Underpinning Artists...etc
Artists & people that underpin my approaches are Michael Landy and mainly his work Break Down, 2001 (picture below) and Closing Down Sale, 1992 and his questioning of consumerism. he said in the university talk he tried to understand consumerism. and felt exuberant afterwards.
I have been for the past 1.5 yrs since seeing his work, making removal of items as part of my work. culminating soon in setting up my room in a skip.
Head Nun at Amaravati Monastery, a Buddhist forest monk, her teachings have helped me accept things as they come and let go of connections held with objects. This allows me to feel less attachment and resentment when passing items on to others.
Tino Sehgal, These Asossiations, 2012 has shown me the extreme side of no documentation, objectless art and non-physical work, which I am moving into.
Marina Abramovic has shown me many ways to perform including showing physical limits of the body and using props. her piece The House With the Ocean View (2002) has her live in a gallery for 9 days, see how few objects she has with her. she created an energy with the audience, they supported her silently.
Janine Antoni with her piece Loving Care, 1993, in which she herded the audience out of the gallery space by taking over the space. forcing them, in her words, to feel uncomfortable. for her the photos and videos are just documentation of an event, which is how i felt with my 100 Days performance (VHS tape wrapping). with some however I understand that some pieces can be intended to be a live performance and a video piece(not just documentation).
Yves Klein, Zones of Immaterial Pictorial Sensibility, 1959. He sold empty spaces and in a performance with the buyer, (to make it a real piece), they burned the receipt and half the gold leaf payment.
Wilhelm Mundt a berlin based artist who makes sculptures by covering his studio waste on resin, making colourful Junkstones, helped me to understand ways to display waste and rubbish, which pushed me into continuing with my series of ‘trophies’.
We (the others spoke I just listened) had a chat with the gallery attendant about how Mundt created them, he polishes and sands them, and on certain ones plays with different layers of colour. Each one has a 3 digit number and he is now in the 700′s.