RESEARCH DOCUMENT
design history
Ru b y v an d e n B ro e k Ba i n D e s i g n Co mm. D e s i g n H i s t o ry A00227212
RESEARCH DOCUMENT
marcel duch am p
3 ma r c el d ucha mp Born : Jul y 2 8 th 1 8 8 7 , Bl ain vil l e-Crevon , Fran k rijk D ied : O c tober 2 n d 1 9 6 8 Wif e: Lyd ie S arazin -L evassor (1 9 2 7 –1 9 2 8 ) A rt: Foun tain , N u d esc en d an t un esc al ier, T h e Brid e S tripped Bare By Her Bac hel ors, E ven .
M A R C E L D U C H A M P WA S A F R E N C H A RT I ST, PA I N T E R A N D S C U L PTO R . HE WAS INFLUENCED BY SEVERAL ART MOVEMENTS; DADA, FUTURISM AND SURREALISM. FUN FACT: HE WAS REALLY GOOD AT CHESS.
4 Roue de Bicyclette SUBJECT: A WHEEL ON A STOOL WHERE IS WAS MADE: PARIS WHEN IT WAS MADE: 1913
Rou e de B icycl e t t e is cons ider e d Du ch am p ’s firs t re adym ade . Al th o ugh i t’ s official l y not a re al re adym ad e ( i t’ s n o t a n e x is t ing obje ct ). Du ch am p ’s ex p la n a ti o n
ARTIST |
MARCEL DUCHAMP
was t h at h e m ade Rou e de B i c y c l e tte be cau s e h e s im p l y l ik e d t o s e e th e w h e e l s p inning .
SIZE: ABOUT 1.40X0.5X0.3M DIMENSION: 3D MATERIALS: THE ARTWORK EXISTS FROM T W O P I E C E S . T H E U P P E R PA RT, T H E B I CYC L E WHEEL, IS MADE OF RUBBER AND IRON. THE
IRON FRAME IS STANDING ON THE BOTTOM PA RT, A W O O D E N STO O L . D I S P L AY: PA R I S , N A T I O N A L M O D E R N A R T MUSEUM, DISPLAAYED IN A CORNER FROM TWO WHITE WALLS. VERTICAL/HORIZONTAL: VERTICAL LINE/CONTOUR: THE ARTWORK IS MADE FROM SEVERAL DYNAMIC LINES. THE WHEEL H A S A R O U N D S H A P E , O U T L I N E D, A N D FILLED WITH CROSSED THIN LINES, WHICH COME TOGETHER IN THE CENTER. FROM THE CENTER, ANOTHER THICKER, VERTICAL LINE, CONNECTS THE WHEEL TO THE STOOL, WHICH HAS THE SAME HEIGHT AS THE WHEEL, BUT IS A LITTLE SMALLER. THE STOOL IS A 3 - D I M E N S I O N A L O B J E CT, M A D E F R O M F O U R L E G S W I T H R O U N D S E AT O N I T. E AC H PA I R O F LEGS IS CONNECTED BY TWO RODS.
COLOR: BLACK, BROWN/BEIGE, GREY LIGHT: THE LIGHT IN THE MUSEUM COMES F R O M T H E F R O N T, W H I C H C R E AT E S A N INTERESTING SHADOW IN THE WALL. FUNCTION: FUNCTION IS REALLY IMPORTANT AT THIS WORK. DUCHAMP USED TO OBJECT WHICH HAD A REALLY CLEAR FUNCTION; A STOOL TO SIT ON AND A WHEEL TO MAKE A BICYCLE WORK. BY RIPPING THEM OUT OF T H E I R O R I G I N A L CO N T E X T, I T LO S E S T H E I R F U N CT I O N A N D I T B E CO M E S A RT. CONTEXT: DUCHAMP T U R N E D A R O U N D.
LIKED
THE
WAY
IT
MY OPINION: I ’ V E C H O S E N T H I S A R T W O R K E S P E C I A L L Y, BECAUSE IT’S NOT EVEN BEING SEEN BY H I M S E L F A S A RT, B U T I T ’ S ST I L L O N E O F DUCHAMP’S MOST FAMOUS ARTWORKS. I LIKE THE WAY HE RIPPED THE OBJECTS OUT OF THEIR ORIGINAL CONTEXTS, PUTS THEM TOGETHER AND CREATES A NICE PIECE OF A RT. I T H A S A N I C E CO N T R A ST B E T W E E N SHAPES (ROUND VS SQUARED) AND M AT E R I A L ( R U B B E R V S W O O D ) , I L I K E T H AT.
