Art & Abstraction - Al Munro

Al Munro

Last year a few friends and i visited the Brender May Gallery in Waterloo, which is a contemporary gallery for Australian atrists. Some of the recent works at Artspace reminded me of an exhibition in 2007 at the BMG, especially Between Site & Space:













Due to the maps and street photography, i thought of Al Munro who exhibited in 2007 with "Future Farming". Munro says he "continues investigations into the patterns and codes used to represent and ‘map’ the natural world. The works also refer to contemporary projects in mapping nature such as genetic profiling and Dolly the sheep.












Future Farming
Brenda May Gallery 2007


http://www.brendamaygallery.com.au/

Art & Abstraction: Richard Deacon

Richard Deacon is best known for creating abstract sculptures that allude to anatomical structures and organic forms using elements of engineering as a means of fabrication. Deacon sculptures are often constructed from everyday artefacts such as wood metal and sometimes plastic. Metals are riveted together in smooth shapes which imply both the inner and outer parts of human form, and wood is laminated, curved and twisted into organic shapes, and unlikely ribbons. His work explores the relationship between body and space, interior and exterior, self and other. And since the 1970’s Deacon’s work has further explored the relations between the literal and the metaphoric.

Deacon works on both a domestic and monumental scale. Many of his large-scale sculptures such as What Could Make Me Feel This Way ‘A’ or Like A Snail ‘B’ recall chassis or ribcages from the human body. These forms vary, as some loop and curve across the room, while others float across the floor like large drops of liquid.

His monumental public works range from sets of gates for cities, to sculptures situated in public squares and parks, to backdrops for performances. For example, in 1993 he collaborated with Hervu Robbe and Dominique Fabrigue to design the sets and costumes for a dance which was performed by La Ferme du Buisson from Paris. Deacon used to actively participate in his works, at the start of his career, but later saw there was no need for his physical presence. His large-scale works are complemented by smaller-scale works such as Art for Other People, an ongoing series which combined an extensive range of everyday industrial materials, which are shaped into sculptural forms. The Infinity series is another example, form the 1990’s which consisted of a number of stainless steel works with ‘pin cushion’ like surface which responded to the light bouncing off the high points and flickering across the surface as if it were liquid.

Richard Deacon has successfully been able to fashion abstract sculptures by using various materials, to create oragnic and anaomatical forms.

Book References:

- Eleanor Heartney, Art and Today. (London: Phaidon Press Limited, 2008).

- Jon Thompson, Pier Luigi Tazzi, Peter Schjeldahl, Penelope Curtis, Richard Deacon. (London: Phaidon Press Limited, 1995)

- Clarrie Wallis and Edmund de Waal, Richard Deacon: Out of Order (London: Tate Trustees 2005)

Web References:

http://www.richarddeacon.net/

http://www.publicartfund.org/pafweb/projects/05/deacon/deacon-05.html

http://www.phaidon.com/Default.aspx/Web/richard-deacon-9780714839493

Photos From:

http://www.richarddeacon.net/

Art & Abstraction - Andrew bell

Andrew bell is an American artist who creates illustrations, paintings, prints and sculptures.
while being a pop surrealist Andrew's work links to abstraction through it's aesthetic subject matter, this being the imaginary creatures he creates.

this is an example of one of his most recent work (made 3/02/09), accompanying this image is the caption "i’ve had my problems…" the abstraction lies in the characters hyperbolic features, the expanded eyes, bloated body, uselessly thin arms and oversized mouth. this creature resembles almost nothing we know in reality and comes solely from the artists mind.
many critics and artists in the past have rejected andrew's work saying it's more of a design and marketing program than real art because of it's apparent lack of meaning and skill. In response to this the artist revealed that the works are more for himself than anyone else as they represent for him aspects of his own life and reality.
(07/25/06)
this work for example sporting the caption "this has gone on too long…" was made while on a flight home from san diego, the meaning behind the artwork is quite obviously the frustration over being stuck on the plane. while the meaning is obvious in this piece alot of his works are left open to interpretation by the artist because they hold a personal meaning for only himself.
Andrew has also created a number of sculpture series usually sold as toys and models to fans.


"The Giver of Desease: Gangrene" (09/08/08) and "The Giver of War: Dead Zebra" (07/23/08)
Andrew bell is a rising artist, while he has had various solo exhibitions as well as many joint exhibitions his work is not well known to the public or the art world.
he can be found at http://www.creaturesinmyhead.com/which is a show case for his art to date and has info on upcoming and past events.

all images and information obtained from http://www.creaturesinmyhead.com/

Art and Abstraction

Another reference to my childhood memories of the National gallery of Aus in Canberra. The "Blue Poles"(1952) by Jackson Pollock. It is similar to other drip paintings by Pollock, with the addition of eight large vertical blue "poles" placed over the top. I remember visiting the gallery with my grandmother, who passed away some years ago. She bought a mounted poster of this abstract work and had it on her wall for many years. Inevitably, i inherited the picture and currently it sits in my room. So not only does this painting hold a significance in the current subject of art and abstraction, but it creates fond memories of my wonderful grandmother.

