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Art Historical Images week 12 - Fragments of the Anthropocene by Shimul Saha and Zihan Karim

A combination of video works, installations, paintings and drawings

These works use scientific evidence to show that our world has come into a new geological era which is best defined by the impact of human activity on Earth’s systems and processes.

The Anthropocene marks out the current time period, defined by extensive agriculture, land reclamation and large-scale urbanisation.

These works have been described as meditative, poignant and compelling.

http://www.bengalfoundation.org/?media=fragments-of-the-anthropocene

Principle 24 Week 12

In response to ‘Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin’, Donna Haraway, in order to create meaningful, ‘of the moment’ art works in our environment, the artist must make clear decisions regarding their art practice and not be agitated. This doing will allow the artist to become situated in the present, enabling them to create works that reflect on society’s current situation.

Principle 23 Week 12

In response to the Poetry Foundation’s – ‘to be of use’, by Marge Piercy, artists who strive to make great art should, like any other profession, immerse themselves in their practice to gain knowledge only transmittable by doing, the artist must have patience and work hard.

Art Historical Images week 11 - South Central Farm and Salmon Creek Farm CA

Ron Finley, on Food Injustice

South Central Farm, Los Angeles http://www.huffingtonpost.com/ron-finley/prison-break_b_4862026.html

South Central – food desert, no access to health food, “you have to drive 10 miles to get an apple”

“growing your own food is like printing your own money”

To change the community you have to change the composition of the soil

Salmon Creek Farm, Northern California 1971-Present

Communes of people with a constant flow – allowing an engaged relationship with the outside world

Working with what you already have is key, adding to what is currently there

http://www.neromagazine.it/n/?p=15662

Principle 22 Week 11

In response to ‘No Man’s Land’, when creating art in the environment, enclosing an open space can either open up now ways of seeing the everyday or present a whole new set of challenges. In other words, if enclosure in society creates private property and wage labor, enclosure in art will create private art and a pre-condition for an art ‘currency’.

Re-worked version:

In response to ‘No Man’s Land’, when creating art in the environment, enclosing an open space will either open up now ways of seeing the everyday or present a whole new set of challenges. So, as an enclosure in society creates private property and wage labor, enclosure in art will create private art and a pre-condition for an art ‘currency’.

Principle 21 Week 11

In response to, ‘The Localization Reader: Adapting to the Coming Downshift’ by Raymond De Young and Thomas Princen, when making art in the environment it is important to view localisation as an essential social change to optimise the long-term well-being and integrity of natural systems upon which we create art.

T-shirt designs to go along side my manifesto

100% organic cotton?

(Exploration not final)

front: c r e a t i n g in the milieu. Preserve and acknowledge

back: maximise area without compromising the land

side: Living Amongst and Making Green Art Manifesto, 2017

Correcting my Manifesto

Art Historical Images week 10 -by Amy Youngs and Ken Rinaldo

Hyperdomesticate III 1999

Spineless Opuntia cactus, cast rubber spines, clay, rocks and soil

http://hypernatural.com/hyper.html

Hyrdoponic Solar Garden - Ken Rinaldo and Amy Youngs, 2005

Using the living to create art that makes comments on the differences between humans and nature.

Through this piece, ‘it is our hope that such systems could become alternatives to purchasing vegetables that have been grown on petroleum-powered farms and trucked to grocery stores’.

http://hypernatural.com/portfolio/hydroponic-solar-garden/

Principle 20 Week 10

In response to ‘Creating, Culling and Caring’, by Amy Youngs, showing engagement with the non-human is crucial in creating art in the environment as it shows the artist understands their surroundings and is able to communicate to the viewer what they have learnt.

Principle 19 Week 10

In response to ‘Un-civilisation – The Dark Mountain Manifesto’

Once an artist understands that civilisation is a myth, then they will be able to create art that counteracts the imbalance of juxtaposition between nature and humans.

archive.org film stills for Speculative Fiction Future Film

1. A Wonderful New World of Worlds, A (1960 Ford Spot) https://archive.org/details/Wonderfu1960

I would use 6-11/16s of this clip - the intro outlines and presents images of the change in the way of seeing. The clip says, “you are about to know the thrill of seeing that which has never been seen before. (You are about to enter a beautiful, wonderful and exciting new world)”.

2. Out of this worldhttps://archive.org/details/out_of_this_world

A new world where we can see differently. Science fiction, futuristic feel. Reflects the change in society due to seeing differently.

3. The Art of Seeinghttps://archive.org/details/TheArtOfSeeing

Representing vision and a new way of seeing in a graphic and obvious way. Vision to do with the mind and eyes and depicting the quantifiable way of seeing against the abstract.

4. Early Lighthttps://archive.org/details/EarlyLig2001

Changing our eyes and growth of a new way of seeing. To represent how everyone’s eyes went through the process of changing. The light mimics the growth and evolution of the seeing ‘new again’ process.

5. OSM 1991 London Extras https://archive.org/details/Osm1991LondonExtras

Light nimbi - to represent the way we see. Reflecting the fact that we all see them but don’t discuss them, I want to make them a feature of the way we see and take into consideration their bypassed beauty.

Art Historical Images week 9 - by Marc Quinn

Underpins the idea "that a person can be repelled by the idea of killing an animal and seeing their flesh, but that that same person can order a steak in a restaurant and enjoy it. I am not preaching morally, I am in the same situation, it’s one of the ways humans cope with the world and it is a moral paradox."

http://marcquinn.com/artworks/flesh-paintings

One of the Paintings

Flesh painting (on desire) 2012

http://marcquinn.com/artworks/single/flesh-painting-on-desire

Class work

Un-hostable in my no-space

Abstract representation L: Bad R:Good, Center: Perfect middle

Narrative of film

Principle 18 Week 9

In response to ‘Encounters with Animal Minds’ by Barbra Smuts

In order to depict a relationship between the art in its environment, the artist must make an asserted effort to involve themselves in the environment, just researching the surroundings of the site isn’t enough.

Principle 17 Week 9

In response to ‘Hosting the Animal’ – the art of Kathy High, by Irian Artistarkhova

High elicits through her works, particularly ‘Embracing Animals’, that in order to create a piece that provides the viewer with the understanding of a living being, the artist must be presented with the relationship between a human and the non-human, to highlight their differences and underpin their similarities. This should be taken into consideration when creating art in the environment, as the artist has the responsibility to present the relationship between the being and its surroundings for the viewer to gain a deeper understanding and connection to the work.

Art Historical Images week 8 - by El Anatsui

El Anatsui creates textile installations from found objects that he stitches together

He lets the pieces hand organically, letting metal drape like fabric

His works draw connections between consumption, waste and the environment

http://powershift.org/blogs/sustainable-art

https://www.brooklynmuseum.org/exhibitions/el_anatsui/

http://www.jackshainman.com/artists/el-anatsui/

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