walking over a past president and abandoning capitalism or commercialism. In Feio’s work the blood shed by those on the front line, along with civilian casualties in situations such as the dropping of the atomic bomb in Hiroshima, is interwoven with that of the carpet makers, whilst Feio seemingly keeps his hands clean in designing the piece like a political or military leader.  This work consequently seems to question the reason for the existence and production of the depicted things, as the ownership of nuclear defence weapons seems questionable when no one would want to use them, and hence the work also addresses man as his own worst enemy.

These pieces have the feel of the tapestries worked up from Raphael’s cartoons for the Vatican. However, although the tapestries were the intended final work for Raphael’s commissioners, though not completed until after the artist’s death, the cartoons are revered and preserved in the V&A, but Feio’s designs have not been exhibited, though probably Raphael’s were never seen until after the artist’s death, apart from to be checked off by the Vatican prior to weaving, and may not have been intended to be seen.

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The Kinetic Flow of Light

15 Jul

A theme emerged amongst a selection of the graduates in the Royal College of Art MA Show’s Sculpture Building of making works about the flow of light and this seems to have flowed out of this institution to the wider London art scene.

Untitled (Vents1&2) (2011) by Brendan Giles

Brendan Giles‘ works at the RCA, Untitled (Vents 1&2) are sculptures of vents in which only selected slats are open and exist whilst the rest is solid. This creates an asymmetric pattern of lines where a little daylight can be seen hitting the wall behind the work, like some of Liam Gillick’s sculptural pieces that divide space. Perhaps, however, Giles’ works are actually more about the flow of air in and out of city buildings with vast air conditioning systems.

Oscillator-Aerator (2011) by Sara Knowland

Sara Knowland’s Oscillator-Aerator at the Royal Academy Schools Show bares a similar form but in wood painted grey rather than plaster and seems to directly reference the form of Julian Opie’s H (1987).

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The World in Miniature

5 Jul

Unit (2011) by Poppy Bisdee

Poppy Bisdee‘s Unit (2011) was one of the highlights of the Wimbledon College of Art BA show.  In this work she photographed the exhibition space on all sides including the floor, without a trace of the photographic means.  This includes the building supplies that are left on show in the exhibition spaces here, with the power sockets becoming a particular focal point in this piece, like Bradley Hayman‘s work Tunnel Vision at the Sassoon Gallery in 2009 featured the furniture and fire extinguisher as in the space when originally viewed.

Tunnel Vision (still) (2009) by Bradley Hayman

Bisdee has then printed her photographs on acetate and reconstructed a miniature version of the room except for the wall farthest from where it is projected back onto using an overhead projector, creating a three-dimensional effect of being inside the room, whilst being drawn to consider the relationship between the projected sockets and the real one which is projected onto.  Bisdee has turned simplicity into beauty.  From a simple and minimal photographic act, she has created an interesting three-dimensional piece both within the acetate form and within the spatial installation.

Summer Holiday Dreams (2011) by Haruka Ono

 Meanwhile at the Slade MFA show Haruka Ono created a miniature world from an entirely different medium, frozen food.  Summer Holiday Dreams is a three-dimensional tropical landscape made up of battered fish and chicken nuggets whilst green beans form greenery protruding from the ground or hanging as palm leaves from trees.  This is a curious dialectic work, depicting a tropical place in frozen food, which is contained in a modified commercial chest freezer with a glass top.  Miniature toad in the holes form small boats floating on a sea of blue ice cream (pistachio perhaps) as a wave breaks towards them in cream or vanilla ice cream.  It seems this work critiques the food it uses as a medium perhaps for its healthiness but more so for its environmental impact, using electricity likely generated by burning fossil fuels to preserve it, and its absent packaging clogging landfill, whilst the freezer, likely reclaimed from scrap, contains CFC gases.  This work also shows the childlike playfulness of Fischli and Weiss’ The Sausage Photographs (1979), reflecting art and creativity as skills we are born with, but which most repress as they grow older.

