Queensland
College of Art
Griffith
University
FINE
ART
2347QCA
Interdisciplinary Sculpture 2
Convener/
Lecturer: Dr Sebastian Di Mauro sebastian.dimauro@griffith.edu
Lecturer:
Bruce Reynolds bruce.reynolds@griffith.edu.au
Semester
2
Project
1: The Body, Identity and The Self
The
Body in Contemporary Art is an overwhelming, vast collection of
ideas. It has been derived from many different opposing positions,
which have developed over the centuries from many different competing
branches of knowledge and institutional frameworks. To think about
The Body is to also involve one’s mind, since to make art one
requires a body and a consciousness to act. If we assume the ‘mind
to be the seat of intellect, then the body is our interface with the
world and our senses its line of communication’1.
The body’s mind is also inextricably linked to such terms as
subjectivity, identity or even the self, since it is these historical
constructs which define our understanding of consciousness and the
ways in which these institutions have shaped and influenced, who we
are today.
In
order to frame these vast arrays of information, an arbitrary list of
parameters have been drawn up for you to research and for you to even
add to in your own time, in and out of the studio. The way I have
framed this semester lectures is to simply treat The Body in
Contemporary Art as the over-arching term used to describe how
artists and their use of representation (language), engage with the
topics presented over the course of the semester.
These
topics have been broken down into six main areas, although through
your own research many more may be uncovered. These are The Body as
Absence
and
Presence,
The Body as Text,
The Body as Action
and Transgression,
The Body as Spiritual
and Immaterial,
The Body in Time,
Space
and Sound,
and lastly, The Body as Trace.
APPROACH
Throughout
the whole semester (13 weeks) you will develop a body of work which
explores any of these main topics or develop your own set of research
parameters which add to the proposed set of topics discussed in the
lectures.
Work
Plan
By
Week 3
you will need to produce a work plan that begins to identify your
ideas for the work, an approach, materials, skill requirements, a
realisable timeline and a risk assessment of the project. While much
of this may well change as the work develops, it will be important to
get the structural organisation in place early on in the semester. In
order to pin yourself down or to be able to consider and reflect on
the viability of an idea or project, it is often good to ask
questions about your intentions. It can help to assess the strength
of your ideas, the practicalities of the project or identify specific
needs like sourcing materials or researching processes or identifying
skills needed to realise the project. The following are some basic
questions you need to respond to:
- What do you want to do?
You
will need to outline your ideas, inspiration, sources and references.
Start to build up a bibliography of books (artists, writers) that
support your ideas or are in some way linked to your work.
- How do you plan to go about it?
This
should describe methods, processes and materials. You should identify
where you plan to source these materials and identify processes or
skills you might need to know or learn how to do.
- When do you plan to do it?
This
is to be like a time line that plots out timing for realising the
work. It should identify key points when certain elements, are
required to be finished.
- Where do you plan to exhibit the work?
You
will need to experiment with context, placement and location
actively. Don’t wait to think about this when the work is
completed. It should be a component of the ideas of the work from the
start and may influence the realisation of the work dramatically.
- What are the Risks?
There
are risks of some sort with virtually all artwork. Consider what the
risks might be in developing your project. The risks might be about
storage and safety of work, it might be about the impact of the work
on other students using the studio, as well as the safety of the
materials you are using. It is important that you develop a sense of
individual responsibility for establishing safe working conditions
for yourself, and ensuring what you do does not impact negatively on
the other users of the workshop and studio.
Lecture
Breakdown
9:00-10.30AM
ROOM S02.6.38
July
28 - Week 1 (Lecture):
Introduction and discussion of semester long Project
1:
The
Body, Identity and The Self.
Ideas related to this methodology throughout the course will examine
examples of contemporary art from the history of Performance Art,
Video Art, Sculpture, Relational Art, Generative Art, Body Art and
Site-specific Art. Some of the Artists included in this introductory
discussion are Barbara Kruger, Felix Gonzalez-Torres, Lygia Clark,
Rirkrit Tiravanija, Joseph Beuys, Mathew Barney and the Guerrilla
Girls.
August
4 - Week 2 (Lecture):
Lecture and discussion focused on The
Body as Absence and Presence
within contemporary art. Ideas related to this methodology throughout
the course will examine examples of contemporary art from the history
of Performance Art, Video Art, Sculpture, Relational Art, Generative
Art, Body Art and Site-specific Art. Some of the Artists included in
this discussion are, Ana Mendieta, Mona Hatoum, Judy Chicago, Laurie
Anderson, Pawel Althamer, Dan Graham, Kara Walker, Janis Kounellis,
and Jill Orr.
Aug
11 - Week 3 (Lecture):
Lecture and discussion focused on The
Body as Text
within contemporary art. Ideas related to this methodology throughout
the course will examine examples of contemporary art from the history
of Conceptual Art, The Dematerialised Art Object, Performance Art
(Happenings), Fluxus, Video Art, Sculpture, Generative Art, Body Art
and Site-specific Art. Some of the Artists and writers included in
this discussion are Lucy Lippard, Lawrence Weiner, Allan Ruppersberg,
Andrea Fraser, Barbara Kruger, John Baldessari, and Jenny Holzer.
