I'm ashamed

#extradirty
I'd rather be in outer space 🛸

titsay
NASA
KIROKAZE
RMH

No title available
let's talk about Bridgerton tea, my ask is open

tannertan36
Aqua Utopia|海の底で記憶を紡ぐ

if i look back, i am lost
Lint Roller? I Barely Know Her

@theartofmadeline

bliss lane

gracie abrams

Kiana Khansmith
Not today Justin
2025 on Tumblr: Trends That Defined the Year

ellievsbear
No title available
seen from France
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@ch1ckenn00dlep00p
I'm ashamed
collage
mind map
my cat
library questions
Ryan Trecartin
Lizzy Fitch - booth 1 and two are different artists but id like to explore both of their ways of making art but when speaking about them it sounds like I’m talking about the same thing so instead of separating them I’m choosing to write it all together. These artists have really unique curation skills. Id like to take some of their way of curating video works and introduce it into my own work because I have already tabled in some sort of set idea for my video pieces. I would like to explore the idea of inserting the video piece into set like space that has been created to suit/match the story line/ aesthetic of the video.
Helen Chadwick - the way of representing body parts in her work stands out to me because although it is some what abstract it is also recognisable. It relates to my interest in pillowy soft sculptures and the idea of adding kitch to the work. I would like to explore the idea of creating pillow like sculptures with different levels or incorporating that method to tapestry work. A particular series that relates to what I have spoken about is (the series body cushions, also referred to as body applications ), December 1973.
LIBRARY TASK
ARTISTS
Ryan Trecartin
Lizzy Fitch
Helen Chadwick - the way of representing body parts in her work stands out to me because although it is some what abstract it is also recognisable. It relates to my interest in pillowy soft sculptures and the idea of adding kitch to the work. I would like to explore the idea of creating pillow like sculptures with different levels or incorporating that method to tapestry work. A particular series that relates to what I have spoken about is (the series body cushions, also referred to as body applications ), December 1973.
PROPOSALS
Cheap frilly lingerie hardened using resin to create a line sculpture
sowing doilies and lace fabrics together to create line
Create line through collage and photo shop of edited stock photos of frilly dresses and lingerie
create a clothing line using photo shop and combining items of clothing I have with found items online
WOODSTOCK WALKABOUT
The Board Store:
daw handles
lots of boards and woods to build plinths or displays ext
plastic coated boards for mould-making
silicone
Cape Twine:
waxed twine
canvas
velcro
LT Discount
paint
pink wood primer!
spray paint
brushes
Deckle Edge
well everything.....
Plastipak
jars
containers
final self motivated work
https://www.youtube.com/watch?v=NMW4PgePWbA
Artist statement
I have to write an artist statement. I don’t really want to write an artist statement. I don’t know how to write and artist statement. Rowan never taught me how to write an artist statement. I also don’t think it’s helpful to explain my work. You can just look at it and figure it out by yourself. Not my problem.
library assignment
ARTISTS
Yayoi Kusama
Nicholas Hlobo
Roberto Cavalli
TECHNIQUES/MATERIALS
Soft Sculpture
clothing design
digital editing
OTHER SOURCES
Coping with eating disorders anybody image
Woman as design
Femme digitale
Tokyo street style fashion in harajuku
BIBLIOGRAPHY
Bayley, S. (2009). Woman as design before, behind, between, above, below.
Boucher, F. (1967). 20,000 years of fashion the history of costume and personal adornment.
Burns, M. (2003). Femme digitale crafting the female form on your computer.
Cavalli, R. and Alas, M. and Piggott, M. (2010). Roberto Cavalli.
Craggs-Hinton, C. (2016) Coping with eating disorders anybody image.
Godoy, T. and Vartanian, I. and Kirayama, K. and Suzuki, T. (2008). Tokyo street style fashion in harajuku.
Jantjes, G, Greenberg, K & Lundstrom, JE. (2011). Nicholas Hlobo: Sculpture, Installation, Performance, Drawing.
Morris, F Applin, J. (2012). Yayoi kusama.
Scott, J. (2003). Textile perspective in mixed media sculpture.
TUT: assignment
