Conceptual Process

I'm Jes Tyrrell - an artist, teacher and researcher. I'll be blogging here for my #cofa1002 class about 'conceptual process' and everything in between.

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WAR IS OVER! (IF YOU WANT IT): YOKO ONO 

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Definitely gonna miss this class! (credits to Jo for taking the photo)

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Class shot minus Jo - wish we could have had this tent up all semester...

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REVERSE ENGINEERING ACTIVITY! Drawings: 1) what we thought was inside 2) what was really inside 3) a combination of both

Some crazy telepathy stuff happened today with Eddie and I! We chose the same object and both decided that there was a little dude inside controlling the cogs… After taking it apart it turned out there wasn’t a little dude inside but there were cogs so I guess we were half right!

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Week 12 - Reverse Engineering

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Week 12 - Reverse engineering

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Week 12 - Reverse engineering

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Some posters....

Posters don’t need to necessarily have a lot of text. I don’t need bibliographies etc but am looking for creative (or uncreative) approaches to representing and conveying your research through course concepts. Here are a few posters of various origin. You might have more text than this but check out the nice visuals.

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Thanks Clare for these awesome posters!

P.S. sorry guys but in my classes we do need bibliographies and you may indeed have more text than these posters...or you might have none at all ;)

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Ted Talk - Olafur Eliasson: Playing with space and light.

Check out the interactive online exhibition of Eliasson's 'Take Your Time'.

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Ron Arad, in reverse, 2013

Ron Arad is an Isreali-born, London-based architect, artist, and designer. His recent exhibition, in reverse, explores the form of the fiat 500 by reversing it into the 2-dimensional plane:

‘in reverse is an exhibition about the shift from the physical to the digital – except in reverse. rather than manipulate materials to render them functional or render digital models towards a functional object, here I ‘reverse’ perfectly functional objects and render them useless‘.  – Ron Arad, quoted on designboom.com

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Claire Healy & Sean Cordeiro, Par Avion, 2011

In this work contemporary Australian artists Claire Healy & Sean Cordeiro deconstruct the form of a Cessna 172 aircraft and airmail its individual parts from Roma to Frey Norris Contemporary & Modern gallery in San Francisco. Commenting on the effects of their ‘reverse-engineering’ of their aircraft’s form, Healy and Cordeiro reflect:

‘The wreckage of the plane that no longer has the capability of flying will be given new means of movement. The speed, maneuverability and size were once the distinguishing features of the aircraft but these have now been stripped away, and the object of these qualities arranged as isolated components. The method of delivery may bring some order out of disorder or lay to rest some of the intrinsic purposes of the original airborne machine’. – Claire Healy & Sean Cordeiro quoted on their website, url below.

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Week 12 - Reverse-engineering

This week we will be thinking about reverse-engineering. Reverse-engineering is a design process that involves deconstructing objects in order to learn more about the processes that produced them. What can be made by taking something apart? What can we learn from examining the relationship between an object and its constituent parts? How can a conceptual process deliver a new object from existing parts?

Robert Morris, Box with the Sound of Its Own Making, 1961

Robert Morris’ Box with the sound of its own making has been highly influential on conceptual art since it was produced in the early sixties. The work is also interesting to think about in terms of ‘reverse-engineering’. While viewing the final object it is impossible not to consider the process that produced it. Morris explains how his work resolves the split between process and object:

‘The first object I made when I came to New York was a box with sound, which is a cube about eight inches on a side. I recorded the sound of making this box and put a speaker in it so that it plays for three hours the sounds of its being constructed. And it wasn’t conscious with me but I think this was again … I mean this completely split the process and the object. And yet put them both back together again. So in some way I think this was a work that allowed me then to go ahead. I mean really resolved that conflict that had occurred in painting’.  – Interview with Robert Morris by Paul Cummings, March 10, 1968, http://www.aaa.si.edu

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Hi guys!

I finally uploaded images of the replicas we made in week 7:

https://www.etsy.com/au/shop/conceptualprocess

Listings are too expensive on Ebay so I put them on Etsy instead.

Check out your listing and see if there are any further details (title, description etc.) you wish to add - then let me know in class this week.

If you made a replica but we didn't document it in class, please upload images to you tumblr (and tag the post with #cofa1002 and #replica) so I can add your replica to the shop.

