Influences
The resources on this page give an overview of some of my creative influences and inspirations. I have collated information on each artist and also commented on selected references to further understand each artists work and how it relates to my own creative practice.
Candice Breitz
Shillinger, Jakob. 2011. "The prosumer version - Art from the masses". https://flash---art.com/article/the-prosumer-version/
This article starts with placing the reader in history, with the pictures generation of Cindy Sherman, Richard Prince, Barbara Kruger etc, and discusses the relationship of these artists to the new prosumer generation of artists, who have expanded on the foundation of these key artists in their comment on our relationship to the evolving nature of the image / digital / media landscape. The prosumer artists discussed are: Aleksandra Domanovic, Candice Breitz, Oliver Laric etc. It analyses the shift with the prosumer artists to a new form of re-purposing of imagery or cultural elements, one that is endless and shifting, and involves the viewer as an active participant in this re-purposing of meaning.
This article has inspired me to want to explore the concept of the prosumer, and to expand on the understanding of this in my artwork, to further explore my place in the history of appropriation, and to think of ways I can position myself and the viewer of my work as a contemporary participant in the prosumer theoretical framework and its evolution.
Breitz, Candice. 2006 "Her" vimeo.com/candicebreitz https://vimeo.com/72201223
This video work by Candice Breitz is part of a set of works, this work being Her and the matching work Him. In this work the actress Meryl Streep is shown as a form of composite digital conversation created by an interplay between characters that she has played. The characters depict archetypes of the female character from cinema, separated from the context of the film they were contained by black backgrounds behind each character. The characters are displayed in clusters on the screen, and linked via common conversational elements, and subject matter. The work cycles through various subject areas and emotive situations that makes the characters into a complex interplay that evolves over the work to have a distinct emotional arch, where she creates a real relationship between the characters and a psychological space the viewer inhabits.
The reason I have chosen this work is that with my current practice I am via use of figure groupings exploring nuanced relationships that can be displayed, and how the vulnerability of characters can be explored. I am reducing the artwork to its basic components, to me this is similar to the black background of this video work and how it reduces the characters to an isolated component to heighten the meaning of the work.
Other References
Breitz, Candice. 2016. "Love Story". candicebreitz.net. http://www.candicebreitz.net/
Breitz, Candice. 2006 "Mother, Conversation". youtube.com https://www.youtube.com/playlist?list=PLD53D17BC942F74C9
Breitz, Candice. 2006 "Him" vimeo.com/candicebreitz https://vimeo.com/72198119
Breitz, Candice. vimeo.com. https://vimeo.com/candicebreitz
Cascone, Sarah. 2017 "Artist Candice Breitz Has Found a Creative Way to Protest a Museums Link to Refugee Prison Camps" https://news.artnet.com/art-world/breitz-wilson-ngv-victoria-protest-936437
Watlington, Emily. 2018."Candice Breitz: Lovestory" brooklynrail.org https://brooklynrail.org/2018/07/artseen/CANDICE-BREITZLove-Story
Prince, Mark. 2017 "Candice Breitz: Lovestory" intervuew.com https://artreview.com/reviews/ar_september_2017_review_candice_breitz/
Breitz, Candice. 2019. "Love story" mfa.org https://www.mfa.org/exhibitions/candice-breitz-love-story
Ferguson, Ben. 2017. "Review of: Lovestory" frieze https://frieze.com/article/candice-breitz
Breitz, Candice. 2019. "Foreign agents" westdenhaag.nl http://www.westdenhaag.nl/exhibitions/19_02_Candice_Breitz
Breitz, Candice. 2008. Podcast. hirshhorn.si.edu https://hirshhorn.si.edu/explore/meet-the-artist-candice-breitz/
Breitz, Candice. 2009. "Working class hero (Portrait of John Lennon)" sfmoma.org https://www.sfmoma.org/press/release/sfmoma-presents-video-installations-by-candice-br/
Author not specified. 2013. "#Number 48: Candice Breitz" videoart-at-midnight.de https://www.videoart-at-midnight.de/48-candice-breitz/
Rule, Dan. 2013. "The character: Candice Breitz at ACMI" broadsheet.com.au https://www.broadsheet.com.au/melbourne/art-and-design/character-candice-breitz-acmi
Author not specified. 2017. "Candice Breitz and Mohau Modisakeng at South Africa Pavilion, Venice Biennale" http://moussemagazine.it/candice-breitz-mohau-modisakeng-south-africa-pavilion-venice-biennale-2017/
Author not specified. 2002. "Artpace Artist-in-Residence Program - Candice Breitz" https://artpace.org/works/iair/iair_spring_2002/candice-breitz
Breitz, Candice. 2003. "Re-Animations Catalogue" printedmatter.org https://www.printedmatter.org/catalog/18457/
Enwezor, Okwul. 2010. "Candice Breitz: The Scripted Life" https://www.amazon.com/Candice-Breitz-Scripted-Okwui-Enwezor/dp/3865607829
Fondet, Carlsberg. 2016. "Review of: Love story" uk.arken.dk https://uk.arken.dk/collection/candice-breitz-love-story/
Breitz, Candice. 2017. "Love story - Images" https://www.candicebreitz.net/assets/docs/LoveStory_IMAGES.pdf
Doug Aitken
Lund, Christian. 2016 "Doug Aitken interview: The conditions we live under". youtube.com. https://www.youtube.com/watch?v=5ulVLZHLeU4&feature=youtu.be
This video is an interview with Doug Aitken explaining his interpretation of the current information landscape we inhabit and its relationship to his work. We now inhabit multiple environments, physical and digital. This creates an environment that is non-linear and is no longer singular but collective, where things can happen simultaneously on multiple planes of reference. This allows us to explore new narratives and ways of understanding.
