Melissa Hermans

RMIT Undergraduate Bachelor of Arts (Fine Art) Sculpture Spatial Practice Art History & Theory

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Brainstorm and conceptual drawing

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Brian Jungen, Skull, 2006-9

Baseballs

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Brian Jungen, Vienna, 2003

Plastic chairs 49 1/4 x 51 1/4 x 334 3/4 inches (125 x 130 x 850 cm)

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Brian Jungen, Carapace, 2009-2011

Plastic recycling containers Dimensions variable

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Brian Jungen, Barricades, 2010 5 parts Each 41 x 26 x 144 inches (104 x 66 x 366 cm)

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Brian Jungen, The ghosts on the top of my head, 2010-2011

Painted stainless steel Installation view, The Banff Centre

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mobKevin Law, WEEE Man, 2008

3 tonnes of recycled washing machines, mobile phones and electronic toys

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Tim Noble & Sue Webster, DIRTY WHITE TRASH (WITH GULLS), 1998

6 months' worth of artists' trash, 2 taxidermy seagulls, light projector

Dimensions variable

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Tim Noble & Sue Webster, A HOLE, 2005

Welded scrap metal, wood, light projector

85 x 30.5 x 60 cm (331/2 x 12 x 231/2 in)

Plinth: 30.5 x 30.5 x 61 cm (12 x 12 x 24 in)

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Visiting the gallery: Bill Henson

For the first assessment, it is required to ask these questions when visiting Bill Henson’s exhibit at NGV.

1. How does the exhibit meet or exceed your expectations?

My expectations were exceeded when I saw this exhibit. The emotive way that the photographs were displayed allowed myself to be immersed in the morbid world that Henson created with his work. 

2. How successfully do you think Henson engaged with the identified theme?

Identified in this exhibit explore the themes photography, depressing, morbid, lonely, and raw emotions, landscapes, remoteness, portraits, nudes, and museum artefacts and interiors. Henson has successfully engaged with these themes, especially in the way that he studies the sensitive and sophisticated human condition. Henson’s work emphasises an array of themes and focuses in such a manner that it is harmonised and balanced through his exhibit. 

3. What types of works are included? Are there any obvious omissions?

4. How is the artwork presented in the space - why/how does it engage you physically as a viewer/listener/participant?

The audience is drawn to the detail of the photographs as they are illuminated. The exhibition room is large with plenty of space, allowing the solitary ambience to further emit and complement the photographs. As the viewer walks around the room, they are drawn to the light of each photograph as if the black walls are negative space, which also brings more focus and emphasis on each photograph.

5. How relevant is the exhibition to the contemporary movement - how does the theme of the exhibition engage with contemporary culture and society?

The exploration of the human body, interactions and emotions through portraits, landscapes and museum artefacts allow the audience to be immersed in this contemporary style. Use of light illuminating the photographs is an advanced way to exhibit work and adds a new dimension and experience for the audience. 

http://www.ngv.vic.gov.au/exhibition/bill-henson/

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Workshop Homework

Listening to surroundings: the small valley at the base of my backyard.

Concentrating all of your energy into solely listening feels like all of the senses fitting into one. Not only are my ears being simulated, but my mind is imagining my surroundings as I listen closely to what is happening around me.

Different ways to listen: eyes open to properly identify sounds, or eyes closed to imagine your surroundings just by judging the sounds. The longer and harder you listen for, the more sounds you will hear. There is a noticeable difference between ‘shallow’ listening and ‘deep’ listening.

My relationship between the sound environment and myself is a relaxed tension, where I am not contributing to the sound but simply in the presence of my surroundings and silently listening. It is a very tranquil environment with no stress.

Sounds I heard were a variety of birds, insects, faint car motors in the distance, wind chimes, wind rustling the trees and blowing past my ear canal.

These sounds to me feel comforting and allow me to feel emotionally and physically aware.

I perceive the depth and distance of what was around me (trees, cars, birds)

Time felt to go significantly faster that expected when you are deep in the listening process

Everything in my surroundings is natural and organic. My space is open and vast, so sound does not echo or amplify

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Workshop: Week 1

Sit in the escalator well and listen for 5 minutes your surroundings, then discuss with your partner for another 5. List observations:

 Not only the visual sight of people carrying themselves as they walk, but the sound of people carrying themselves (shuffling, stomping, etc.) was interesting to hear and notice.

Listening to the environment in such a concentrated manner made you consider it to be an art piece. It made me consider validation: what is artwork?

The contrast between the mechanical interaction between the stairs and the escalators was an interesting concept to listen to.

It seemed that when no one is using the escalators, it is like they are stationary of use, yet they are still in motion. They are in a ‘neutral’ state, waiting for someone to use them.

Sound contrast between squeaky feet on the floor and the squeaking of hand on the escalator on the hand railing

The objects and space in the room of the room provided our ears with a sense of space and depth.