Wh e n D uc h a m p i n tr o d uc e d h i s f i r s t r e a d y ma d e un d e r th e
p s e u do n y m ‘ R . M utt’ , i s h a d b e e n r e j e c te d b y th e S o c i e ty o f Inde p e n d e n t Ar ti s ts . N o t a v e r y s tr a n ge th i n g to d o i n 1 9 1 7 ; p e op l e w e r e n o t r e a d y y e t to c a ll a p o r c e la i n ur i n a l ‘ a r t’ . 1 T h e op inio n o f th e S o c i e ty w a s th a t th e ur i n a l w a s i mmo r a l a n d a n ins u l t . C r i ti c s w h o c h a mp i o n e d th e w o r k d i s p ute d th e c la i m . An d du ring th e y e a r s , m o r e p e o p le r e a l i s e d th a t Fo un ta i n s ta r te d a re v ol u ti o n . D uc h a mp ’ s r e a d y m a d e - a n i n d us tr i a l o b j e c t, ta ke n ou t of i t’ s c o n te m p o r a r y c o n te x t a n d e le v a te d i n to a r t - c h a n ge d t h e wa y p e o p le th o ugh t a b o ut a r t f o r e v e r.
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ARTIST |
MARCEL DUCHAMP
Fountain SUBJECT: AN URINOIR WHERE IS WAS MADE: PARIS WHEN IT WAS MADE: 1917
FUNCTION: ORIGINAL FUNCTION WAS TO PEE IN, BUT BY PUTTING IT IN A MUSEUM, I T LO S E S T H AT F U N CT I O N A N D B E CO M E S A RT.
SIZE: 0.5X0.3X0.3M DIMENSION: 3D MATERIALS: PORCELAIN, BLACK PAINT
CONTEXT: FOUNTAIN IS A PERFECT EXAMPLE O F A R E A DY M A D E . A N E V E R Y DAY O B J E CT, L I K E T H I S U R I N O I R , P R E S E N T E D A S A RT. L I K E
D I S P L AY: D I S P L AY E D A N D P H OT O G R A P H E D AT ALFRED STIEGLITZ’S STUDIO VERTICAL/HORIZONTAL: VERTICAL LINE/CONTOUR: THE CONTOUR IS AN ORIGINAL URINOIR LYING ON ITS BACK. IT H A S A R O U N D B OT TO M A N D S O F T, R O U N D LINES CONTINUE TO THE BACK OF THE S C U L PT U R E A N D U P I N A R O U N D P O I N T. T H E EDGES ARE ABOUT EIGHT CM THICK. TWO BULGES ON THE SIDE LOOK LIKE THEY ARE M A D E F O R S C R E W S TO H A N G T H E O B J E CT, AND A BULGE ON THE FRONT IS PROBABLY MEANT FOR PIPE LINES. A SMALL PIECE AT THE BACK IS PERFORATED WITH SEVEN LITTLE HOLES IN A TRIANGLE SHAPE, AND THREE MORE IN A VERTICAL LINE ABOVE THEM. COLOR: WHITE, AND BLACK FROM THE MARK LIGHT: -
THE BICYCLE WHEEL, FOUNTAIN IS RIPPED OUT OF CONTEXT AND PLACED IN A NEW ONE: A MUSEUM.
MY OPINION: I THINK THIS WORK IS VERY INTERESTING, BECAUSE IT CHANGED THE GENERAL VIEW O N A R T D R A S T I C A L L Y. A P I E C E O F A R T I S N O T ESPECIALLY GOOD IF IT’S REALISTIC, IT’S GOOD BECAUSE OF THE THOUGHTS BEHIND I T. L E CT U R E R S AT M Y CO U R S E I N H O L L A N D ARE HAVE BEEN TRYING TO TEACH US THIS WAY OF THINKING THE PAST YEARS. I LIKE THE IDEA OF A STRONG CONCEPT LEADING TO A VERY GOOD DESIGN. IT MAKES THE DIFFERENCE BETWEEN NICELY LOOKING AND R E A L LY G O O D.
L.H .O.O.Q.
6
SUBJECT: MONA LISA WITH A GOATEE AND MOUSTACHE WHERE IS WAS MADE: PARIS WHEN IT WAS MADE: 1919
L . H . O.O. Q : An o th e r s e m i -r e a d y ma d e from D uc h a m p . L. H . O. O. Q . f r o m 1 9 1 9 i s a p os t c a r d w i th a n i ma ge f r o m D a Vi n c i ’ s fam ou s ‘ M o n a Li s a ’ , o n l y m o d i f i e d w i th a s im p l e mo us ta c h e a n d ti n y li ttle b e a r d . Th e na me , L. H . O. O. Q . i s a p a r o n o ma s i a , a jok e . T h e l e tte r s , p r o n o un c e d i n F r e n c h , s ou nd l i ke “ E l le a c h a ud a u c ul ” , w h i c h m e ans s o me th i n g l i ke “ S h e h a s a h o t a s s ” ;
ARTIST |
MARCEL DUCHAMP
a v u l g a r e x p r e s s i o n i m p l y i n g th a t a w o ma n h as s ex ua l r e s tl e s s n e s s .