both Sabelo Mlangeni and Igshaan Adams work were exhibiting at blank in a very intimate way; the two separate bodies of work were curated alongside and amongst each other rather than separately. The way the work was curated caused the perception of the works meaning and intention to shift. I feel as though the concept and ideas behind Sabelo Mlangeni’s work was a lot more visible because of the fact that his subjects were clearly queer and all of colour. the visual language in Mlangeni's work largely influenced my idea of Igshaan Adams work which I wouldn't have initially connected to the same topic. without the images along side the tapestries and bead work I would not have assumed it related to queer bodies in anyway in regards to semiotics. but upon looking into the write ups about the work that the gallery provided I realised Igshaan Adams write up was not a clear explanation on what his work was about.his write up was just as abstract as the work it only included an extract by Saarah Jappie about what someone had left behind after I assume passing away. after looking at the write up I got extremely confused and somewhat frustrated by the fact that these works were placed along side one another which would obviously cause them to shift in interpretation but conceptually have no direct correlation at least not in what the write ups information. this all makes me question weather the artists chose to exhibit their work in this way? if the curators made the decision for them? were they okay with the fact that interpretation and meaning could be spited because of the integration of their work? and was that the best way of representing their bodies of work? I personally don't think it was a successful way of exhibiting the artists work, it confused the viewer in more than one way. visually they didn't correlate or work well along side one another because of the fact that the photography was so structured and the sculptures were so free flowing. because of all the contact between the work and how integrated it all was made it hard to follow the bodies of work without associating the works as one. the way it was curated also misrepresented the intention behind igshaans work. although the tapestries and bead work were a lot more centred and large in comparison to the photographs I found that conceptually they got over powered by the photos loosing power. if the work in someway did relate I don't think it was represented well and definitely not spoken on at all within the gallery space.
what I found extremely interesting in Sabelo Mlangeni’s work was that he made a lot of effort to keep the subjects of his images human. in a lot of other photography I find the identity of the subject is often over looked and overshadowed but in his images that wasn't the case at all. majority of the images were very organic and didn't feel staged, it showed the subjects natural behaviour and personalities quite clearly. even the images that did appear More planned/ staged were still affective in portraying an aspect of the subjects identity. although he successfully represented the people in the images and made them the true focus of the work he even made the decision to include the names of each subject feature in the image in the titles of each photo. the decision to include the names of the subjects in the images was quite powerful in regards to humanising and normalising the queer bodies in the work making them more tangible and real to the viewer rather than just some abstract concept or idea of a queer person as most queer art does. majority of his images normalised the lifestyles of these queer people making them feel a lot more relatable where as a lot of other queer art glorifies queerness and often only depicts the glamorous or sexual side of the comunity making it less tangible and relatable. his images portray a very venerable side of queer culture that I as a queer person wish was portrayed more often and more openly. it also brought to my attention the difference in the way they perceive a “safe space” in comparison to how young cape town queers would. their safe space is this home dedicated to them and only them where as most Cape Town queers consider night clubs or queer parties their “safe” space. obiosuly clubs and these events are public and a lot harder to keep safe and prevent invasion by people outside the community. in the past couple f years a lot of queer cape town events have become over run and reclaimed by straight people causing a lot of queers to feel lost or left without that “safe place” we all long for. I think these images also depict very queer persons intention behind these so called safe spaces and perpetuates the longing queer people feel to have ownership over their own space and lives.
Igshaan Adams
Igshaan Adams
11B Larch weg (i) (2019)
Nylon rope, cotton, twine and beads and sea shells, stones, glass, wood, plastic, fabric
341 x 830 cm (detail)
Igshaan Adams
Op sy eie fokken tyd (2020)
Shells and glass beads, stones
190 x 42 x 42 cm
Sabelo Mlangeni
Sabelo Mlangeni
A Farewell Dinner with Daniel, Ruby,James Brown, Tonnex, Thom Smith, Mohammed, Sodiq, Mr Morrison, Lil B, Olumide, Icon, Nonso (2019)
Digital ultrachrome archival print
