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REFLECTION ON PREVIOUS WORK

PHOTOSHOP COLLAGE

MINDMAP

PUG I SPOKE TO

TD200: Final Outcomes

a) Speaker

b) Glue

c) Collage using Glue

d) Collage and Glue

e) Square Lashing and Slip Knot

f) Static

g) Stopper

h) Assemblage

woodstock walkabout

9 March 2020

The Board Store:

-dowel sticks

-many varieties of boards (R45 to cut once-off)

-plastic coated boards for mould-making

ALSO SEE: screws, bolts, wood glue, silicone

Cape Twine:

-cable ties, waxed twine, ropes

-canvas of all types and colours

-masking tape R12/15/40m, barrier tape

-canvas pouches that may be able to be used for storing paintbrushes

-duct tape (various) R13/5m

-drop sheets (R30: 2x3x60)

-velcro

LT Discount

-general hardware

-lots of varieties of paint types

-solvents

-R54: spray paint (Aerolak)

-Try out Harlequin paint: crackle glaze, rust-it glaze

-Flexibrush: R69 for interchangeable brush

-sandpaper types

-various brush types

-metal and wooden ladders

Plastipak

Deckle Edge

artist statement.

5 March 2020

“So, do you draw or paint?” Has become the standard question when I reveal my passion for art. I have attempted drawing and painting (as required) but I do not find pleasure in either very much. I explored traditional mediums of needlework as I believe it is a dying art form and held onto the idea of my shitty drawings and paintings by trying to define what makes an artwork ‘bad’.

Kitsch has been considered to contain objects of a low taste level but I believe it has become an art movement of its own. I started embroidering typical kitsch iconography and then included items from my personal life that occur as frequently as religious paraphernalia in one’s home. The text included further perpetuates the idea that contemporary art simultaneously criticises and celebrates the idea that everything is art as well as mundane conversations or occurrences.

SP200 Review

Term 1

Cycle 1

wooden construction (week 3).

incomplete tut assignment.

SMAC: Wallen Mapondera

Where do you think the noise is coming from, how does it affect the viewers experiences when analysing the works?

Question from Bradley Williams.

Based on the background provided by the artist, the sound is inspired by the demolition graders and their armed altercation with the police in attempt to protect themselves. Showing humans close relationship to other living creatures by denoting that no matter how evolved or developed your species is, the sacrifice one makes for survival has no limits. This limitless courage is heard in their battlecries that flood the exhibition space. The physical artworks themselves are not as confrontational and as easily able to connect to the theme.

The noise seems to be projecting from a certain corner of the room which I do not think that is super effective because it acts as a form of an origin story of the materials as well as a large part of the artist’s identity. Due to the seemingly poorly thought out audio effect, the sound does not seem to be an integral part of the exhibition. Perhaps, the sparsity of the audio aims to draw the audience in but experiencing this exhibition as part of a group and due to innate urge humans have to talk the audio did not expose itself until the group was silenced. That is why audio pieces in exhibitions usually include headphones so that they are given the appropriate amount of attention.

If one were to visit the exhibition alone the audio would probably be more effective and a suitable introduction to the concept behind the works. The supposed trash seems to link the exhibition to climate activism which is globally topical while the audio links the exhibition to xenophobia which is locally topical. This could be the gallery trying too hard to be relevant during Art Week or the artist trying to substantiate their reason for using recyclable materials.

still working on my time management skills.

it’s a process. everything is a process.

(+\- 350 words)

library assignment.

artists.

Koons, J., Sylvester, D. and Rosenblum, R. (2001). Jeff Koons : easyfun-ethereal. New York ; London: Harry N. Abrams.

‌Isaak, J.A. (2000). QR code for Feminism and Contemporary Art Title. London: Routledge.‌

Waldman, D., Holzer, J. and R, S. (1997). Jenny Holzer. New York: Solomon R. Guggenheim Museum.

techniques.

Ackland-Snow, N., Brett, N. and Williams, S. (1997). Fly. New York: Watson-Guptill Publications.

L Weiss (2006). Discover beading. Waukesha, Wis.: Kalmbach Books.

‌100 Embroidery stitches. (1968). Glasgow: Coats.‌

further exploration.