SIZE: 19.7 CM HIGH AND 12.4 CM WIDE DIMENSION: 2D MATERIALS: CANVAS VERTICAL/HORIZONTAL: VERTICAL L I N E / CO N TO U R : L . H . O. O. Q I S A C H E A P R E P R O D U CT I O N O F T H E MONA LISA PAINTING, ONLY BEEN ADORNED WITH A MOUSTACHE AND A GOATEE. CO LO R : B R O W N , Y E L LO W, G R E Y LIGHT: F U N C T I O N : T O S P O T W I T H T H E I D E A L O F B E A U T Y, J O K I N G CONTEXT: LOTS OF CONTEXT CAN BE GET FROM THE MEANING OF THE W O R K ’ S N A M E : L . H . O. O. Q CA N N E P R O N O U N C E D A S T H E E N G L I S H “ L O O K ”. A C C O R D I N G T O D U C H A M P H I M S E L F, I T ’ S A P H O N E T I C
GAME. THE LETTERS, PRONOUNCED IN FRENCH, SOUND LIKE “ELLE A C H A U D A U C U L ”, W H I C H M E A N S S O M E T H I N G L I K E “ S H E H A S A H O T ASS”; A VULGAR EXPRESSION IMPLYING THAT A WOMAN HAS SEXUAL RESTLESSNESS. OTHERS MAKE IT EVEN WORSE. DEVALUING MALE COMMENT ON THE BEAUTIFUL, DIGNIFIED WOMAN - SHE’S JUST A N OT H E R S LU T. S H E ’ S S M I L I N G B E CAU S E S H E ’ S T H I N K I N G O F B E I N G F U C K E D - M O R E P R O B A B L Y, O F M A S T U R B A T I N G , T H A T I S , F U C K I N G H E R S E L F ”. MY OPINION: I LIKE THE SPOTTING WITH THINKS MOST PEOPLE CONSIDER AS VERY VALUABLE. IT’S INSPIRES ME TO DRAW MOUSTACHES ON OTHER ST U P I D, FA M O U S P E O P L E A N D S E A R C H F O R T H O S E B O U N DA R I E S .
RESEARCH DOCUMENT
an dy warh ol
8 an dy w a r ho l Born : A ug ust 6 th 1 9 2 8 , Pittsburg h, US A D ied : February 2 2 n d 1 9 8 7 A rt: Campbel l ’ s S oup Can s, Maril yn D iptyc h, E ig h t E l vises
A N DY WA R H O L WA S A N A M E R I CA N A RT I ST, FILM DIRECTOR AND WRITER, ESPECIALLY FAMOUS FOR HIS POP-ART-PAINTINGS. ‘ THE SILVER PRINCE OP THE POP’ USES A LOT OF CONTRAST IN HIS SILKSCREENS, FOR EXAMPLE HIS PACKAGINGS AND PORTRAITS OF FAMOUS PEOPLE LIKE MARILYN MONROE.
9 S U B J E CT: A S O U P CA N F R O M T H E B R A N D CA M P B E L L’ S WHERE IS WAS MADE: NEW YORK WHEN IT WAS MADE: 1962 SIZE: 51X41 CM DIMENSION: 2D MATERIALS: SYNTHETIC PAINT ON CANVAS VERTICAL/HORIZONTAL: HORIZONTAL LINE/CONTOUR: REPETITION IS IMPORTANT IN THIS WORK. IT CONSISTS OF 32 VERTICAL CANVASES. ON THESE CANVASES, YOU’LL FIND A RED AND WHITE SOUP CAN, A CLASSIC DESIGN FROM CA M P B E L L’ S . CO LO R : R E D, W H I T E , Z WA RT, G O U D. LIGHT: FUNCTION: EXPRESS HIS POSITIVE VIEW OF MODERN CULTURE.
ARTIST |
A N DY WA R H O L
c am pbe ll’ s so u p can s
CONTEXT: THE WORK WAS INTENDED TO BE WITHOUT PERSONALITY OR INDIVIDUAL EXPRESSION. THAT’S WHY IT’S SO TYPICAL FOR POP-ART WORK. MASS-PRODUCTION, POSSIBLE BECAUSE OF MACHINES, IS WHAT HE USED IN MAKING C a mp b e ll ’ s S o up Can s, wh ic h c ame out CA M P B E L L’ S S O U P CA N S . i n 1 9 6 2 , i s a p i ec e of art c on sistin g 3 2 c a n v a s e s , e v ery on e of th em with a MY OPINION: p a i n ti n g o f a s oup c an , f rom th e bran d COOL. I REALLY LIKE THE REPETITION AND C a mp b e ll ’ s . Wa rh ol used sc reen prin tin g WOULD LOVE TO TRY SILKSCREENS AGAIN. f o r h i s a r tw o r k, wh ic h was semime c h a n i ze d . T h is is n o c oin c id en c e, Wa r h o l ’ s a r t w a s mostl y a reac tion to th e up c o m i n g ma s s -prod uc tion , wh ic h c oul d o n l y b e p o s s i b le bec ause of mac hin es.
