In this portrait of Jamie I wanted to convey a sense of movement not only in the facial work, but also in mark making and brush strokes. I didn’t complete the portrait as I feel there is more movement conveyed in an unfinished piece. However, I feel that the composition of the portrait needs to be cut down smaller, and if I had done things differently I would have used a lighter background, and not have layered the whole board with the tones as it made the colours dull down
The video is based upon experiments into psychological telepathies undertaken in the 1970s, known as the Ganzfeld Experiments. In these experiments many individual’s experience hallucinations due to the stripping of aural and visual senses. This effect is what inspired me to look at the aspects of sensory deprivation in our collaboration work and in my own work as well
The connotations and conceptions of a gallery being made by the people, for the people are only a modern innovation. Galleries in Britain during the Stuart period mainly consisted of aristocratic and noblemen who’s main priority in displaying their work was to highlight their wealth and financial status. Work would often be displayed in Tapestry Hangs; showing the work with limited to no space between paintings in order to fit as many paintings onto a wall, whilst emphasising their wealth. Many paintings would often be stripped of their composition and cut down in order to fit onto the walls.
Archduke Leopold William in his Gallery – David Teniers II
This painting highlights the lack of appreciation for the art itself, with paintings being placed on the floor, amongs dogs running and playing amongst it.
In the 19th century, Galleries and Installations started to be run and owned by the State, which allowed for the common person to access the galleries. This made for some dramatic changes in the way people percieved galleries, with works being hung with more space and in themed spaces, or chronological order.
Modern galleries have gradually formed into white, neutral spaces with plenty of room between paintings, allowing the viewer to get the most they can from a painting. Modern Galleries have become an art form in themselves such as the Guugenheim in Bilbao. This change in the perspective of how art should be hung has also had effect on the art itself, with ‘mega art’ emerging since the turn of the century in order to accomodate the vast spaces available in the gallery.
Anish Kapoor – Yellow
Pop Art emerged during the 1960s as a response to what society was being subjected to in everyday life through advertisement of products, and as interpretations of what society considered the norm, looking at the value of the artwork produced on a finacial and social level. Artists such as Andy Warhol and Robert Rauschenberg, who were pioneers in the Pop Art movement, critiqued art as any other form of commodity we see in everyday life. For example, in Andy Warhol’s print “One Dollar Bills” Warhol uses reprinted one dollar bills in order to give a notion of mass production, and plays with the economical connotations of art when considering that the artwork displayed has more monetary value than the face value shown.
Andy Warhol – One Dollar Bills
The main idea that Pop Art focuses on is how every object has its own value (whether sentimental, financially, or benefitial value) and how these values are disproportionate in mainstream society. I think Claes Oldenberg played with this idea his work, which can be present in his works such as “The Pastry Case”, where his creations of food have no use as a source of nutrients and nourishment, but the monetary value is the case is obscenely large.
Claes Oldenberg – The Pastry Case