meusum

                                              Museum construct FINAL

The museum construct what is it? In the Victorian age the ones that could travel would bring objects from around the world constructing many narratives laced with ignorance   When we think about a museum do we see it as reputable place? Do we trust it like any other services. I think that we do not feel a place that is serving the public to be wilfully untrustworthy.

 The museum can be seen as a space which carries a truth badge, i.e., we expect the pieces collected around the world neatly displayed in the space, are facts. However, this is often wrong as it is a constructed truth placed to be looked at from a particular angle. They can be biased ideas that influence the perception of history displayed in the space. They can also be displayed in a way that makes the country where the work is being displayed feel of a higher status, or it can be honest thinking at the time which tells us what fits the idea of the museum 

The collection of objects from all over of the world was the Victorian’s idea. In London, the Victoria and Albert Museum has many pieces from all around the world. When visiting a museum, we are seeking something to inform us .At least when thinking about the museum you could assume that everything in that museum is entirely true. However, these spaces are fabricated truth potentially romanticised images looking to teleport us into history, be it imagined or true with the pieces of work. 

Gillian Wearing work wearing masks art work 

Irwin Live

Armature professional

AMATEUR AND PROFESIONALISM 

When looking at this what comes to mind is the question of the approach of artist to the finishing quality and the space this work exists in. And if they have studied their subject in order to be classed as an artist. These are questions that run through my head. 

If a piece of work is placed together in a frame or if a sculpture is put in an exhibition space, we see it as professional. More so, if it is a well-known space with status such Sotheby’s or Saatchi or some of the high street exhibition art spaces like Castle Art. Some of us may see the work in the space and be taken in by the status of the space in order that we respect the work. And although this may make the everyday person sound like they are dumb, reputation goes a long way when it comes to us seeing the work as respectable and professional. Then it goes with the saying ‘it’s not what you know it's who you know.’

  Tracey Emins work is autobiographical looking at all aspects of life such sex, love, life, death, and relationships. When looking at her etching prints the style resembles something a child would do however, she has intentionally created work to look this way

There is a reason for her work to display such a childlike element of drawing. 

The work of Banksy would have traditionally   been in the street seen by few or been there for years, a piece of graffiti potentially perceived as amateur by the everyday man because it has been placed on any space. However, his work has this intention as he places his art in unknown surprising spaces. Another example of the shock tactic is the shredded painting that had people bidding for his work at auction and it then became shredded. I would say  Banksy thinks he is a message giver, a performance artist playing with us the by putting us on the edge of our seats for a painted frame.  He has people in uproar for doing the work on their property and others celebrating such an approach. He has the art world in his hands by intentionally placing it in these places. I think the intention for this is to stay connected to the heritage of street art being on the street, but also it takes the control out of the traditional art dealer’s hands. 

We are drawn to a piece of work for many reasons as an observer be they professional or not. Taking ideas from other artists we know for being cred,able regardless of the spacing being traditionally thought as professional or not, we ourselves develop as artists. The expanding knowledge of art is developing further weaving between both traditional and non-traditional spaces   

 

abstract process

Abstraction and process.FINAL

Abstraction and process art is about the process and the materials allowing this to drive the work forward by letting go.

 The outcome and where the work may land may be unknown to the artist. It is

 more about the here and now and the materials and the energy one brings to the materials. This is within art created through paint to sculpture with traditional clay, to the sculptures being created with traditional materials. It is seen in the artwork of Wolfgang Laib who collected pollen and this work was driven by the idea displaying it in a space. 

Painting in an abstract way is about mark making,  expresisve movement like dancing on the canvas. With Painting based on the human form I could express a feeling, an energy given  by the subject or the artists interpretation of the subject.

You can find abstract sculptures in spaces within towns or parks and city centres .These are often non-offensive pieces of work placed in a space some would not notice them to be sculptures.

Abstract painting is also non-offensive being placed in an office space or school halls and doctors' surgery and that is the same idea.

Bridget Riely ‘s work Movement Square is a geometric piece of work 

which plays on your sight and then plays on your senses what you see and what you 

think you see. Although this abstract is a more planned process to deliver the piece

of work called Movement it required careful planning and measurements. I like the work because it plays with your eyes and for the repetition within it 

Barbara Hepworth’s outside sculpture would have you curious for the open space and the shapes within the work it resembles tribal trophies with smooth modern shapes .There is a deep control when it comes to this process and the work delivers something strong 

feminism

 Feminist intervention. Final

When looking at the female in Arts there has always been a certain 

look portrayed in the past be it, purity or voyeuristic objectification 

simply for the male's pleasure. 

Elder Pollock asks the question about sexism looking at how 

women are portrayed by men in history, excluding women. When 

looking at historical art and women, it is often a polite, non-direct

subtle sexism showing the angelic presence and purity. The modern 

pursuit of women in art by women is very direct. It is women 

showing themselves how they want to show themselves, some 

could say breaking free, rebelling from the ideas or being different 

breaking the chains from how women wish to show themselves.