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The Art of Selling and the Selling of Art

25 Jun

With Mark Leckey‘s work at the Serpentine Gallery it seems unclear whether the work or the sponsorship came first.  By addressing commercial branding and marketing Leckey is actively promoting Samsung and also Fiorucci in a far more direct and blatant manner than I have ever seen an artist do before.

 

Whilst Andy Warhol adopted the graphic design of popular commercial products including Brillo pads and Campbell’s soup, he did not turn his work into a powerful encapsulating installation.  Self complementary announcements are repeated in a direct manner, asserting the value of the brand name, rather than an actual product, badged onto fairly high-end electrical products including televisions, Blu-ray players, microwaves, cameras and mobile phones which are shown in a slideshow in the background of the film shot in a green screen room created in the gallery.  The focal point of this work, GreenScreenRefrigeratorAction (2010), is the ‘Smart’ black fridge freezer that stands in the installation like a monolithic sculpture such as the Easter Island heads.  Leckey takes on the imagined persona of the fridge, seemingly only educated by the company’s promotional material.  In this slick, ultra minimal work, and the trailer at the exhibition entrance, Leckey has assembled a series of hypnotically flashing messages on screen between the Samsung and Fiorucci logos and famous or celebrated artworks and artists, relating the brands to art in the way advertisers aim to emotionally elevate the quality and significance of their product.  In particular Henry Moore’s signature and name are used in the trailer as a Moore sculpture is included in the exhibition installation as another monolith to compare the fridge with, and the use of the signature makes passing reference to Citroen’s Picasso branding.

 

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Under the Surface

21 Jun

Placebo Syndrome (2011) by David Mullen at Tank Gallery

David Mullen’s paintings in The Pleasure Principle at Tank Gallery are an appealing sculptural form. By applying monochromatic layers of thick impasto oil paint to his canvases and then covering with one or more layers of gloss paint, Mullen has been able to allow the surface to dry solid whilst the interior remains liquid enough to peel the surface back into a sculpture with the surface of the painting cut away and hanging off the wall. These works, particularly the grey Placebo Syndrome are almost like a sardine can that has had its lid curled back halfway, exposing the yellow filling, whilst the framed work The Perfect Crime directly illustrates the paint coming out of the canvas, peeling back the layers towards the found picture beneath. From a similar thought process Eunkyung Lee’s circular paintings Collected Samples in the Slade MA show are on castors and invited to be kicked around the space to knock against one another and reveal the multiple layers of imagery that are built up on their surfaces. Hence the work becomes an interactive piece in the creating of new, constantly evolving work through the combination of fragmented images akin to peeling back the layers of adverts on a traditional billboard.

Collected Samples 2, 6, 11 by Eunkyung Lee

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Nothing’s Ever As Simple As Black and White

31 May

Maintaining the monochromatic theme from the last article, Explorations in Materiality and Texture, Will Rogan and Zin Taylor’s work at MOT International utilise black and white in their images for contrast in tone, not texture.

The Time Machine Scratched (2010) by Will Rogan

In Rogan’s greyscale photographs The Time Machine Scratched (2010) and The Time Machine Open (2010) a beaded, narrow line of light falls across an old copy of H.G. Wells’ The Time Machine as though piercing through the gap between two Venetian blinds.  As we compare the two images, we see the light falls across the book in different positions indicating time has passed or been travelled between during the time it has taken to turn from the cover to the first page of text.  The use of traditional black and white photography perhaps indicates the work itself could belong to a time since surpassed by technological innovations in colour photography, yet it remains crisp and new from having teleported to today from when it was first created.

These are contrasted with Taylor’s series of abstract works, An Arrangement of Voids, in which geometric blocks of white printing ink that might perhaps resemble thimbles, test tubes or lavatories, for example, are over layered on black paper, building up areas of powerful contrast along with a series of mid tones, like a photogram negative captured by repeated exposure with different objects placed on photosensitive paper.