Videos which document the video art installations of Jenny Holzer
will be viewed.
Aug
18 - Week 4 (Lecture):
Lecture and discussion focused on The
Body as Action and Transgression
within contemporary art. Ideas related to this methodology throughout
the course will examine examples of contemporary art from the history
of Viennese Actionism, Situationism, Interventionist Art, Performance
Art, Video Art, Relational Art, Sculpture, Body Art and Site-specific
Art. Some of the Artists and collaborative groups included in this
discussion are Critical Art Ensemble, Sally Mann, Robert
Mapplethorpe, Marcus Harvey, David Altmejd, Barbara Rose, Otto Muhl,
Hermann Nitsch, Valie Export, and Gina Pane. Videos which document
performances by Hermann Nitsch and Valie Export will be viewed
Aug
25 - Week 5 (Lecture):
Lecture and discussion focused on The
Body as Spiritual and Immaterial
within contemporary art. Ideas related to this methodology throughout
the course will examine examples of contemporary art from the history
of Land Art, Environment Art, Performance Art, Video Art, Relational
Art, Sculpture, Body Art and Site-specific Art. Some of the Artists
and their works included in this discussion are Stelarc, Bruce
Nauman, Bill Viola, Patricia Piccinini, Mariko Mori, Mark Wallinger,
Roland Fischer, Rineke Dijkstra, Zwelethu Mthethwa, Nancy Holt and
Venessa Beecroft. Video works will be shown from both Venessa
Beecroft's and Bruce Nauman performances.
Sept
1 - Week 6 (Studio
work): Individual meetings
Sept
8 - Week 7 (Mid
Semester Review): White Box and Project Gallery
Sept
15 - Week 8 (Lecture):
Lecture and discussion focused on The
Body in Time, Space and Sound within
contemporary art. Ideas related to this methodology throughout the
course will examine examples of contemporary art from the history of
Sound & Noise Art, Neo-Dada (Fluxus), Performance Art, Video Art,
Relational Art, Sculpture, Body Art and Site-specific Art. Some of
the Artists included in this discussion are Martin Creed, Bill Viola,
Yoko Ono, Sharon Lockhart, Olafur Eliasson, Liu Zheng, Martha Rosler,
Merce Cunningham, John Cage and The Wooster Group. Videos and sound
works will be shown from Bill Viola, John Cage, Merce Cunningham and
Laurie Anderson.
Sept
22 - Week 9 (Lecture):
Lecture and discussion focused on The
Body as Trace
within contemporary art. Ideas related to this methodology throughout
the course will examine examples of contemporary art from the history
of Political Art, Performance Art, Interventionist Art, Video Art,
Relational Art, Sculpture, and Site-specific Art. Some of the Artists
included in this discussion are Regina Josè Galindo, Suzanne Lacey,
Nan Goldin, Catherine Opie, and Martin Creed.
Oct
6, 13, 20 - Week 10, 11, 12 (Studio
work): Individual meetings
Oct
27 - Week 13 (Final
Assessment): Spaces to be confirmed
PLEASE
ENSURE YOU
REMOVE
YOUR WORK FROM THE STUDIO
AFTER
THE CRITIQUE IN
WEEK 14
|
RESEARCH
VIDEO LINKS
|
|
|
FELIX
GONZALEZ-TORRES
http://www.youtube.com/watch?v=XcHqknzFasg
http://www.youtube.com/watch?v=4iiLMJru7SY
|
BARBARA
KRUGER
http://www.youtube.com/watch?v=DP7hbDkJql8
http://www.youtube.com/watch?v=lzK-j8p--pY
|
|
MARTHA
ROSLER
http://www.youtube.com/watch?v=MiRAP70pFyM
http://www.youtube.com/watch?v=rejDDWTbev4
|
STELARC
http://www.youtube.com/watch?v=OKEfJRe4uys
http://www.youtube.com/watch?v=CjFVuJDK0T4&feature=related
|
|
JENNY
HOLZER
http://www.youtube.com/watch?v=NuRcmnqwSHM
http://www.youtube.com/watch?v=JlfShcpuM6g
|
RIRKRIT
TIRAVANIJA
http://www.youtube.com/watch?v=I8QVjTCnJCc
http://www.youtube.com/watch?v=4CQsZ0AAheY
|
REFERENCE
BOOKS
• O’
Reilly, Sally. 2009. The Body in
Contemporary Art. London: Thames and
Hudson
• Archer,
Michael. 2002. Art Since 1960: New
Edition. London: Thames and Hudson
• Petersen,
Anne Ring. 2015. Installation Art:
Between Image and Stage. Copenhagen:
Museum
Tusculanum
Press
• Krauss,
Rosalind. 1981. Passages in Modern
Sculpture. Cambridge: The MIT Press
• Harper,
Glenn and Moyer, Twylene. 2007. Conversations
on Sculpture. Hamilton: ISC Press
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