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M aril yn Dip t ych , al s o from 1962 , i s o n e of Warh ol ’s m os t fam ou s work s . T h e canv as , a s il k s cre e n p aint ing , w a s ma d e
aft e r t h e de at h of M aril yn M onr o e i n au g u s t . Th e work cont ains fift y i m a ge s of M aril yn’s face , s e p arat e d in t w o p a r ts : a dip t ych , wh ich is an ol d nam in g f o r a n obj e ct wit h t wo fl at p l at e s at t ac h e d a t a h ing e . Th e l e ft 25 im ag e s are p r i n te d i n brig h t orang e , p ink , ye l l ow a n d b l ue , wh il e t h e rig h t 25 im ag e s are t w o -to n e d bl ack and bl u e . Som e p e op l e s ay th a t th i s cont ract ions re fe rs t o t h e act re s s ’ l i f e and de at h . Cu rre nt l y owne d by th e Ta te M ode rn.
SUBJECT: MARILYN MONROE WHERE IS WAS MADE: NEW YORK WHEN IT WAS MADE: 1962
SIZE: 205X290 CM DIMENSION: 2D M AT E R I A L S : AC R Y L I C PA I N T, CA N VA S VERTICAL/HORIZONTAL: HORIZONTAL L I N E / CO N TO U R : L I K E CA M P B E L L’ S S O U P CANS, YOU’LL FIND REPETITION IN THIS W O R K TO O. T H E W O R K CO N TA I N S 5 0 IMAGES OF MARILYN’S FACE, THE CANVASES SEPARATED IN TWO PARTS. THE FACES ON THE LEFT CANVASES ARE IN BRIGHT COLORS, WHILE THE RIGHT ARE IN BLUE AND BLACK. THE CONTRAST IN THE FACE IS VERY HIGH, SO THE LINES ARE THICK AND CLEAR. BECAUSE THE USE OF BLACK LINES IN BOTH SIDES, CONTOURS ARE REALLY STRONG. CO LO R : B R I G H T O R A N G E , P I N K , Y E L LO W, BLUE AND BLACK. LIGHT: -
ARTIST |
A N DY WA R H O L
marilyn diptych
FUNCTION: I’M NOT SURE CONTEXT: THE WORK WAS MADE SHORT TIME A F T E R M A R I LY N M O N R O E D I E D. T H E T W O SIDES ARE SYMBOLIC FOR HER LIFE AND DEATH. MY OPINION: I LIKE THIS WORK, ALTHOUGH IT HAS BEEN MILKED A LITTLE TOO MUCH. I LIKE THE CONTRAST BETWEEN THE TWO SIDES, AND HOW THE COLORS WORK REALLY WELL TO TRIGGER EMOTIONS. I ALSO LIKE THE SMUDGE ON THE RIGHT CANVASES, IT’S MAKES IT LOOK MORE PERSONAL AND HANDMADE, AND IT ALSO MATCHES THE THOUGHT THAT IT’S THE ‘DEAD’ MARILYN.
11 SUBJECT: ELVIS PRESLEY WHERE IS WAS MADE: NEW YORK WHEN IT WAS MADE: 1963
e igh t elvises Eig h t El v is e s (1963) is anot he r s i l ks c r e e n Wa r h o l m a d e f r o m a fam ou s p e rs on. El v is P re s l e y, b e i n g r e p e a te d e i gh t ti m e s i n s o m e cowboy- p os e , is s h owe d on a s i lv e r b a c kgr o un d . T h e w o r k w a s orig inal l y 37- fe e t l ong .
SIZE: 200X370 CM DIMENSION: 2D MATERIALS: SILKSCREEN ON CANVAS VERTICAL/HORIZONTAL: HORIZONTAL LINE/CONTOUR: LINES ARE VERY CLEAR IN THIS WORK. BECAUSE OF THE HIGH CONTRAST AND USE OF ONLY BLACK AND WHITE, THE CONTOURS OF ELVIS ARE VERY VISIBLE. THE REPETITION - ELVIS IS OVERLAPPING HORIZONTALLY EIGHT TIMES - GIVES A VERY PLAYFUL COMPOSITION. COLOR: BLACK AND SILVER LIGHT: -
FUNCTION: CREATING THE SENSATION MOVEMENT ACROSS THE CANVAS
OF
ARTIST |
A N DY WA R H O L
CONTEXT: THE POP-ART CULTURE MY OPINION: I LIKE THE WAY WARHOL SUGGESTED DYNAMIC MOVEMENT BY OVERLAPPING AND REPETITION.
