Before today's 'show & tell' exercise we had a short seminar with Dan in order to generate more discussion on the possible avenues the brief could be taken down.
Whilst each of us will have already thought of our own artists and movements that relate to our train of thought, Dan presented to us a few of the names he felt would be of interest to many of us in terms of the way the brief could be approached.
key artists from dan
Whilst each of us will have already thought of our own artists and movements that relate to our train of thought, Dan presented to us a few of the names he felt would be of interest to many of us in terms of the way the brief could be approached.
key artists from dan
Interdisciplinary writer Alex Coles - 'Design Art' Book
Liam Gillick
e.g Damien Hirst
Furthering on Gillick's use of incorporating implements used to exhibit within the work itself, Dan talked about the way this has become a part of many popular works without us neccesarily realising.
A good example Dan gave us of this was the infamous
'The Physical Impossibility of Death in the Mind of Someone Living' or Shark in a glass tank of formaldehyde (as it's often known) by Damien Hirst, Dan's argument was that the case and formelahyde may not be part of the exhibit but merely just tools used to exhibit the shark.
Another interesting point surrounding this work is the fact that the original shark, due to initial poor preservation, was discarded and replaced by another a year or so after being sold.
The notion that the work can be called the same one that caused such controversy, and therefore the justify it's value somewhat, has become itself a philosophical question.
Hirst himself acknowledges:
It's a big dilemma. Artists and conservators have different opinions about what's important: the original artwork or the original intention. I come from a conceptual art background, so I think it should be the intention. It's the same piece. But the jury will be out for a long time to come
This leads to notion - can we even trust what is being exhibited to be genuine?
Do we even have to see an exhibit or can the idea itself be enough?
yves kleine -
This leads to notion - can we even trust what is being exhibited to be genuine?
Do we even have to see an exhibit or can the idea itself be enough?
yves kleine -
Anthropométries
throwing gold away into river.
Buyer only owns the reciept.
Jeremy Deller
- reminded me of Dash Snow
his work often places the view in unsettling postions and his near to the knuckle approach is often ruthless in it's execution.
rebelling against his privileged upbringing by exposing the weaknesses of his urban surroundings and showcasing them in a shocking, no holds barred manner.
"met a junkie’s end but did so in a $325-a-night hotel room with an antique marble hearth."
Whilst not archiving others work in his own like Deller,Snow was a prlific colaborater and as such never truly belonged to one media, collaborating with many practicioners of various backgrounds throughout his short but explosive career.
was more of a rock star than an artistliving his outrageous lifestyle tot he full until finally succumbing to it last year at the iconic age of 27.
Dash Snow at the Saatchi Gallery
his work often places the view in unsettling postions and his near to the knuckle approach is often ruthless in it's execution.
rebelling against his privileged upbringing by exposing the weaknesses of his urban surroundings and showcasing them in a shocking, no holds barred manner.
"met a junkie’s end but did so in a $325-a-night hotel room with an antique marble hearth."
was more of a rock star than an artistliving his outrageous lifestyle tot he full until finally succumbing to it last year at the iconic age of 27.
Dash Snow at the Saatchi Gallery
Mark Dion
Pavillion - aurelien Fromont
Dan also tuched upon the idea of intergrating with other organisations as a way of expanding the brief using Victoria Kershaws recent work - kids spoons, as an example.
I myself will be starting work experience at a rural primary school near to my hometown in the next few weeks, with my first session being in charge of up to 8 pupils and with the responsibility of setting a task for them to work on, be this musical or to do with the arts, so i am now thinking of trying to incorporate a theme of my current work into their task to see how young minds envisage it.
Dan was trying to get us to envisage the way objects could be the exhibit, as well as the exhibit being the object.
Argument of the differences /similarities between the 3d/interdisciplinary courses
