For this task I decided to appropriate the work of Julie Mehretu and William Kentridge to create my own original artworks. The aspects I like most about Mehretu’s and Kentridge’s work are the use of mark making, even though their styles are completely parallel to each other. Mehretu utilisés a lot of detail in her work, this comes in the form of what looks like architectural blueprints, giving an immense sense of complexity within each piece. However this is juxtaposed by the use of layered marks which are much more abstract and free. This creates a visually interesting image. On the other hand Kentridge uses very rough emotive marks to create a visual tension, this being effective when animating and bringing his drawings to life.

How I appropriated these artist’s works was through the use of mono printing. After scanning and printing images of the artist’s that I like I was able to pick certain lines that grabbed me through a very instinctive process. The final outcome of this process created abstract pieces of work that combined the straight rigid linework of Mehretu and the emotive marks of Kentridge, again creating an interesting juxtaposition. To develop this further I also used collage to combine the two artist’s works. I believe they work well together because of the lack of colour which is a similar aspect of both of their drawing’s.

By using this process I was able to visually analyse both of the artist’s works and compare the similarities and differences between them.

Bibliography-

Kentridge, W. and Christov-Bakargiev, C., 2004. William Kentridge. Milano, Italy: Skira.

Mehretu, J., 2013. Julie Mehretu. New York: Marian Goodman Gallery.

In the essays ‘the Yale Lecture’ and ‘The flatbed Picture Plane’ both Serra and Steinberg discuss the environment in which art is presented but from two different point of views. Serra argues that the ‘site’ a piece of work is presented in had a direct ‘relation’ to the piece of work itself. This relationship therefore creates its own dialogue or language, it’s own language and the language of its surroundings. Because of this it is ‘impossible’ to construct a work in a studio space and then take it out into a different environment and expect it to work, like artists have done for centuries.

On the other hand Steinberg instead of a specific site discusses the ‘The Picture Plane’. Since the ‘Old Masters’ and onwards to movements such as Cubism and Abstract Expressionism work has been vertical, an upright surface. However Steinberg noticed a ‘radically new orientation’ with artists such as ‘Rauschenberg’ and ‘Duchamp’. They shifted this plane from ‘vertical to horizontal’ arguably completely changing the meaning of art from natural to cultural.

The main difference between these two essays is that Serra is more literal in his description of environment. From his use of language and description you can see the physical space that a piece of work is created and subsequently presented. But with Rauschenberg his ideas are more conceptual, with a shift in perspective rather than space.

Bibliography-

Harrison, C. and Wood, P., 2003. Art in theory, 1900-1990. Malden, MA: Blackwell Pub., p.948.

Harrison, C. and Wood, P., 2003. Art in theory, 1900-1990. Malden, MA: Blackwell Pub., p.1124.

The theme of my contemporary project was simplicity. This was reflected in the artists I chose who I believe apitamised the idea that for a work of art to be poignant or beautiful you really don’t need to over complicate things. Bill Viola is a great example of this; his video work often of a single still subject, reminding me of the still life’s of the Great Masters, yet completely coming to life with subtle movements and sublime use of colour.

For my practice I decided to use one item to create artwork with and record the various marks I could make with it, this through the use of drawing, photography and video. I started simply, using the tin as a mark making tool and using the various textures to print onto paper. This created a series of experimental ink drawings, each one with a different kind of imprint left on the surface. After each drawing I photographed the tin. This reminded me of an almost forensic experience, the stark white background contrasting with the slowly changing tin. Each imprint like a series of ever changing fingerprints.

To develop this further I saw what I could do myself to change the kinds of marks made. This including drilling into the tin and melding it with a hammer. I again recorded this process with video and photography.

From the ‘Thick Time’ exhibition the piece that grabbed my attention the most was Kentridge’s piece based on his production ‘Lulu’. After experiencing ‘The Refusal in Time’ I walked up a set of stairs, pushed open the door in front of me and saw a small stage, surrounded by a sea of chairs. Coming from the grand, overwhelming scale of ‘Refusal in Time’ to this piece could almost seem disappointing, however it grabbed me instantly. The stage was illuminated by a projected image, with the artwork shown in typical Kentridge style, rough ink drawings. In front was a machine, with 2 pieces of wood dangling from string. And to my amazement as the video started these pieces began to dance along the stage, the once stagnant images coming to life. These completely inanimate objects had suddenly became characters from the play, able to portray a whole range of emotions.

Seeing this piece ‘in the flesh’ for the first time truly gave me an experience I doubt very much I could get from a picture in a book or a video on my computer. Even though drawn images it truly felt like the play was happening in front of my eyes, with the all the drama of the real thing. As I was surrounded by people all sat together to watch it it further heightened my experience as I could imagine sitting in a theatre, everyone around me experiencing the same feeling of awe that such emotion could be portrayed from two mobile pieces of wood.

Bibliography-

Blazwick, I. and Breitwieser, S., 2016. William Kentridge : Thick time. London: Whitechapel Gallery.

Exhibition- Thick Time by William Kentridge (Whitechapel Gallery)

For a while I had admired the work of Kentridge, seen his video’s on a small computer screen, flicked through his books enamoured by the sheer creativity of his work and the deep conceptual ideas embedded into each frame. However nothing could prepare me for the exhilarating experience of seeing his work first hand. Waiting in the que, excited to enter the exhibition space, I could hear the low thumping on brass instruments in the background. This hypnotic melody got louder and louder as I pushed open the heavy doors, becoming enveloped in sound, the light from the projections transferring me to a new world. I was surrounded by movement, light that danced across my entire body. I had never felt so involved in someone else’s artwork.