Sabelo Mlangeni
Sodiq, Smith, Oluwa, Ayo, Nonso, Mustaphy (2019)
Hand printed silver gelatin print
Sabelo Mlangeni
Birthday Cake (2019)
Hand-printed silver gelatin print
Sabelo Mlangeni
Amabhaluni and Thom Smith's New Hair Do (2019)
Digital ultrachrome archival print
TUTORIAL QUESTIONS
SMAC
What was the connection between music and work (wasn’t written about)
We’re the brand chosen intentionally for tuck shop 4 or at random
Was the shadows of the work intentional.
BLANk
do the beads some how correlate with the queers
What ritual were they practicing is it connected to an existing religion or community of so which one?
Did the beads correlate more with with the Cultural aspect of the artists work or his queer identity
GOODMAN
Was the writing all from the same poem or was it a mixture of different poems
Was the drawings meant to be replicating the idea of stamps or was it not intentional
did the different mediums symbolize specific things or did they correlate in some way and if so how?
event ideas
IDEA 1 dress up and drinks/food
IDEA 2 party with Photo Booth sections (still dress always dress up)
idea 3
Chris Part B
QUESTION ONE, What I think a curator is and does:
a curator is someone that organises and presents works within a gallery space. they decide what goes up and what doesn't and how and where to put things swell as putting them up.
QUESTION TWO
“But for me, it was important to be close to artists and not subordinate their work to the curator’s vision.“
this quote stood out to me because I feel the artist should have some say in how their work is presented.
“Exhibition or Gesamtkunstwerk became more about the curator than the work”
this quote stop out to me because I feel it is important for the curator to show their own skills in presenting but its their job to put their ego aside and understand that they are working with the work not creating a new one.
“A curator was described as a creative rival to the artist”
again I feel this is a really bad habit or statement because I feel the curator should be working with an artist not against them. clearly I'm quite obsessed with the idea that artists are and should be the main key to presenting and should be helped to form their work in the way they want instead of the curator just doing what they want.
QUESTION THREE
Okwui Enwezor says “to act i have to have an agenda” and you can't work in a commercial gallery because he believes he has a change agenda and he needs spaces that are open to the idea of that but most commercial galleries are not.
Koyo kouoh says there is a “need for a project or exaction that exclusively identifies as African and exclusivly features works by African and African decent professionals”
differences
Kouoh sees herself as a producer of projects while Enwesor sees himself as an independant curator but both of then focus on change and believe their is a space for change just not for the same change. Enwesor speaks about curation and politics whereas Kouoh promotes African art to give them recognition/support.
Chris part C
an artwork made by three found objects.
objects I hoard and my messy way of organising.
TRASH
FINAL TUT PROJECT.
Baba
Baba is a cultural movement that started in 2017 in Cape Town, South Africa. the term Baba originates from the South African colonial language Afrikaans; its direct translation is baby. the movement is best known for its visual artworks and writings. Artists painted calming, innocent scenes, sometimes with photographic precision, creating strange worlds or narratives from everyday objects and life that portray innocence and purity, and developing painting techniques that allowed innocence and idealistic world views to be expressed. Its aim was, according to Pretorius, to "resolve the previously contradictory conditions of life and the reality in South Africa and around the world relating to the political and social climate of the time. the works generally portray an idealistic version of the world, a super-reality", or perfect world.this is an attempt at educating and opening up conversations about how we live our everyday lives relating to race politics gender sexuality, white femanism extra.
Works of Baba feature the element of innocence, unexpected juxtapositions and softness in colour and visuals; however, many Baba artists and writers regard their work as an expression of the hardship and struggles of that time first and foremost, with the works being a political statement. Leader Rowan was explicit in his assertion that Baba was, above all, a revolutionary movement.
Baba developed out of the apartheid regimes lasting effects activities during protests of 2019 and the most important center of the movement was Cape Town. From the 2010′s onward, the movement spread around the globe, eventually affecting the visual arts, literature, film, and music of many countries and languages, as well as political thought and practice, philosophy, and social theory.