Then the competition will begin! It will run for one week from 25 Nov to 1 Dec. The winner, plus their group, will be rewarded... We will discuss the details in class this week.

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Week 7 Replicas

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The world is a concrete box full of mirrors. On J.G. Ballard, Seinfeld, and infinity porn.

http://jerrickventures.com/omnireboot/reviews/the-parking-garage/

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Image: Auguste Rodin, Abattis

In the 19th century, a sculpture was only be regarded as finished if its subject were identifiable, and if it were a complete figure, except for portrait busts. Rodin, moreover, paid the price for not respecting these conventions with his Mask of the Man with the Broken Nose (1864) : all that was saved of the head when it froze and cracked, the mask was refused by the Salon jury in 1865. Inspired by Michelangelo (the Slaves, 1513-15, Louvre, Paris) and ancient marbles that had come down through the ages in fragmentary form, Rodin began to explore the partial representation of the human body at an early stage of his career: in 1874, he chose to borrow the motif of the ancient marble Belvedere Torso to symbolize sculpture in the Allegory of the Arts on the decorative scheme for the Palais des Académies, in Brussels. In the 1880s, Rodin boldly included fragments in his exhibitions, notably the show with Claude Monet at the Galerie Georges Petit in 1889, where he presented two torsos and two masks.

In the late 1880s, in the period of intense activity revolving around The Gates of Hell, Rodin built up a large stock of models of complete figures and fragments, which he could delve into whenever he wanted to experiment with assemblages and transformations. In the early 1890s, Rodin continued his investigations into partial figures (commenced with theTorso of the Walking Man in 1878). He dismantled and reassembled existing sculptures in endless combinations. By casting different parts of figures separately, he could rework the overall composition of a piece, without having to rework everything. Rodin joined his sculptural studies, orbozzetti (c.1890-1900), onto other figures through a process he calledmarcottage, generally leaving the joins visible in the finished sculpture, thus reviving the idea of non finito borrowed from Michelangelo.

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Boltanski's creation, accumulation and revelation of his own personal mythology takes one giant step further as the cave/bunker where his life can now be watched twenty-four hours a day will open to the public in the grounds of the Museum of Old and New Art (Mona) at Moorilla from late January 2011. The owner, gambler and collector David Walsh, has placed a bet on Boltanski's life expectancy and they are now bound by contract to a short- or long-term artwork (depending on destiny or chance). Until Boltanski's death, four cameras of the highest possible quality have been installed in his studio in Malakoff in southern Paris; the images are transmitted to the Tasmanian cave and the footage is permanently recorded, day and night, whether the artist is present or not. The installation in the cave itself has been designed by Boltanski to store the DVDs and enable real-time viewing of three monitors screening the studio in France, plus three monitors screening the footage recorded twelve hours previously. With La vie de C. B. ('The life of C. B.'), 2010–, Boltanski continues to toy with and risk his real and possible lives. He raises the ante and places his own ethical questions in the public eye right up until his end point.

  When is a work finished? This piece concludes with the death of the artist. Life as 'unfinished business'.

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"Being is there, and outside of it-Nothing"

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Image: Buckminster Fuller at Black Mountain College with models of geodesic domes, 1949 © Buckminster Fuller Institute

One of the ways Buckminster Fuller ("Bucky") would describe the differences in strength between a rectangle and a triangle would be to apply pressure to both structures. The rectangle would fold up and be unstable but the triangle withstands the pressure and is much more rigid--in fact the triangle is twice as strong. This principle directed his studies toward creating a new architectural design, the geodesic dome, based also upon his idea of "doing more with less." Fuller discovered that if a spherical structure was created from triangles, it would have unparalleled strength.

The sphere uses the "doing more with less" principle in that it encloses the largest volume of interior space with the least amount of surface area thus saving on materials and cost. Fuller reintroduced the idea that when the sphere's diameter is doubled it will quadruple its square footage and produce eight times the volume.

The spherical structure of a dome is one of the most efficient interior atmospheres for human dwellings because air and energy are allowed to circulate without obstruction. This enables heating and cooling to occur naturally. Geodesic shelters have been built all around the world in different climates and temperatures and still they have proven to be the most efficient human shelter one can find.

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