Accompanying the throbbing, encompassing music was a wooden machine, the struts and beams seemed to take on a life of their own. As I slowly strolled around the first room, projections hitting me from every wall, I studied it in complete awe, unable to understand the workings of this sculptural piece. That was probably my favourite part of this exhibition, how from room to room I was in a complete state of I was shocked and surprised by the weird and wonderful creations of Kentridge. It could be argued that a lot of the core work he presented was quite similar, however the way each piece was presented continued time and time again to challenge me as a viewer, even on my second and third viewing of the exhibition.

Bibliography-

Blazwick, I. and Breitwieser, S., 2016. William Kentridge : Thick time. London: Whitechapel Gallery.

‘Forward: Towards the Vanishing Point Boredom’ an essay by Siegfried Kracauer, in his book The Mass Ornament, discusses whether anyone can be truly bored in the modern age and how some can choose to be bored. Kracauer discusses how everything around us contains something of interest be it history, music, a story or lacking any other source of entertainment one’s own imagination. He then goes on to criticise whether anyone can truly be bored as we have entertainment thrust upon us. Therefore is boredom a choice we all actively make. Ironically, he also points out that when we become truly engrossed within something we ourselves become an object of boredom to those around us.

The tone of the work is primarily reflective but also heavily romanticised as Kracauer’s text flows fluently when read and he explains the possibilities of the imagination in depth. The work was written during the 1920’s a period of social revolution driven by the rise of technology into the everyday life. Among the first to reflect on modernity his work continues to be important today as technology becomes increasingly integrated into our lives and media forces entertainment and happiness onto us daily.

The work is best summarised when Kracauer states, ‘And even if one perhaps isn’t interested in it, the world itself is much too interested for one to find the peace and quiet necessary to be as thoroughly bored with the world as it ultimately deserves.’ (Kracauer, 1995, p.332)

Bibliography

Kracauer, S. and Levin, T. (1995). The Mass Ornament. Cambridge, Mass.: Harvard University Press, pp.329-334

Nikki S. Lee Part (14), 2002

Nikki S.Lee is known for her series of works named ‘projects’ in which she assimilates in a variety of cultures, recording her interactions through photographs. However this work is different as although I believe she is attempting to portray a certain persona I don’t personal see it as explicitly linking to a specific culture.

What’s interesting about this piece is the use of crop. From the left of the frame you can see a male arm which sits across the subjects shoulder. But his identity is hidden, his face left out of the photograph. That makes the viewer question firstly who he is and also why he has been cropped out of the photo. Was it done purposely? To me this looks like half a picture, like it has been intentionally cropped to withdraw the mysterious man on the left. This could possibly link to a break up of a relationship, where she has tried to remove him from every physical aspect of her life, even photographs. This paired with the glazed over stare makes it seem like in this moment she is unhappy, looking out past the frame, out of the car, possibly a metaphor for longing for a better future.

The amateur and candid nature of the photograph further emphasises the intricacy within the moment captured. This effect is created by the lack of professional lighting, as this it is only lit by natural light and the overall lack of detail within the photo.

Bibliography-

 Anon, 2017. Nikki S. Lee. [online] Tonkonow.com. Available at: <http://www.tonkonow.com/lee_parts.html> [Accessed 6 Dec. 2017].

The piece of contemporary I have chosen is Judy Chicago’s The Dinner Party as it is a centre piece for Feminist Art and commemorating important women throughout history. The installation piece is an excellent representation of the feminist art theory as it not only celebrates what makes a woman a woman (referring to the china-painted porcelain plates with raised central motifs that are based on vulvar and butterfly forms) as the theory explains and encourages women to express love for their bodies and biology due to women previously being shunned or considered vain or vulgar for showing their own natural form. The piece also exhibits the feminist art theory as it honours important historical female figures but it also the names of another 999 women are inscribed in gold on the white tile floor below the triangular table represents how all women from all walks of life should be appreciated and that they have not been forgotten as a prominent theme in the feminist art theory was to change/challenge the male dominated art society and society in general. The piece is also representative of the feminist art theory as it relies heavily on embroidery throughout the piece, which was a strategic use of media as it touches upon the stereotype that needle point is “women’s work” rather that it being a method to create outstanding works of art. Further challenging the patriarchal view point that embroidery is soft and delicate when it has evidently been used to create a hard hitting piece on a large scale.

I was sitting in the studio alone late one night updating my logbook when I started formulating the initial ideas behind this piece of work, the continuation of my journey.

Fig 1 displays the initial stages of development in a piece of art that reflects heavily on the environment that I am now presented with, besieged on all sides with expectations and  no family or friends to fall back on. Yet it also presents itself as an opportunity to redefine myself closer towards the person I aspire to be and driven to become. The work looks intently into identity.

Fig1:Sketchbook Extract

The start of this piece was a documentation of my thoughts and ideas carried over from my logbook. Ideology features heavily in this respect with the original working concept being that my identity runs in my blood, it is the things I do, the company I keep, the way I act and the perils I have suffered. I do not believe that it can be confined to a single piece of work. I make my own Identity and its constantly changing.

The initial translation of this into the visual language took place in the form of a concept drawing focusing on colour, texture and layering to display a portion of my own identity. I felt layering created an immediate sense of identity due to the complexity in which we hide our true selves below multiple facades.

As a result, I began collaging those important to me, friends, family, as a base layer for the work and dissecting that into a compositional diagram to make up the shape and form of the work. This led to me redefining the original motive; Identity runs in the blood, it is the things you do, the company you enjoy and the friends and family you love. It is also the bad times you have the suffering you endure and the pains you overcome. Your identity is your blood sweat and tears, the same blood sweat and tears that goes into every piece of work we do. Thus, every piece of art I make is a microcosm of my identity.

In the future, I envision the further development of this work by increasing the scale and taking it out of the page into more sculptural elements to emphasis the layering and create a greater, more accurate representation of identity and what it is to be human.