RESEARCH DOCUMENT
a i wei we i
13
你 他 媽 的
a i w ei w ei
A I W E I W E I I S A C H I N E S E CO N T E M P O R A R Y A RT I ST, POLITICAL ACTIVIST AND PHILOSOPHER. HE IS VERSATILE AND ACTIVE IN OTHER ARTFORMS LIKE ARCHITECTURE, PHOTOGRAPHY AND FILM.
A S A P O L I T I CA L ACT I V I ST, H E H A S B E E N O P E N LY C R I T I CA L O F T H E C H I N E S E G OV E R N M E N T, ESPECIALLY ABOUT TOPICS LIKE DEMOCRACY AND HUMAN RIGHTS. HIS WORK IS INSPIRED BY DADA (MARCEL DUCHAMP FOR EXAMPLE) AND TRIES TO BIND CHINESE CULTURE TO HIS WORK.
Born : A ug ust 2 8 th 1 9 5 7 , Pek in g , Ch in a Wif e: L u Q in g A rt: Circ l e of A n imal s / Z od iac Head s, Coc a-Col a vase, Rememberin g , S un f l ower S eed s, Templ ate, Un titl ed , N ation aal S tad ion van Pek in g
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ARTIST |
AI WEIWEI
HE WAS IN PRISON AND WAS A ‘STATUE’ ABOUT THIS IN 2010, WEIWEI GOT ARRESTED
BY THE CHINESE GOVERNMENT FOR PLANNING AN OPEN INVITATION PARTY TO MARK THE D E M O L I T I O N O F H I S N E W S H A N G H A I ST U D I O. T H E ST R U CT U R E O F H I S ST U D I O, D E S I G N E D B Y H I M S E L F, W A S B U I L T W I T H O U T T H E NECESSARY PLANNING PERMISSION AND SO I T H A D TO B E D E M O L I S H E D. ( T. B R A N I G A N , 2010, THE GUARDIAN, H T T P: / / W W W. THEGUARDIAN.COM/ARTANDDESIGN/2010/ NOV/03/AI-WEIWEI-SHANGHAI-ART-STUDIO) WEIWEI HIMSELF SAID THIS WAS NOT THE T R U E R E A S O N F O R D E M O L I T I N G H I S ST U D I O, HE SAID IT WAS BECAUSE THE GOVERNMENT WAS ANGRY ABOUT CAMPAIGNING ON
SENSITIVE ISSUES. AND EVEN THOUGH, A I S A I D, O F F I C I A L S H A D B E E N E X T R E M E LY
ENTHUSIASTIC, AND THE ENTIRE APPLICATION AND PLANNING PROCESS WAS “UNDER G OV E R N M E N T S U P E R V I S I O N . ( T. B R A N I G A N , 2010, THE GUARDIAN, AI WEIWEI UNDER H O U S E A R R E ST, A I W E I W E I ’ S S H A N G H A I A RT ST U D I O TO B E D E M O L I S H E D, H T T P: / / W W W. THEGUARDIAN.COM/ARTANDDESIGN/2010/ NOV/05/AI-WEIWEI-UNDER-HOUSE-ARREST). E V E N T U A L L Y, THE PARTY TOOK PLACE WITHOUT WEIWEI, WHO WAS RELEASED FROM H I S H O U S E A R R E S T T H E N E X T D A Y. ( L . J I N , 2010, ASIA PACIFIC ARTS, AN UPDATE ON CHINESE DISSENT ARTIST AI WEIWEI’S LATEST PROTESTS, H T T P: / / W W W. A S I A PAC I F I CA RT S .
study of p erspective St u dy o f Pe r s p e c ti v e i s s e r i e o f p h o to s o f We i w e i r a i s i n g h i s m i d d l e fing e r to w a r d i mp o r ta n t go v e r n me n t b ui l d i n gs a n d la n d ma r ks : Tianan me n S q ua r e , th e W h i te H o us e , th e E i f f e l To w e r, a n d o th e r s . Th e s e r i e i s a p r o te s t a ga i n s t th e p o w e r, a ‘ r e b e ll i o n a ga i n s t au t h or i ty ’ .