I have chosen to critique this video and the content it discusses as it expresses very well the relationship to the world and new perspectives that I’m trying to navigate and understand via my artwork at the moment. I also aspire to comment on and place the viewer in a new place of contemplation, to consider their place in the multifaceted virtual, physical, visceral and psychological cultural environment that we now inhabit.
Erickson, Steve. 2013. Doug Aitken is Redefining How We Experience Art, smithsonianmag.com. https://www.smithsonianmag.com/innovation/doug-aitken-is-redefining-how-we-experience-art-180947643/
This online article discusses the work of Doug Aitken, and has a focus on the work mirror which was installed on the corner of the Seattle Art Museum in 2013. Aitken refers to the piece as an urban earthwork. The piece makes use of sensors collecting data on a location at the centre of Seattle that are then via algorithms translated to update the pre-edited footage created by Aitken and his team. So, the work is constantly changing and is in flux mirroring the transient nature of the real world, nature and experience.
Doug Aitken "spins art into a continually unfolding experience...that incorporates our memories and sensibilities with life’s landscape...and which rejects... not just limits of form and function, time and space, but those conditions by which subjective dogmas, including Aitken’s, obligate our thinking".
The reason I have chosen this article, is I think in a way that I am also in a fashion trying to create artwork that floats in the space between that Aitken manages to do so well with his work. I also attempt to create a space for the viewer to inhabit, a place of contemplation that allows for a revisioning of meaning from their encounter with the work. I also anticipate that I may replicate some of Aitken’s concepts as experiments to feed the development of my own practice.
Other References
Aitken, Doug, 2016 "Song 1 - Installation projection, Hirshhorn Museum" http://www.smithsonianmag.com/videos/category/arts-culture/a-multimedia-spectacle-at-the-hirshhorn/
Aitken, Doug. 2018 "Youtube playlist". youtube.com https://www.youtube.com/playlist?list=PLNXT_1ZvImdRyepchNnSqB4mlA6bQD_IH
Aitken, Doug. 2000. "Into the sun" https://bamlive.s3.amazonaws.com/MATRIX_185_Doug_Aitken.pdf
Aitken, Doug. 2009. "360 Degree Projection" https://hirshhorn.si.edu/wp-content/uploads/2012/03/Aitken-combined.pdf
Van Houten Maldonado, Devon. 2016. "Doug Aitkens Masterful Videos and Boring Sculptures" https://hyperallergic.com/339686/doug-aitkens-masterful-videos-and-boring-sculptures/
David Rosetzky
Rosetzky, David. 2012. "Portrait of Cate Blanchett, interview with David Rosetzky at ACCA 2012" youtube.com. https://youtu.be/M-pNanXJNUQ
This video is an interview with the artist David Rosetzky detailing the creation of the video work Portrait of Cate Blanchett, a work commissioned from the National Portrait Gallery in Canberra. It is a video portrait that challenges the traditional unified notion of a portrait to be rather one that is multifaceted, revealing the self as part of component parts rather that a unified whole. It is an interesting analysis of how as an actor she is required to be both in her body, and also an observer of how she is perceived. The notion of the nature of the self or identity in flux is investigated, using the moving image as a medium to explore this.
I find this video portrait relates to my work as I’m also interested in the concept of how figures negotiate the physical and psychological landscape of the world, and how by use of the body in space in my paintings and performance works I am exploring similar notions of the depiction of identity as being multi-dimensional, expansive and representative of both the individual and the collective.