WHAT BABA IS ALL ABOUT
Babas main aim was to capture the purest forms of what we know, the most innocent, caring, non problematic, and beautiful aspects of today to perpetuate the importance of change within society to create an idealistic world that some could learn and follow to create a better space for minority and vulnerable groups of society such as people of colour, queers, disabled and many more members of society. some of the works are quite daring and could be confronting but its all in the name of progression and confronting the negative. some artists within the movement of Baba such as Jade Pretorius take these ideas too far and begin to create an impossible idealistic view of the world which is completely unattainable but still part of the movement as it shows how far we as a society are from progression and perfection. no matter what the work must be visually pleasing.
COLOUR
colour within Baba is majority pastels, and bright, calm, fleshy tones because of the fact that its very whitewashed in the way that the movement doesn't want to be too confronting and remain as palatable to problematic people as possible.
some examples of Baba:
untitled, 2018
Jade Pretorius
water colour, acrylic and pen
GILF, 2019
Jade Pretorius
photography and digital collage
Lucky baby, 2019
Anon
photoshop
yeeehawww, 2019
Jason Bushel
photography and photoshop
No homo bro, 2019
Anon
Photoshop
Analysis of works
No homo bro
no homo bro was created by an anonymous artist two years after the movement originated. the work is very much inspired by Tabita Rezaire; she is also a perfect example of Baba and what it stands for. This work aims to shed light on toxic masculinity and how people seem to think the idea of male to male affection is automatically homosexual behaviour and there for bad. where as in an idealistic world men would realise that love and affection in some form not always sexual is natural and a necessity for survival in not only our species but in most regardless of gender. it also speaks on the struggle of homosexuality within muslim and other cultures in this piece the artist has included a muslim woman in traditional dress because they live and are from a muslim background. the term “no homo” originates from toxic masculinity and the culture they perpetuate constantly re affirming that they are not gay and are fearful of being perceived that way. in more recent years within queer culture the term is now being used in a more playful sarcastic manner to reclaim it. the colour pallet fits perfectly into the Baba rules as it consists of soft pleasing colours along with fleshy tones. the woman featured in the corner reflects the sexualisation of woman not only in straight culture on social media but as well as a representation of closeted gays forcing themselves to conform and be with woman which their social environments imply they should be with. the aspect of “dudes be like” is a clear reference to meme culture from the time of the work being created also drawing light to male domination in society along with queer ales swell and allows the viewer to not separate straight males from queer males and rather see them harmoniously as one would in an idealistic world rather than alienating them. the artists statutes that “the hearts above the married couples heads being green symbolises the fact that their union is completely natural” and is a pure form of love (another idealistic aspect the work). some might not consider the work to be a perfect example of Baba because of the fact that problematic aspects such as the term “no homo” are included in the work but ultimately it speaks to the issues in an idealistic beautiful childlike way. the way in which its been edited is in a more childlike “non professional way” which perpetuates the entire meaning of Baba’s innocent outlook on the world.
Over all Baba is the perfect example of representing pressing issues I a palatable way. which could be considered unorthodox because these issues shouldn't have to be palatable but they allow a problematic viewer to view things in a better, lighter light and become more aware of their behaviour. their is a riot of viewers perceiving work as a comedic piece but if one is educated on the movement the works can be extremely powerful and absorbed in the correct manner. Baba is a very simple way to express the importance of a lot of social issues in society today that can be ver powerful n making change in a number of comunities and globally.
dream journal
digital representation for kath. final work
https://www.instagram.com/chickennoodlep00p/
FINAL VIDEO
Music by Rowan Blem