An Arrangement of Voids #8 by Zin Taylor

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Explorations in Materiality and Texture

29 May

Earlier this month a group of Goldsmiths MA students recently collaborated on the exhibition The Second Attempt at Phane Terglo at Lewisham Arthouse, where all the works were in shades of beige.  As mentioned in the article ‘All That Glitters Isn’t Necessarily Gold‘, a trend for monochromous work appeared over the winter.  What came out of The Second Attempt at Phane Terglo was an experimentation with contrasting textures.  In an all-encompassing installation, painted surfaces that had the finish of raw plaster contrasted with smooth MDF and the striated cut edges of plywood.  Synthetic flowers hung from a washing line whilst minimal glasses of beige drinks with a cherry in sat on the ledge around the room.  Sliced potatoes sewn to a painted strip of fabric hung from the ceiling resembled diseased skin, whilst their decomposition mirrors that of Anya Gallaccio‘s works such as preserve ‘beauty’, where she places red gerberas behind glass and allows them to naturally die.  Finally a series of three monochromatic portrait paintings seemed effectively identical but for slight variations that possibly indicate the models may have been an Asian male, a white female and a black male, demonstrating that we are all alike and equal, whilst it could be said to reflect the dullness of a homogenised society and hence perhaps celebrate our individuality.

The ordered layout of Gallaccio’s work is also mirrored in that of Victoria Scott‘s Lenty Pond (2011), which was shown in the following exhibition at the same gallery.  A grid of nearly 500 petri dishes laid out on the gallery floor formed a graduated change of colour.  From a distance these appeared to contain pigment or coloured sand but in fact they are oil paintings on canvas cut out in a circle, potentially violently, where a selection seem to quite strongly represent landscape scenes, and resulting in their slight undulation.  It was also interesting to observe the reflection of the rectangular gridded windows on the grid of transparent pieces, which also draw to mind Carl Andre‘s floor pieces over which the audience are invited to walk, but in this case despite a lack of barrier it seems the work would be destroyed by this kind of interaction.

Quite different from Scott’s work but related to the use of texture and material in The Second Attempt at Phane Terglo, Neil Taylor translates material in his exhibition True Wood at Campbell Works.  Taylor has carved a series of works that resemble wood out of blue Styrofoam.  The exhibition has a distinctly religious undercurrent, using apparently found material from a neighbouring evangelical church; a powerful letterhead with an image of the crucifixion as a watermark, as both source material and a medium on which to draw or write.

Taylor’s use of material is most interesting in the less religious works where he has created pallets out of Styrofoam and polystyrene, ironically crossing junctions between art and its packaging materials.  The packing is rendered as art whilst it suggests the disastrous or comedic scene that would occur if they were used in the intended manner of pallets.

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Artists Making a Mark with their Bodies

19 May

Following on from the article The Gallery as a Dance Hall, it appears there is also a resurging interest in performative mark making.  In Trisha Brown‘s Walking on the Walls a group of performers climb into suits harnessed to girders suspended from the gallery balcony, which act like the track of a rollercoaster.  This enables them to walk horizontally along the gallery wall in a performance that at times becomes like a cat’s cradle as they approach each other and seem to pass on momentum.  Essentially fixed on a straight line, the performers are generally only able to see and approach their neighbours, as described by Edwin A. Abbott in Flatland: A Romance of Many Dimensions, however they do occasionally cross each other’s path in a slightly awkward fashion akin to when a cat’s cradle gets tied up.

Trisha Brown - Walking on the Walls. Barbican Art Gallery, 2011. Photograph by Felix Clay

The performers leave slight marks and traces of their performance in the form of footprints on the white gallery walls.  Whilst their impact is minimal, this could be read in a painterly fashion outside the performance.  What remains is the essence of movement, like the ghostly remains of fossilised dinosaur footprints in the rock.  As these footprints will clearly not last that long, being painted over for the next exhibition, if the wall hasn’t already been re-coated, it consequently  draws allusion with the work of Richard Long.  In his work A Line Made By Walking (1967) Long created a visible mark on the landscape through movement, but similarly the grass will have soon grown back.

Meanwhile, Brown’s Homemade (1966) resembles Stating the Real Sublime by Rosa Barba, mentioned in the article Still, through its use of movement of a film projector.  Where Barba’s work is sculptural in creating movement of a projection by the rotation of the film in suspension, Brown wore a film projector like a backpack, projecting a film of her dancing on varying surfaces of the theatre as she repeats the filmed performance in person.

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