Art and Abstraction

After visiting Artspace last week I had a look into some of Alex Gawronski's previous work. I came across a piece called 'Switch'.  It is a twin cast of a telephone receiver connected and suspended from the ceiling.  When I first saw it I didn't realize what it was, it resembled some abstract, almost organic form.

http://www.ryszard.net/alex/defult2.html 

 (cut and past, sorry hyperlink didn't work)

Ross Bleckner - Art and Abstraction

Ross Bleckner, Dream and Do, 

1996, oil on linen, 84" X 72"

Ross Bleckner, Mysticism for Beginners, 

2001, oil on linen, 84" X 180"

In his many artworks, the artist Ross Bleckner exhibits an appeal that usually does not befit the generalised opinion of abstract art. His execution of colour is tender and delicate, warm and delicious; with themes which are abundantly repetitious.
His artworks leave you wanting, but what you want is questionable. Is it a ball or a bow? If not something visually present, what do the textures make you want? Do they make you hungry or want to open a gift?
In any case, we are left with aesthetically very pleasing artworks, which are in fact abstract.

http://www.rbleckner.com

Attila Csörg

Slanting Water, Attila Csörg.
1995, photograph.
Galerija Gregor Fodner, Ljuljana/Berlin, and collection Mark Cucek.

When I saw this photograph by Attila Csörg it instantly reminded me of the work I had seen by Alex Gawronski at Artspace on Tuesday. Gawronski’s installation was of two wooden boxes with a glass lid. They are hanging like a scale with different currencies of the same amount in each of them. Slanting Water is of two glasses of water on a turntable. When the glasses are spun around, the wind blows the water into abstract shapes. It looks like a city full of skyscrapers falling down. It’s surprising and entertaining to observe ordinary phenomena under extraordinary conditions.

"what Georgie said"

''Exchange-value''

I really liked this work also and on the same premise as Georgie. I liked the way it was still able to convey its message without the use of elaborate imagery or dense visualizations. It stood simply as uneven scales forced into an "equal" existence by the use of a tiny piece of wood wedged into the joining point from which both sides were balanced. The work, regardless of its simplicity of form, seemed to speak of power, strength and economy while also suggesting vulnerability and misguided values.  A poetic analogy of societies imposed ideas of equality.

Fortune, Told!

Art Space 31/03

Gail Priest's exciting concept took my attention and I pined for a moment alone with the piece, I asked the fundamental question about prosperity,"Will I be rich, Will I get 1 millon dollars?" but I was also barking away about my bleak outlook in general at present. The opportunity to ratify some concerns with a projection of my personal wants to explain, was impassable.

The runes (I also had become fascinated with builders, tilers glue marks) drew Substance, Health and Consumption. Not a million dolllars but crazily enough, provided some affirmation of the need for a more positive future.

The Chinese practice of I- Chiing utilizes the total possible combination of three coins in the random act of falling and landing to their face values, There are 64 combinations and each has a meaning.

Confucius, Emperor of China, had the practice banned, angry at the procrastinations the game brought.

Runes originated in Norse times, the symbols of specific Nordic, pictographic letters carved into water worn rock, with one being left blank to incorporate Odin's presence and that which is the great unknowable. One way to divine one's fortune is to shuffle the runes in an opaque bag, while asking yourself a question needing answers, the single rune drawn will have an answer.

Artspace

"Exchange Value"- Alex Gawronski

I thought this Piece was good. I remember someone asking (I can't remember who it was) whether it actually was physically balanced. When we were told it wasn't I thought about it some more and realised that the money in the wooden containers was equal in value but the pole was fixed there. I guess this could represent that things aren't really equal and that there is the potential for equality to occur but society has rigid rules and constructs that prevent this from occurring. Also what's equal in some ways isn't in others. Might be completely off but I found that the work could symbolise a lot. 

I also really liked the "Between  site and space" one with the video cams. Hours of entertainment looking into the camera and watching that guy on his computer! 

ART & Abstraction

Currently showing at ANNA SCHWARTZ Gallery:

Robert Klippel Bronze Sculptures 

It is definitely worth the trip to Carriage Works - especially if you have not been there yet! (the Performance Space is housed in the same building)

(Aura) Sitting Swaying : Stelarc

when i first saw stelarcs suspention works i didnt really know what to feel part of me thought it was just amazing and the other part thought aboutthe pain he must have been going threw. I find it to be a very spiritual piece and although it seems destructive to string ones self up by hooks i find it very peaceful to view.  

Artspace

While it's all still fresh in my memory...

I thought Artspace was pretty cool. Two works that particularly struck me were those of Gail Priest (the interactive sound installation with the interpretative sheets... I couldn't find the name of the work) and Tim Silver's photographic exploration of Japan's gay subculture and horror films. The common element I noticed between these two works (which I suspect as the very quality that drew me to them) were their forced viewer involvement, whether physically or mentally.