SUBJECT: SERIE OF PHOTOS FROM WEIWEI STICKING OUT HIS MIDDLE FINGER TO FAMOUS LANDMARKS WHERE IS WAS MADE: TIANANMEN SQUARE, THE WHITE HOUSE, THE EIFFEL TOWER, AND OTHER NOTABLE LANDMARKS AROUND THE WORLD WHEN IT WAS MADE: 2003
ARTIST |
AI WEIWEI
SIZE: 38.9 X 59 CM
DIMENSION: 2D MATERIALS: GELATIN SILVER PRINT VERTICAL/HORIZONTAL: HORIZONTAL LINE/CONTOUR: THE MOST STRIKING CONTOUR ON ALL PHOTOGRAPHS IS THE RAISED MIDDLE FINGER. THE PHOTO IS TAKEN FROM THE PERSPECTIVE OF THE MIDDLE F I N G E R R A I S E R H I M S E L F. Y O U S E E A PA R T OF THE ARM, AND THE HAND SOMEWHERE IN THE CENTER OF THE PHOTOGRAPH. THE BACKGROUNDS ARE DIFFERENT EVERY PHOTOGRAPH, BUT ALWAYS CONTAIN AN IMAGE OF WORLD’S MOST FAMOUS MANMADE LANDMARKS, LIKE THE EIFFELTOWER, THE MONA LISA, THE WHITE HOUSE, ETCETERA. COLOR: BLACK, WHITE LIGHT: -
FUNCTION: A PROTEST AGAINST THE POWER HELD BY POLITICS AND CULTURE. CONTEXT: IN ALMOST ALL AI WEIWEI’S WORK, YOU’LL FIND INFLUENCES OF HIS PROTEST AGAINST (CHINESE) GOVERNMENT POWER AND HUMAN RIGHTS. THIS IS VERY CLEAR IN STUDY OF PERSPECTIVE, A SIMPLE MIDDLE FINGER TO LANDMARKS CONSIDERED BEAUTIFUL AND IMPORTANT BY MOST PEOPLE.
MY OPINION: MY FIRST THOUGHTS: THIS IS MAYBE A BIT P U B E R A L A N D E A S Y. B U I L D I N G , M I D D L E FINGER, PICTURE, DONE. BUT SOMETIMES SIMPLICITY DEFINES GOOD WORK, AND IT REALLY FITS WEIWEI’S WORK.
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c o l o r ed va s es
SUBJECT: PAINTED ANCIENT CHINESE VASES WHERE IS WAS MADE: CHINA WHEN IT WAS MADE: 2006
A ccording t o Wh at ? is an e x h i b i ti o n We i w e i
ARTIST |
AI WEIWEI
h ad in t h e M ori A rt m u s e u m , To ky o . I t cont ains diffe re nt ways wh ich v i s ua li ze We iwe i’s ide a of t h e cu rre nt h um a n r i gh ts s it u at ion in Ch ina, l ik e p h ot o gr a p h y a n d s cu l p t u re s . Ve ry fam ou s are We i w e i ’ s p h o to ’ s of h im drop p ing an ancie nt u r n f r o m th e M ing dynas t y. h t t p s : //www. b r o o kly n m us e um. org /e x h ibit ions /ai_ we iwe i/ > p h o to s H e r e I focu s on We iwe i’s work ‘Col o r e d Va s e s ’ .
SIZE: 30X20 CM DIMENSION: 3D MATERIALS: 10 NEOLITHIC VASES 3500 B.C.), INDUSTRIAL PAINT VERTICAL/HORIZONTAL: -
(5000-
L I N E / CO N TO U R : T H E VA S E S A R E R O U N D, S E E N F R O M T O P. S E E N F R O M F R O N T , T H E BOTTOM LINES RUN OUT IN A V-SHAPE, AND THEN COME BACK INTO A SHORT NECK, WHICH RUNS STRAIGHT FOR ABOUT 5 CM. EVERY VASE IS PAINTED IN TWO DIFFERENT COLORS. IT SEEMS LIKE THEY’RE DIPPED I N T O T H E PA I N T V E R Y S L O P P Y, W I T H PA I N T DRIPS ALL OVER THEM. CO LO R : B R I G H T CO LO R S L I K E R E D, Y E L LO W, BLUE, GREEN AND PURPLE. LIGHT: FUNCTION: A PROTEST
CONTEXT: THROUGH THE MEDIUM OF CERAMICS, AI WEIWEI CREATED METAPHORS SUGGESTING THE OVERPOWERING OF CHINESE HISTORY AND TRADITION BY WESTERN CONSUMER CULTURE, AND HE POSED QUESTIONS CONCERNING THE M E A N I N G O F T H E A R T W O R K ’ S A U T H E N T I C I T Y, T H E A U T O N O M Y O F C R E A T I V I T Y, A N D T H E ARTISTIC A U T H O R I T Y, WHILE POINTING TO THE IRONY THAT THE PRODUCTION OF R E P L I CA S CO N T R I B U T E S , I N FACT, TO T H E PRESERVATION OF TRADITIONAL CRAFT TECHNIQUES AND TRADITIONS. (MAMI KATAOKA)
MY OPINION: I LIKE TO NOTICE THAT WEIWEI, JUST LIKE WARHOL, THINKS ABOUT HUMANS CONSUMING WAY TOO MUCH. IT’S A SUBJECT WHAT HAS MY INTERESTS, SO MAYBE I WILL USE THIS IN MY OWN WORK. I HAVE TO SAY THAT COLOR WORKS REALLY WELL TO GET AS MUCH CONTRAST BETWEEN THE HISTORICAL VA S E A N D T H E I N D U ST R I A L , C H E M I CA L R E D, YELLOW AND PURPLE, ALTHOUGH I WILL PREFER BLACK AND WHITE FOR MY OWN WORK.