However, it is great that the female artists liberate women. The 

middle finger that appears to be going up with this work is like Wee 

on the Carpet by the artist Erwin Wurm from Austrian which

makes me think of what was known as the Ladette era of women 

pushing the boundaries. The photograph ‘Wee on the Carpet’ 

shows the rawness of a woman just letting go on the carpet. This 

pushes the traditional ideas of a women questioning beauty 

standards and manners and almost feels rebellious to what is 

referred to as the male gaze. The image of Erwin Wurm with the 

image of a lazy looking sexually seductive woman spitting 

something into a teacup echoes a time in the 90s called the Ladette 

era where women would drink alcohol and get trashed. 

In another image of his where there is a lady with a skirt and heels 

on and just ******* on the floor. It is all about the woman taking 

control of how she is perceived, how she wishes to be seen within 

art and pulling away from the symbolic purity, the subtly sexy, to 

now just standing there, letting it all hang out for the world to see 

warts and all. This explores the identity of a woman exploring and 

rebelling against the restriction and the barriers, forcing us to look 

at these images and question potential beliefs and ideas that we 

have as women and the chains potentially put on from the outlook 

of a man.

Jenny Saville’s painting titled ‘Propped’ is a striking piece that goes 

against the beauty stereotypes with a large lady painted with her 

body not looking like the perfect female being light as a feather. 

This is a woman going against what a woman is thought of as being perfect.

political identy

                            Politics and identity

Politics and identity are influenced by looking around at what is going on around the world and conveying a message of some sort that relates to our personal beliefs or at what is affecting us locally or internationally. This can be a truly powerful thing pulling in directions that can highlight moments undiscovered by the outer world, inspiring an artist to do something that speaks to the audience directly or poetically with a bit of mystery. Those who seek change or want to make a statement will create something that will be seen. When looking at 

 Gilbert and George     who call themselves living sculptures.

Known for their performance art and both based in London’s East End their work is based around where they are there from and the living heritage traditional English gentlemen

Keith Herring ‘s work titled Free South Africa

shows an art piece that has a character who is black with 

a rope round its neck in white. Keith Herring was an American artist and this shows his awareness of political injustices around the world. 

trans gression

Transgression and taste. 

When looking at transgression and taste within our society we look at things that test our beliefs, our boundaries, and how we have, maybe, grown up seeing our surroundings, the world and ourselves. This can be very challenging for our minds and our emotions and challenges where we are and can have us question our values and who we think we are as human beings. Certain crimes stay with us forever, such as the Jamie Bulger case and the Moors murders with Myra Hindley. Some of these parts of history have been turned into art pieces. 

As these are awful crimes, they make us question the humans involved which then forces us to question ourselves and our own humanity. We wish to push the evil away and once it is away; it is away. We wish not to question it once again, so for this to be placed within art and for us to look at it, accept it, and embrace it is exceedingly challenging for the human spirit, or the human mind. 

The artist, Jamie Wagg was an artist who took on the famous image of the boy Jamie Bulger being captured. This image is one that was used in many newspapers. We all remember it very well. He was seen as an artist exploiting a tragedy. The artist started receiving death threats at his home.

A crime that will forever be with our generation was the Moors Murders. Marcus Harvey, an artist, chose to do a painting of Myra Hyndley. This was not just any painting; this was the famous press mug shot that will forever remain in our conscience. He pursued this painting and had it placed in an exhibition. This painting had to be guarded as it stirs up feelings that a woman could do this to children. For this be seen as a photo and to then be transitioned into a painting is potentially seen as glorifying, however. When a photo is consistently used in a paper, could that not be seen as the same thing, to promote a story or to make people draw close by the newspaper.

It is important that art can explore these ideas as it raises the question of keeping things locked in boxes, which stops us moving forward as individuals and as a society. We do not allow ourselves into problematic spaces to try and move forward.

IMAGES TO PLACE OF MYRA HYNDLEY 

 When looking at the painting that was created by the artist Marcus Harvey the work is good using a child's handprint to create what has been known as quite a chilling mug shot of a child killer which was a woman. Marcus Harvey is from Leeds which is in Yorkshire so this crime would have been quite personal as it is close to Manchester but not far from Leeds.  I would not like this painting in my house as I think it would have me having bad dreams. 

Jamie Wagg decided to work with the famous shot of JAMIE BULGER being walked away with the boys that killed him. This is a work that can only bring up old memories of such an 

awful time. How can one disconnect from such a subject when it was continuously flashed up.

I like it because it is placing us in a position to question our believes. This kind of art is needed in contrast to that which does not hit so hard but allows you to escape and question and escape in a light way. That does not threaten who we are in such a way that we can feel disgust or ashamed.

 

Newstead abbey project privilege