Gillian, L. (2003). Kitsch Deluxe. London: Octopus Publishing Group Ltd.

Merck, M., Townsend, C. and Emin, T. (2002). The art of Tracey Emin. New York, N.Y.: Thames & Hudson.

Tomáš Kulka and Penn State University Press (2018). Kitsch and art. University Park: Pennsylvania State University Press, Druk.‌‌

Dascal, M. and Hanliang Zhang (2007). Traditions of controversy. Amsterdam: John Benjamins.

‌

tutorial questions 11.02.20

SMAC:

1. due to the suspiciously clean nature of the supposed litter how authentic is the story of collecting the rubbish from the forced removals? or was it just an excuse to use recyclable materials perhaps of your own? or due to the recent xenophobic protests were you trying to be topical?

2. how intentional are the imperfections visible in the works such as the hot glue hanging off the work Nhereka Nhehereka and are you aware due to the delicate and biodegradable nature that the work may be difficult to archive?

3. does each brand have a specific significance ? such as in the case of Tuckshop 1 with the one ply and two/ three ply toilet paper. were you trying to create a visual representation of a class comparison?

blank.

1. did you choose to include the coffee table-like sculpture in the centre of the room to further perpetuate the theme of the home?

2. Sabelo: What significance does the home have for you and why did you choose to include it as such an integral part of your work?

3. what do the terms ‘femme and masc’ mean to you? and how do these terms affect your experience in a country where being queer is illegal?

stevenson.

1. why was the text included in English? and what significance does Maya Angelou have in your life and work?

2. what importance does colonialism play in your work? is this highlighted in your use of traditional mediums such as woodcarving?

3. why was the work in the large room the only one that utilised red ink and what does this signify other than blood?

Curation Ideas

This shows a single artwork that occupies an entire space. For our ‘show’ we could dedicate certain spaces for a singular work instead of overcrowding the images.

This is an image from the Egyptian Pavilion in the Venice Biennale in 2017. The room was modeled after the villagers’ homes in the film. The film was shown on multiple screens and with the curation of the room you were totally immersed in the work.

For our space we can transform the space to match the theme of the artwork so that the viewer is fully immersed and coerced into feeling what the artist believes the mood of the work is.

In Germany’s documenta this was an artwork that was displayed with different levels and at night it was lit up with ambient light.

For our exhibition ... we could organise the corresponding works into levels. For example the row closest to the ceiling could be all of our oil paintings.

We could also use light to manipulate how the viewer experiences the work based on the colours of the lights.

Curatorial research

PART B:

Question 1: What do you think a curator is, and what do they do?

I believe a curator is the person tasked with selecting what art to display in a gallery or museum, how to display the art. They are also in charge of the institution’s archive.

Find and write down THREE points from HU Obrist’s section that you find interesting and engaging. Say why you think so after each point.

“Exhibitions need not only take place in galleries, need not only involve displaying objects. Art can appear where we expect it least.”

This point shows the development of what artists think and challenge the idea of what art is affects the curator’s idea of what a gallery or museum is. This shows the immediate relation between artist and curator as well as the importance of this partnership.

“The Gesamtkunstwerk exhibition was very dense, very inspiring and interesting because of the danger that it became the Gesamtkunstwerk of the curator rather than of the artists. “

HU Obrist emphasises throughout the article that the curator should help the artist display their work in the most effective way. To help them. It is interesting to recognise his disdain with Gesamtkunstwerk as he implies that the curator failed at their job to help the artist and took advantage of the work to showcase their curatorial skills.

“It was inspired by Marcel Duchamp sending instructions from Argentina to his sister to assemble one of his readymades, and by John Cage's music of change, and by Yoko Ono's work.“

This extract interests me as it shows that a curator is not only inspired by the work of other curators but how other people arrange various things such as how music is organised, how an artwork’s elements is arranged within itself and how an artist was expected to curate their work no matter how far away from it they were.

Find and write down the central point in each of the above curators’ position on their work-practice.

Okwui Enwesor:

It is important to consider where and how a curator can act. The role of the curator has not changed but the environment around them has.