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s u n f low e r se e ds Su nfl owe r Se e ds . In octo b e r 2 0 1 0 , Ai We i w e i f i ll e d th e e nt ire Tat e M ode rn’s Tur b i n e H a l l w i th 1 0 0 . 0 0 0 . 0 0 0 s u nfl owe r s e e ds . Th e s e 1 5 0 to n w e i gh i n g s e e d s w e r e a l l cov e re d in p orce l ain. Su n f l o w e r s e e d s a r e a c o mmo n s n a c k in Ch ina, an e v e ryday o b j e c t. I t r e f e r s to th e h un ge r d ur i n g t h e Ch ine s e Cu l t u ral Rev o luti o n . ( Fa r s c h o u Fo un d a ti o n , 2010, h t t p : //www. aiwei w e i s e e d s . c o m / a b o ut-a i -w e i w e i s s u nfl owe r- s e e ds ).
SUBJECT: A HALL FILLED WITH PORCELAIN SUNFLOWER SEEDS WHERE IS WAS MADE: CHINA WHEN IT WAS MADE: 2010 SIZE: 100.000.000 SEEDS DIMENSION: 3D MATERIALS: PORCELAIN, PAINT VERTICAL/HORIZONTAL: LINE/CONTOUR: YOU CAN LOOK
TO
THIS
ARTIST |
AI WEIWEI
PROJECT TO EVERY INDIVIDUAL PIECE, AND TO THE BIG PICTURE. IF YOU LOOK AT EVERY S E E D, YO U ’ L L S E E A P E R F E CT P O R C E L A I N IMITATION OF A SUNFLOWER SEED; OVAL P O I N T E D, G R E Y W I T H W H I T E ST R I P E S . T H E 100.000.000 SEEDS ARE GATHERED IN A THICK LAYER ON THE FLOOR IN THE HUGE TURBINE HALL OF THE TATE. C O L O R : G R E Y, W H I T E LIGHT: DAYLIGHT
FUNCTION: TO CONFUSE? TO MAKE PEOPLE THINK I GUESS. CONTEXT: THE SUNFLOWER SEED IS A COMMON STREET SNACK IN CHINA, AN EVERYDAY OBJECT FROM THE ARTIST’S C H I L D H O O D. I T E VO K E S T H E M E M O R Y O F HARDSHIPS AND HUNGER DURING THE CULTURAL REVOLUTION, AND THE ERA OF SOCIALIST PLANNED ECONOMY WITH THE COLLECTIVE WORSHIP C H A I R M A N M AO.
OF
THE
”SUN”
-
MY OPINION: IT DEFINITELY TAKES GUTS TO FILL THE TATE TURBINE HALL WITH SUNFLOWER SEEDS. I L I K E T H AT. T H E R E I S A G O O D T H O U G H T B E H I N D I T, B U T P E R S O N A L LY I T D O E S N ’ T TRIGGER ME AS MUCH AS HIS OTHER WORK.
RESEARCH DOCUMENT
a rt moveme nt s
19
ART MOVEMENTS
DADA: DURING THE WORLD WAR I (19141918), ARTIST FLED TO NEUTRAL SWISS. IN A CAFE IN ZÜRICH WAS DADA CREATED BY ARTIST WHO WANTED TO CHANGE THE SOCIAL AND POLITICAL SITUATION. BY TEARING DOWN ALL LOGIC WHICH HAD LED TO THE WAR, THEY WANTED TO CHANGE THE CULTURE WHAT ONLY CONSISTS OF GREED AND MATERIALISM. ALL IMPORTANT THINGS MUST BE MADE RIDICULOUS. ART MUSTN’T CONTAIN ANY SENSE OF LOGIC. (KUNST-MODERNISME, 2 0 1 5 . ‘ H E T M O D E R N I S M E : D A D A ’. H T T P : / / KUNST-MODERNISME.BLOGSPOT.IE/P/DADA1916.HTML)
DADA, A RESULT OF MODERNISM AND FUTURISM, IS AN ART MOVEMENT WHO MOCKS WITH ALL CULTURAL STANDARDS. DADA ARTIST MAKE ANTI-ART TO SHOCK P E O P L E , U S I N G H U M O R A N D I R O N Y. B Y DECLARING NORMAL, EVERYDAY PRODUCTS (READYMADES) INTO ART AND EXHIBIT THEM, DADA BECAME A SHORT BUT SHOCKING ART M OV E M E N T.
