Art & Spirituality Discussion Facilitator Synopsis
Huang Yong Ping, buddha's hands, 2006
Huang Yong Ping - french artist of chinese origin is exhibiting as part of arsenale at
Venice Art Biennale 09. ping's work has its roots in confrontation, contrast, exchange,
and the coexistence of different cultural and spiritual worlds. his oversize recreations
of the hand of buddha is made from a type of cedar tree traditionally used in chinese
medicine, that dwell in the ambiguity of references to both spiritual and earthly realms.
Mixed media on paper on Aludibond on wood
The Museum of Contemporary Art, Los Angeles
Franz Ackermann’s work explores issues of travel and tourism, contrasting subjective experience with broader issues of globalization, mobility, and commerce. He travels to select locations to render time and geographic space in wall-scale paintings and mixed-media constructions. African Diamond, like many of his works, eradicates the formal boundaries between sculpture, painting, and advertising by translating each medium’s visual vocabulary into his own distinct patois.
Michal Rovner, Chinese Calculator, 2004
Steel vitrine with glass, stone and DVD video projection
Installed near the entrance of the Biennale, Israeli born, New York-based artist Michal Rovner presents Chinese Calculator (2004)four stone tablets that celebrate faux archaeological findings by establishing a fictitious history. Each rough stone slab is touched with light from tiny projectors. Small patches of light noticeably waver on their hard surfaces, refusing permanence and legibility. The projections resemble ancient script, but they are actually human figures, alive and active.
Yinka Shonibare, The Swing (reproduction of Fragonard's 'the swing'), 2001
Yinka Shonibare is someone born in England but born to Nigerian parents. Eventually moves back to Nigeria, but was also educated in England; so is truly bi-cultural, and uses this experience to confront what it's like to grow up in with Nigerian traditions but to be educated in Western culture.
Seven in Bed, 2001 Fabric, stainless steel, glass and wood.
Courtesy Cheim and Read, Galerie Karsten Greve and Galerie Hauser & Wirth
Cinderella, Untitled #276, 1995
Facebook Portraits-Shawn Zeiger, 2008
Untitled, 2009, acrylic on pvc
JR and Marco- http://face2faceproject.com/
5 Questions
1. Throughout the history of art, the body has taken on various roles reflecting the signifiance of that time period. What does contemporary art and the body reflect about our time?
2. Does the perception of deformation to the figure add to the how the viewer sees an artwork?
3. When the body is placed in a specific setting the context of that artwork changes. Does this benefit the artwork?
4. When creating artwork with more than one figure, the relationship of the artwork and the viewer can bring up feelings from our subconscious. Isn't that the main goal of an artwork, to create an emotional reaction to the viewer?
5. Is contemporary art a key tool to breaking down taboos of our society?
Ron Mueck (Australian, b. 1958). Two Women, 2005. Mixed media, 33 1/2 x 18 7/8 x 15 in. (85.1 x 47.9 x 38.1 cm). Glenn Fuhrman Collection, New York
Jorge Rodriguez-Gerada started making urban art more than 15 years ago in New York City. A founder of the artistic direction known as 'culture jamming,' he is a Cuban-born artist based in New York and Barcelona. Rodriguez-Gerada creates portraits in charcoal of people-until now anonymous-which scale the walls of buildings in our cities in a format that we can begin to describe as gigantic.
3 dimensional pseudo realistic paper portraits and sculptures. These are papercraft sculptures made in the same way as the familiar papercraft houses and animals
Lick And Lather, 1993
Rosetta 2, 2005-2006, Oil on watercolor paper, mounted on board
Criteria for Writing a Successful Exhibition Review
Extensive knowledge of studio practice and the subject matters that the artist(s) is focused on
Background information about the artist(s) which includes:
Education
Influences
Cultural background
Medium they work(ed) in
Signifance in the art world
Format
Introduction
Summary
Issues involving the Art world and the exhibition’s connection to it
Critique
Personal Opinion of the Artwork and Atmosphere
Conclusion
References
The review must be of an exhibition that focuses on or includes a substantial amount of art that makes connections to the shows theme. Reviews should be reasonably courteous or respectful unless there is a good reason to challenge the premise of an exhibition.