Koyoh Kouoh:

Although many artists do not want to be categorised based on one element of their art is is important to do so. It is an African curator’s duty to draw attention to the ‘Africanness’ of an artist whether or not their work is stereotypically African.

Simon Njami:

Njami,although he is not African-born, is very proud of his heritage and serves the continent’s art and artists. He extends his hand to the continent’s leaders to intern him as he believes that the skills curators use could assist with Africa’s development.

Write down 2 points of difference between any 2 or all three of the.

Simon Njami recognises that curation has changed and the importance of including African voices in exhibitions and to help educate the youth as they are the future of the art world and could offer a new perspective, while Okwui Enwesor tries not to get influenced and rather seeks for places where he as a curator can act and assist.

Part C

This background is patterned and quite chaotic which distracts the eye from the objects in the image.

The dark green background highlights the rubber band ball more than the other objects due to the colour the background and the object have in common.

FINAL TUTORIAL ASSIGNMENT

Neo-Colourism is a contemporary art movement that began in South Africa’s Mother City, Cape Town, yet it has spread to various other countries that were affected by colonialism especially those belonging to the Commonwealth. The aim of the movement utilizes the United Nations’ Universal Declaration of Human Rights. The Universal Declaration of Human Rights remains as relevant today as it was on the day in 1948 that it was proclaimed and adopted by the United Nations General Assembly. Its article 12 states that “no one shall be subjected to arbitrary interference with his privacy, family, home or correspondence, nor to attacks upon his honour and reputation. Everyone has the right to the protection of the law against such interference or attacks.”

Historically people of colour have been portrayed in colonialist art as savages and modern art as objects to be fetishised. For example, it is visible in the painting Tahitian Women on the Beach which is an 1891 painting by Paul Gauguin. The painting depicts two women on the Pacific island of Tahiti on the beach. The painting is currently in the collection of the Musée d'Orsay, located in Paris, France. To many, Gauguin was a fraudulent man, exploiting the myth of the noble savage to satisfy his exotic fantasies while boosting the market for his art back home. He is one of history’s greatest dilemmas, and more than a century after he painted his controversial compositions of nude, brown-skinned Tahitian girls—including several of his pubescent lovers—the art world continues to grapple with his legacy.

Locally, Irma Stern can be seen as South Africa’s Gauguin to a certain degree. Stern painted some of the various cultures in the Cape, however, she painted stereotypes of people of colour naming her paintings Indian and Malay Woman while her portraits of Europeans humanised them by calling them after the model. Mary (1941) is an example of this racist narrative that she has imposed upon her work.

Neo-Colourism was started with intent to reclaim the way people of colour are usually portrayed in Modern art through a colonial lens or a Eurocentric view. The movement was founded by a rebellion of POC students in Cape Town that were disturbed by the content and examples used in their art theory lectures. Very few POC artists were taught and therefore art students were mainly exposed to white artists’ creations and not creations of cultures that they originate from. Therefore, Western culture holds an overwhelming presence that casts a shadow over the world while indigenous cultures are forced into extinction.

Neo-Colourists aim to reclaim and encourage authenticity by portraying the cultures they originally come from as well as the POC experience in a contemporary way that only one that has experienced it firsthand would be able to visualise. To change the narrative from only seeing people of colour portrayed as members of the service or submissively. Neo-Colourists aim to popularise and reclaim the way people of colour are portrayed which usually finds its roots from colonial times. Artists from this movement want to change the negative narrative as they believe it discourages POC youth from trying to break the mould.

The student collective that started this movement is pleased with how fast the movement is growing among others. “We were anticipating backlash because of how politically motivated it may have seemed based on the current affairs in our country and the world but the reception of it was incredibly reassuring” says the spokesperson of the collective.

The movement first took inspiration from candid moments in the collectives life and occurred to them accurate representation of POC lives are far and few. The collective started as an underground society that would meet after class to discuss issues they faced in university but also in the wider community. As creatives a discourse on misrepresentation in the art world was inevitable. They decided to take action by firstly promoting POC artists but also by encouraging other students to tell their story in their own work.

Tool Share Collage.

DIGITAL ARCHIVE EXERCISE

PUBLIC ARCHIVE

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