dada
20 SURREALISM IS AN ART MOVEMENT FROM THE 1920’S. AS AN OPPOSITE OF THE REALISM, SURREALISTIC ARTISTS TRY TO MAKE IMAGES IN AN U N E X P E CT E D, SURPRISING OR S H O C K I N G WAY; I M A G E S W E D O N ’ T E X P E C T TO SEE IN REAL LIFE. SOMETIMES THESE I M AG E S CA N B E V E R Y A B ST R ACT. T H E F R E N C H SURREALIST ARTISTS BASED THEIR WORK E S P E C I A L LY O N T H E F I R ST W O R K O F F R E U D, BUT IGNORED HIS LATER WORK, WHICH WAS THE OPPOSITE OF HIS FIRST WORK. TYPICAL
FOR FREUD-BASED SURREALISTIC WORK WAS HIS VISION UPON DREAMS. THESE ARTISTS WERE ANTI-BOURGEOIS, ANTI-ELITIST AND A N T I - CO N F O R M I ST, L I K E DA DA A RT I ST S . ( W I K I P E D I A , 2 0 1 5 . ‘ S U R R E A L I S M E ’. H T T P S : / / N L .W I K I P E D I A . O R G / W I K I / S U R R E A L I S M E )
ART MOVEMENTS
s ur r ea l i s m
21
ART MOVEMENTS
pop- a r t
POPART: NEW YORK, 1960. AS ONE OF THE BIG WINNERS FROM THE WORLD WAR II, THE UNITED STATES ENJOYED A PERIOD OF ECONOMIC AND POLITICAL GROWTH. PEOPLE S T A R T E D E A R N I N G M O R E M O N E Y, A N D C O U L D M O V E T O C H E A P, M A S S - B U I L T H O U S E S I N THE SUBURBS. BUT NOT EVERYONE WAS SATISFIED WITH THAT SITUATION. WHILE THE VIETNAM WAR AND THE DISCUSSION ABOUT CIVIL RIGHTS FOR AFRICAN AMERICANS MOVED ON, MORE AND MORE CRITICAL THINKERS EXPRESSED THEIR CRITICS.
POP-ART ARTIST WERE THOSE CRITICAL THINKERS. THEIR CRITICS WERE ESPECIALLY AGAINST THE UPCOMING CONSUMERISM AND MASS-MEDIA, BUT ALSO USED THOSE TO CREATE THEIR WORK. SILKSCREENS MADE THEM ABLE TO PRODUCE THEIR ART MULTIPLE TIMES, AND NORMAL PRODUCTS LIKE SOUP CANS BECAME A SUBJECT FOR THEIR WORK. POP-ART IS MOSTLY RECOGNISED BY PRIMARY COLORS, EVERYDAY PRODUCTS AND FAMOUS POP-ARTISTS LIKE MARILYN MONROE OR E L V I S P R E S L E Y. ( M O M A , 2 0 1 5 . ‘ P O P A R T: A B R I E F H I S T O R Y ’. H T T P S : / / W W W . M O M A . O R G / LEARN/MOMA_LEARNING/THEMES/POP-ART)
22
f l uxus
ART MOVEMENTS
F LU X U S , O R ‘ N E O - DA DA’ CA M E U P I N T H E 60’S. THEY BROUGHT VISUAL ARTS, THEATRE AND MUSIC TOGETHER. THEIR GOAL WAS TO BRING SOCIETY AND ART TOGETHER. “EVERYTHING CAN BE ART” (HEY! DADA!) BECAME THEIR SLOGAN AND INSPIRED THEM TO RESIST AGAINST THE CONSERVATIVE SUBDIVISION. THEY ORGANISED FESTIVALS, HAPPENINGS, ACTIONS AND CONCERTS
WHERE THEY PRESENTED EVERYDAY T H I N G S I N A R I T UA L CO N T E X T. T H I S WAY N E W, CO M PA R E D TO DA DA , W H O M O ST LY FOCUSSED ON VISUAL ARTS. IN CONTRAST TO SURREALISM, FLUXUS-ART MUST BE REALISTIC AND CONCRETE. (BLOGGER, 2015. ‘ F L U X U S ’. H T T P : / / K U N S T - P O S T M O D E R N I S M E . B LO G S P OT. I E / P / F LU X U S . H T M L )
23 Inte r e sti ng overlaps: Repeti ti on: Warh ol ’s s ou p cans , M aril yn a n d E l v i s , We i w e i ’ s s un f lo w e r s e e d s , s e rie of p h ot os wit h t h e s am e mi d d le f i n ge r ;
U s i ng fam o us peo pl e o r l an d ma r k s a n d ma k i n g t h e m r i d i c ul o us : El v is in h is cowboy s u it , Du ch a m p ’ s M o n a Li s a , We i w e i ’ s p h o to s e rie and h is t oric v as e s ;
M aki ng ar t o ut o f ever yd ay p r o d u c t s: Du ch am p ’s u rinoir and bicycle w h e e l , th e s o up c a n s , s un f l o w e r s e e ds ;
OVERLAPS
Hum o r : In e v e ry p ie ce I t h ink .