Reflecting back on the Art & Representation presentation Gina and I gave last week, I would like to discuss a few key points. First, overall I think it was successful from beginning to end. We presented the information and reflected on the connection of the articles to the theory of representation. Second, creating the art project focused on nostalgia of hero, home, and play was successful. I was hoping that the class would create meaningful art pieces that reflect their own ideas of representation. I believe the artwork overall was lacking the integrity of graduate level art making however we had a little time. Third, because of the subject matter of representation in the contemporary art world I think the description of representation is very open to interpretation. I think Gina & I should have been clearer on that fact for the achievement of the discussion.
Photograph by Diane Arbus, “Jayne Mansfield Cimber-Ottaviano, actress, with her daughter, Jayne Marie,” 1965. Copyright Estate of Diane Arbus, 1965. Esquire Collection, Spencer Museum of Art, the University of Kansas .
A Young man at Home on West 20th Street, NYC 1966
www.photography-now.us/02/artphotogallery/photographers/diane_arbus_14.html
John Currin
John Currin, “Jaunty und Mame” (1997)
There is nothing politically correct here. His representation of women isn't so clear-cut and depicts a bizarre and very American world of ageing divorcees, 70s pin-ups and cliché gay couples. Currin wants viewers to feel uncomfortable and enjoy it.
Arch of Hysteria, Bronze with silver nitrate patina 83.8 x 101.5 x 58.4 cm
National Gallery of CanadaMarina Abramovic
Performance Artist that explores her body in public, upsetting social codes, and to adopt strategies that destroy myths about what is female, the body, its representation and identity.
I only used the one image which presents the strongest moment of the performance itself, and can therefore stand on its own as a photograph… . The audience can, by reading the text description, and by looking at one single photograph, imagine the rest in their minds. -– Marina Abramovic
LIPS OF THOMAS
Performance
I slowly eat 1 kilo of honey with a silver spoon.
I slowly drink 1 liter of red wine out of a crystal glass.
I break the glass with my right hand.
I cut a five pointed star on my stomach with a razor blade.
I violently whip myself until I no longer feel any pain.
I lay down on a cross made of ice blocks.
The heat of a suspended space heater pointed at my stomach
Causes the cut star to bleed.
The rest of my body begins to freeze
I remain on the ice cross for 30 minutes until the audience interrupts the piece by removing the ice blocks from underneath.
Duration: 2 hours 1975
Krinzinger Gallery
Innsbruck
R Krumb
The very fact... Pizzeria Sauve Nov. 22, '04 2004 Ink, correction fluid on paper
Kara Walker at the San Paulo Bienal From Judi Freeman Mark Tansey
Illusion of past events and not know but actually a blend of sterotypes from the old south and racial tensions of now
Story telling like Gone with the Wind
Dilemna of drama of the story and the heroine
The silhouette helps with the illude the image to the viewer
Walker’s childhood in racial south directly effected her views of architypes and her art
The story is our record
Camptown Ladies, May 2006, Black Paper
Kiki Smith
Character can have a life outside of one version
Full Caste-Death Mask of the generation
Kiki Smith Untitled 2002 (Courtesy the artist and PaceWildenstein, New York Photo: Sarah Harper Gifford)
Do Hu Suh
Traveler, his story of traveling to get out of the shadow of his father
Issues of longing
Suitcase of House
Personal space
Individual and the Collective-Repetition of Figures
Recognize amonymous everyday life
Korean life and him growing up
Floor, 1997-2000
Trenton Doyle Hancock
Panel by panel words exploding
The story on the same image
Mounds, half human/half plant a story
Visions & Imaginations create his stories, takes on a life of their ownMound #5 shows his inside story (+ The legend is in trouble, lrgr; 2 works) Mixed Media 
David Salle
Lanterns, 2002
Mark TanseyThe Innocent Eye Test 1981, 78 x 120 in.
"In Tansey's painted metaphor for the perception of art, we are the cow,
and the scientists want to know how and what we see --- hardly the
stuff of Frank Stella's famous dictum "What you see is what you see."
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