To begin our third assessment our group decided to separately interpret 'The Now' through photography. Our aim in this experiment was to collate our findings and extract a potential narrative.

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To begin our third assessment our group decided to separately interpret 'The Now' through photography. Our aim in this experiment was to collate our findings and extract a potential narrative.
I Will Not Rebel - Assessment 2 Final Piece This piece is an interpretation of a creative rebellion, and what rebellion looks like in art. From my first assessment piece I drew the conclusion that rebellion in art is futile, as art imposes its own meanings and connotations, overshadowing the message of rebellion contained within it. I looked at Banksy and his works, and applied my view to his works. His works are famed for their irony and poignant messages, but are more appreciated as artworks than as meaningful conduits of a rebellious message. His primary medium is graffiti, and aside from the instilled messages in his art, the format of his work – graffiti – is the rebellious aspect of his work. Taking this on, I experimented with a graffiti font, and wrote ‘I will not rebel’ in order to introduce the irony similar to Banksy’s works into mine. I also wanted to clearly state the view that choosing to artistically rebel can be considered a ‘soft rebellion’ and thus eliminates the severity of a forceful rebellion. Following the theme of artwork in a rebellious context, I decided to use a stencil of a design I had previously created, as it suited my requirements for an object of beauty. I decided to incorporate an object of beauty in a 2D format because I wanted to create something that could represent the beauty of rebellious artwork as art. I spray painted the stencil to mimic the application of graffiti and proceeded to graffiti over the work, the words ‘I will not rebel’. This created an ironic piece, conveying the futility of artistic rebellions in the lens I was looking through. There are several elements of the piece that contribute to this idea. The first is the graffiti over the top of the painting. This is reminiscent of a rebellious activity, as it almost vandalises the artwork. However, the use of supposed vandalism against my own artwork further adds to the point that rebellion in art contributes to the art, enhancing it, rather than the other way around. Another element is the spray-painted stencil, depicting an object of value and beauty. The fact that it is ‘ruined’ or its aesthetic value is diminished shows the effect, which is close to none, which a rebellious act in art can have. The final aspect of this piece is that this artwork was not done on a wall in a public space as is typical of graffiti and would befit a rebellious artwork. A public forum would be beneficial to a rebellious work if the work was effective in communicating its rebellion. However, given the theme of the work, the work was painted onto a canvas, with the intention of being displayed. This is to further show that if a rebellion is to manifest in art, it must submit to the conventions of art. This point is exaggerated by justifying that this work was in fact painted on canvas as opposed to a wall in public. The titular message ‘I will not rebel’ is intended to convey the idea that with or without realising, an artist seeking to rebel through art may not achieve that goal, and hence ‘will not rebel’. I decided I wanted to make the phrase more ironic by actually incorporating it into the artwork, thereby taking it from text to art, and reinforcing the point. That rebellion is futile through art.
Experiment with rich colours that represent wealth and sophistication, the probably colour scheme for my graffiti work.
I decided to use my own artwork, and the original stencils, as graphics that I could work with as the art was created in a context of abstracting objects of beauty. Given the resemblance to certain jewellery, with a floral inspiration, the graphic represents something delicate and beautiful, a trait that could be used and manipulated when looking at rebellious artwork that speaks more for the art than the rebellion.
Following the initial research into rebellion in art from Assessment 1, I decided to look at Banksy as a rebellious artist from which to draw inspiration. The first piece is his work 'No Trespassing' found in San Francisco. Primarily known as a graffiti artist, his work is seen as rebellious and recognised as illicit yet still celebrated. This fit with my view that once a rebellion is conducted through art, the art becomes the focus, and can overshadow the message of rebellion. I decided to experiment with graffiti through graffiti-style writing, to create a sense of irony.
After the previous week's lesson, we formed a group with the intention of meeting up, doing an activity together, and documenting in some form the ecology of our group. This manifested in a last minute attempted feat that summed up how makeshift our idea was and yet how cohesively we worked to satisfy our goal, albeit only for a short time.
