PICTURES OF BOATS AS REFERENCE POINTS FOR THE RESTORATION

CORNELIA PARKER - THE STORY OF COLD DARK MATTER

Cold Dark Matter: An Exploded View is the restored contents of a garden shed exploded by the British Army at the request of the artist Cornelia Parker. The surviving pieces have been used by Parker to create an installation suspended from the ceiling as if held mid-explosion. Lit by a single lightbulb the fragments cast dramatic shadows on the gallery’s walls. In an interview with Tate curator Michaela Parkin, Parker suggested that an explosion was something she had wanted to do for a long time. To her, an explosion is an ‘archetypal’ image, familiar to us from childhood to adult life: Somehow the idea and imminence of the ‘explosion’ in society seemed such an iconic thing. You were being constantly bombarded with its imagery, from the violence of the comic strip, through action films, in documentaries about Super Novas and the Big Bang, and least of all on the news in never ending reports of war. Parker liked the idea of something that happened...

CLAIRE BISHOP - COLLABORATIONS AND ITS DISCONTENTS

Claire Bishop’s short paper begins with a curious quote from Dan Graham: “All artists are alike. They dream of doing something that’s more social, more critical, and more real than art” (60) . A brazen comment, this generalisation gives Bishop’s discussion a provocative start. It also anticipates her assumption that all “real” art is necessarily concerned with aesthetics. This helps to explain her interest in discussing “the social turn” as Art—or, more accurately, a lack thereof . After briefly describing both the recent proliferation of publicly engaged art practices and their value as therapy for repairing the social bond , Bishop maps prevailing perceptions of this art as polarized. There are the “non-believers,” the aesthetes who dismiss the art as uninteresting, and there are “the believers” the zealots, the activists who, according to Bishop, “…reject aesthetic questions a s synonymous with the market and cultural hierarchy ” (61). Curiously, Bishop fails to identify a third ...

REFLECTION ON PUBLIC COLLABORATION !.

For this piece the initial artwork wasnt documented digitally by film or phtograph, i wanted to let the objects and the piece exist on their own within the space and allow the interactions and participation to happen without there being any sense that it is an art work. I feel like the results are completely different by just writing about the interactions as a reflection and a time lapse done in the simplest form by using text. I found that the audience were rather confused about the obejcts as they were so precariously placed and people are used being informed about the art works or public art pieces. Knowing this the first investigation of this project was a success, i was able to gather an understanding of how people would interact with my art work and how it would display my concept. After this investigation I do feel as though i need to reconsider how i document these installations, I still want them to be discrete and have a sense of the unknowing but also wo...

Jake Wise Fine Art

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