Priest's work involved the hysical pressing of a button to initiate video projection and sound, further invoking action by prompting the viewer to interpret the images with the provided legends; much like tarot cards. What I was acutely aware of when viewing the work was my reluctance to pick up the sheet and touch the button. The mental block of refraining to touch works was challenged upfront by the straightforward nature of the Priest's instructions.

Silver's photographs however, I felt engaged the viewer in more of a psychological sense; challenging the viewer to identify from which movies the film still reproductions were created. Both works, I felt had a playful kind of feel to them, a bit pop-culture-esque.

Aura- Yinka Shonibare- how to blow up to heads at once

I had the great pleasure of seeing this exhibition last year at the MCA, not having had the time in recent years to visit galeries or keep up to date with current artists it was an experience of aura that hit me immediately and profoundly as i walked into the gallery and saw this life sized work of the two ladies in those beautifully crafted dresses, an image of delicate, refined beauty and yet at the same time an overwhelming sense of vivacious passion, dominance and strengh.... i dont think i can adequatly describe the sensation that i felt seeing this work that would do it any justice ...truely awe inspiring.

aura - a 'Wheatfield'

Agnes Denes - Wheatfield - a confrontation 1982

Agnes Denes's art works pertain to her ideas on environmental issues, human concerns and the exploration of the essences of 'things' as forms of communication.

In May 1982, Lower Manhattan, she began to sow the seeds of her latest public artwork. Herself and a small team went about digging 285 furrows, removing rocks, debris and planting the seeds of the wheat crop they were planning to grow in the dirty Battery Park Landfill. This was a laborious process all of which was done by hand, with each furrow taking up to two to three hours to complete. The field was maintained for four months. An irrigation system was set up and the crops were continuously fertilized, weeded and cleared of 'wheat smut'. On August 16th Agnes and her team harvested the crop, collecting almost 1000 pounds of healthy amber wheat.

I think what i resonates to me about this work is the simplicity of its beauty, the stark retinal contrast presented to the viewer by location and the subtly of its suggestion. The suggestion of vulnerability, power, deteriorating social values and the contrast of economic statuses. The work took up 2 acres (worth approximately 4.5 billion dollars) of busy, decadent Downtown Manhattan - an metropolis of achievement, culture and money. 

Agnes Denes describes the work herself as a 'symbol, a universal concept' ... 'a confrontation of High Civilization' and yet a 'Shangri-la, a small paradise, one's childhood....forgotten values, simple pleasure'.

Rene Magritte
[The lovers] 1928
oil on canvas
54.0 (h) x 73.0 (w) cm

When i was about 9 or 10 years old my family and i went to the National Gallery of Australia, in Canberra. I first witnessed this painting there. As soon as i stumbled upon it, my senses were heightened with intrgue. How could such a ghostly and sinister image be so beautiful at the same time. At this age i had no idea of the Surrealism movement or who in the hell "Rene Magritte" was! So really i was apreciating the art for what it was. And with such an innocent child-like perspective, it must have been the aura that struck me. I could never properly put into words how i felt that day, but i guess the "aura" must be there because i have never forgotten walking up to this painting and being completely dumbfounded.

This image ended up being the catalyst for how i would begin making my art years down the track, so really i owe this work alot!

Aura - Justin Maller

Apologies for the late post.

I couldn't locate either of the two images I was searching for online of works I'd seen in person I felt impacted by, so I've chosen an online image I found in 2008 that still impacted me nonetheless.

Unity featured by Justin Maller (Australian Freelance Illustrator and Art Director) on deviantart.com is a collaborative work by Maller and others (un-named). I think for me, the aura this work holds is derived from the level of skill and and primary concern for aesthetics evident within the image. Beauty is the predominant feature of the work; a quality which I feel that in today's art community sometimes seems overlooked; sidelined by works geared towards the production of anti-art; the anti-aesthetic or largely conceptual works. It is this quality which has provoked me to re-visit the image upon occasion (I had it as my desktop background for quite a while), if only to appreciate the comforting sharpness of the work.

Fullview is so much better; http://ekud.deviantart.com/art/UNITY-62854825

Aura - Oldenburg’s Apple Core

I saw Oldenburg’s Apple Core at the Tate Modern when I was in London at the beginning of this year. I know it’s strange and hard to believe, but this gigantic apple core seemed to have an aura. I think it was more to do with actually seeing an Oldenburg sculpture. The photo I took doesn’t really justify, how cool the apple core really is, but there’s no photography allowed in the Tate Modern, so I just took the photo and ran.

Aura

This is a watercolour portrait of my grandmother by Jenny Hock. The picture has a unique atmosphere where I feel as if I’m there with her. She is in her garden sitting, looking out to the familiar view of castle hill. Breathing in the pungent smell of bats and rotten star fruit. This painting is very moving for me. It stirs up pain and happiness and generates many memories I have with my grandmother.

Aura - Michelangelo's Sistine Chapel

This may seem like a bit of a cliché but one artwork that definitely has an aura, well for me anyway, is the ceiling of the Sistine Chapel. I visited the Sistine Chapel when I was in Italy early this year and walked over a half hour through the halls of the Vatican just to see it. Even though it was packed full of people being enveloped by this work of art was an experience.