'Rebellion Means Nothing' - Karan Alimchandani, ADAD1002 Assessment 1 Final Work What is the point of rebelling through art? How does the artistic process give any more meaning to a cause? Does it? In attempting to figure out both what a contemporary creative rebellion is and what it means, through group discussion and practice, I arrived at two conclusions, albeit strong opinions. The first is that a rebellion in art cannot exist, as it becomes completely about the art, and the message is lost. That was my first concept. My second was that to be a contemporary rebel, in most cases, it isn’t the law that is contended, but society. In order to portray a contemporary creative rebellion, I decided to theme my work around a topic that can be considered taboo, to represent the provocation of social norms as opposed to established law. I also wanted to do this in conjunction with the idea of ‘futility’ to better represent my ideas of what rebellion in art is. My poster portrays a figure standing in front of an oncoming train, hand-raised as if to stop it. The figure is blank, stark white to contrast the gloomy grey setting. The anonymity of the figure allows a connection between viewer and figure to be established, and the white symbolises purity, innocence, even naïveté. The relationship between the figure and the oncoming train is symbolic of suicide, and though the inescapable fate of the figure isn’t without reason, the futility of standing in front of a train in order to try and stop it represents the futility of rebellion in art. In an attempt to recognise that rebellion cannot exist in art without becoming just art, I invite the viewer to ‘break a rule’ and open the poster to reveal the inside, proving that even a small act of rebellion for art, is art.
An image like the first one ('Stopping the Train' by Jamesgroup) may inform my poster in the sense of its affect and body politics. It's uncomfortable because of the inescapability of the event, it's personal because the viewer is right in front of the perceived threat, it's rebellious but it has no point, and has no effect, a concept I wish to convey in my piece. The second image ('Giant Galactic Space Penis' by Voina, 2010) is an act of rebellion, but I question whether the subject and art itself is rebellious, or if it is simply the act. Either way, the crux of the rebellious act can be said to lie in the inappropriacy, and less in the illegality, which reinforces the concept that contemporary rebellion lies in challenging social norms, and less in challenging law.
From in-class discussion with people doing my topic (Rebellion) The two key concepts I want to carry over with this poster are that (1) rebellion no longer entails challenging law so much as challenging social norms, and that (2) rebellion in contemporary art loses its power as an idea to the means (ie. rebellion in art is 100% art, and not rebellious at all).
Inferno, William Mansfield, Firstdraft - Installation Documentation
Affects: Scary, Claustrophobic, Sinister, Distressing, Intimidating, Solitude, Chaotic, Hot, Theatrical, Intense
Body Politics: It forces you to engage with the art, actively or passively, you become involved in it. It may even be redundant without you, as your experience is what creates what it affects. It removes your ability to think too much about it, it brings you into the moment.
This weeks group activity had us responding to one of the assignment questions. Our group decided to attempt to show what a contemporary creative rebellion looked like. After discussing various examples we were familiar with of rebellion in/through art, we decided that rebellion in art was redundant, that any rebellion in art existed solely for the sake of art, not rebellion. So we set out to demonstrate this; pointless rebellion was our concept.
We photographed various rules, legal and societal, being broken around campus (though no rules were actually broken, which worked in favour of our concept), however the purpose of these rules being broken was simply for art, further illustrating our point.
Rebellion experimental works
The second activity in our first lesson asked us to respond to 3 of several provocations/questions. Before deciding which questions to try and answer, our group split up and decided to spend some time accumulating a randomised stash of materials to work with. This was to help us approach our task without our instinctual thought processes limiting us. We used our found objects to create a sundial, which represented a reinvented clock face. We also created a piece of art that would/did fit in a matchbox, using tea leaves and a flower. An object representing the dichotomy of life, or perhaps an object that simply existed as itself, was our final response.
The first activity of the semester was a group one, together we found an interesting way to represent what we thought both 'Concept & Idea' and 'Practice-Led Research' meant. We created a remixed flowchart, using paper, tape, and string. We discussed that a concept can be a collection of ideas, or a way of thinking that helps shape or inspire an idea. To us, practice-led research meant experimentation, processes, conducting your own research through your own practice in essence.