Tag Archives: Task 6

A Look At Three Postmodern Images

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The way in which Postmodernism poses interest to me is that of its revealing nature that can only be accessed upon the deconstruction of the work one may be looking at. Robert Smithson’s “Map of Broken Glass” can be seen from one angle to just be a pile of fragmented shards piled neatly in the middle of the room. But if one took the time to gain an aerial perspective of the piece it becomes clear that “As the glass glittered under gallery lights, the work appeared like a magical relief map” (Hodge, 2012). This new perspective allows for the viewer to see this mythical island that is in fact not just a pile of shattered glass but a doorway revealing a magical sight.

Jeff Koons had a different approach to revealing ideas and concepts to the viewers of his work. In his piece “New Hoover Convertibles, Green, Red, Brown, New Shelton Wet/Dry 10 Gallon Displaced Doubledecker” Koons exposes to us the psyche of the consumer. “Referred to broadly as ‘The New’ these works explored the way our fantasies and desires are transferred on to ordinary objects” (Tate, 2017). This showing us a way in which we as consumers work, we can almost see ourselves using the equipment within the Plexiglas cases.

 

 

 

Damien Hirst’s more provocative “Away from the Flock” shows us a more visceral conceptualisation within postmodernism. The Tate describes this work as a combination of “the pure clean lines of classic Minimalist sculpture, with the uncomfortably eviscerated flesh of a portrait by the painter Francis Bacon” (Tate, 2017). This is an immense clash of both modern and postmodern values in which the minimalistic straight white frame is caging this lifeless corpse within.

 

 

This idea of Postmodernism “deconstructing authority and the established order by engaging in the ideas of fragmentation, incoherence and the plain ridiculous” (Ambrose and Harris, 2010) truly resonates with me as it is almost a smidgen of what is implemented into my own work. I am passionate about deconstructing media and art as I feel it leads to the reveal of many fantastical and fresh ideas from other artists that can help me develop forward as a practitioner in the field of the arts.

 

 

References

Hodge, S. (2012). Why Your Five Year Old Could Not Have Done That: Modern Art Explained. London: Thames & Hudson, p.153.

Smithson, R. (1969). Map of Broken Glass (Atlantis). [image] Available at: http://pictify.saatchigallery.com/137012/robert-smithson-map-of-broken-glass-atlantis [Accessed 20 Dec. 2017].

Tate. (2017). ‘New Hoover Convertibles, Green, Red, Brown, New Shelton Wet/Dry 10 Gallon Displaced Doubledecker’, Jeff Koons, 1981-7 | Tate. [online] Available at: http://www.tate.org.uk/art/artworks/koons-new-hoover-convertibles-green-red-brown-new-shelton-wet-dry-10-gallon-displaced-ar00077 [Accessed 20 Dec. 2017].

Smithson, R. (1969). Map of Broken Glass (Atlantis). [image] Available at: http://pictify.saatchigallery.com/137012/robert-smithson-map-of-broken-glass-atlantis [Accessed 20 Dec. 2017].

Tate. (2017). ‘Away from the Flock’, Damien Hirst, 1994 | Tate. [online] Available at: http://www.tate.org.uk/art/artworks/hirst-away-from-the-flock-ar00499 [Accessed 20 Dec. 2017].

Hirst, D. (1994). Away From The Flock. [image] Available at: http://www.tate.org.uk/art/artworks/hirst-away-from-the-flock-ar00499 [Accessed 20 Dec. 2017].

Ambrose, G. and Harris, P. (2010). The visual dictionary of pre-press & production. Lausanne: AVA Academia, p.197.

Task 6 Mode of Practice

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Being particularly interested in art works being more than just things to be looked at but also things to be touched, experienced like the rest of the world , in a new mode of practice I would like to develop  focus more on the viewer’s interaction with the piece of work or the material. Thinking somewhere between Superflex’ 1, 2, 3, Swing! and Robert Morris’s Continuous project, I would like to not just provide the audience with pieces to handle and experience, as I have done before, but also place a material in a space and document it as interactions with the audience change it’s state. Such as presenting a large plate of polished copper and inviting the audience to touch the metal. The plate could then be photographed at the end of every day and the process repeated over a week. The plate would then be left to tarnish and could be presented as a piece of work in its own right under the title of the dates it was exposed to the public.

The Problem With Copyright

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What do you see as the positives and negatives around copyright? Is it possible to make anything new?  

My initial, knee-jerk reaction when considering copyright is towards the negative. The origin of copyright itself was an attempt by the authorities in 1662 which “sought to control the publication of books by granting printers a near monopoly on publishing” (Eshgh, 2015). Not exactly an encouraging start. Since then there has been a continual tug of war performed on copyright laws dragging it across a spectrum which favours the every-day creator one one end and media giants on the other.  

The Statute of Anne, 1710

Before I jump into this, it’s worth clarifying that I am on the side of the every-day creator, meaning my perception of the positives and negatives of copyright will be skewed by personal biased. Nonetheless, let’s take a look at the different aspects of copyright and their relative worth.  

Copyright, at its best, should allow control of the creator over their work until no longer necessary, at which point the work is given to the public domain. The Statute of Anne, implemented in 1710, “prevented a monopoly on the part of the booksellers and created a “public domain” for literature” (Eshgh, 2015) by allowing a fixed term of copyright protection with the ability to renew if the creator was still living once it expired. It meant that the creator could have autonomy over their work for a set time, but meant that other creators down the line wouldn’t be punished for referencing or taking inspiration from that work.  

The next big change I’d like to focus on is almost three centuries down the line, in 1998, when a 56-75 year term put companies like Disney at risk of having their 1920’s creations fall into the public domain. The argument at the time was that by further extending the copyright protection term, it encouraged other creators to make new things. However, as expressed by Senator Hank Brown, “The real incentive here is for corporate owners that bought copyrights to lobby Congress for another 20 years of revenue—not for creators who will be long dead once this term extension takes hold.” However, the people who opposed this proposal of extending the term were in the minority. The proposal for an extension was passed, and “life plus 70” (Lee, 2013) became the new copyright term. 

Disney’s Steamboat Willie, copyright due to expire 2024

So it feels like copyright laws were made for sour purposes, and have been reclaimed by those with sour purposes over the years, despite the public occasionally trying to claw back restrictions on other people’s work, and sample and play with ideas from those that came before them. That said, to claim that this inhibits creators for making anything is absurd, as is the proposition that making something new is impossible. Whilst we are all creatures moulded by our experiences, our experiences themselves are unique, and by drawing from them and not necessarily the work of people around you, I do believe it’s still possible to make something new and individual, if only you have the courage to try. 

 

Reference list: 

Eshgh, A. (2015) Copyright Timeline: A History of Copyright in the United States, Association of Research Libraries 

Sen. Brown, H. (1996) Senate Judiciary Report on S.483, July 10, 1996 

Lee, T.B. (2013) 15 years ago, Congress kept Mickey Mouse out of the public domain. Will they do it again? The Washington Post 

 

Helpful links: 

http://www.trutv.com/shows/adam-ruins-everything/videos/how-mickey-mouse-destroyed-the-public-domain.html 

https://www.washingtonpost.com/news/the-switch/wp/2013/10/25/15-years-ago-congress-kept-mickey-mouse-out-of-the-public-domain-will-they-do-it-again/?utm_term=.53755560ef8b 

http://homepages.law.asu.edu/~dkarjala/OpposingCopyrightExtension/legmats/s483rep104-315.html#Brown 

http://www.arl.org/focus-areas/copyright-ip/2486-copyright-timeline#.WigVerGnyhA 

 

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