Zagala, Anna. 2015. Making gaps: David Rosetzky's collaborators in conversation [online], Artlink, Vol. 35, No. 3, 32-37.
https://search.informit.com.au/documentSummary;dn=453437485984028;res=IELHSS (publicly available link:https://drive.google.com/file/d/129E3Bsqvv7tiy-Hzfsn9-ou_RWPkfk6W/view?usp=drivesdk )
This text is a breakdown of the video work Gaps by David Rosetzky, which was commissioned by the Australian Centre for the Moving Image in Melbourne and Carriageworks in Sydney. It is broken down into elements, detailing involvement, contribution, and understanding of the project by the accounts of the individuals involved. Gaps embodies Rosetzky’s ongoing exploration of personal identity and the relationship or gaps between self and other through speech, movement. With Gaps Rosetzky draws from different video genres, to destabilise character conventions used to establish participant identities. The project also investigates issues of racial difference, and racism underlying in Australian Culture.
The reason why I have chosen this text, is to further investigate and understand the meaning behind the work of David Rosetzky. The area of investigation in this work also relates to my current creative project, as I am also attempting to investigate social and physical space, to explore the gaps we all attempt to negotiate via our relationship to the world and our interpersonal relationships to others.
The works of Rosetzky and Breitz all in their own way contextualise elements of the new non physical digital landscape that we all now psychologically enhabit. To some extent, you could argue with our lives, and interface with the world becoming more digital and detached from the real, that they are all attempting to investigate, dissect and depict this new ephemeral space.
Other References
Author not specified “David Rosetzky: How to feel” content.acca.melbourne https://content.acca.melbourne/uploads/2016/11/DavidRosetzkyHowToFeelEDUKIT.pdf
Rosetzky, David. 2008. "Collage 08". davidrosetzky.com. http://davidrosetzky.com/work/collage08/
Rosetzky, David. suttongallery.com. http://www.suttongallery.com.au/artists/artistimages.php?id=11
Rosetzky, David. Reading PhD excerpt. https://drive.google.com/file/d/1Xe4n2VSSCwR1Uj-pRyBodrD8zplBR4rp/view?usp=sharing
Rosetzky, David. 2014. tencubed.com.au http://www.tencubed.com.au/artists/david-rosedzky/
Rosetzky, David. 2014. tencubed.com.au http://www.tencubed.com.au/exhibitions/david-rosetzky-2014-2/
Rosetzky, David. "Artist Profile" turnergalleries.com.au http://www.turnergalleries.com.au/artists/david_rosetzky.php
Rosetzky, David. 2013. "True self: David Rosetzky Selected works" ccp.org.au https://ccp.org.au/exhibitions/all/true-self-david-rosetzky-selected-works-201
Rosetzky, David. 2013. "True self: Education resource" ccp.org.au http://archive.ccp.org.au/docs/Rosetsky_Edu_Kit.pdf
Frost, Andrew. "Artist overview" scanlines.net http://scanlines.net/person/david-rosetzky
Author not specified. 2013. "True Self: David Rosetzky Selected Works" issuu.com https://issuu.com/ccp_australia/docs/ccp-true-self
Author not specified. 2016. "Light moves: Contemporary Australian Video Art" nga.gov.au https://nga.gov.au/lightmoves/rosetzky.cfm
Hjorth, Larissa. 2000. "David Rosetzky: Custom made review" artlink.com,au https://www.artlink.com.au/articles/2499/david-rosetzky-custom-made/
Marina Abramovic
Akers, Matthew. 2011. "Marina Abramovic: The Artist Is Present". rmit.kanopy.com https://rmit.kanopy.com/video/marina-abramovic-artist-present
This documentary details the exhibition / performance at MOMA by Marina Abramovic titled the artist is present. It gives an overview of early works included in the show along with the lead up to the show and also the formation of the title artwork.The reason I have chosen this precedent is that Marina Abramovic uses the human figure by placing herself as the central element of her performance art works, I have also become interested in looking into the frameworks of meaning and underlying inspirations behind her artworks and her art practice. I plan to start to make use of human participants in my artwork to also create a dynamic between the observer and the human figure observed. I have become interested with how this can make both the observed and observer vulnerable and uneasy, and can also communicate complex notions of what it means to be human in a very simple and yet concise way. Marina's works are beautiful and yet complex in there simplicity, and have the potential to be profound and confronting to the observer. I plan to continue to refer to Marina and her work as an inspiration and basis for my own creative project, and aspire to elevate my own performance works to similar levels of complexity via simplicity in execution, while making use of the human figure as a catalyst to convey meaning. Abramovic’s use of human participant/s, and engagement with the viewer is something I also aim to replicate.
Other References
Parry, Caroline L. 2015. "THE ABRAMOVIĆ METHOD: THE PERFORMANCE ART OF MARINA ABRAMOVIĆ, 2010 TO PRESENT". core.ac.uk https://core.ac.uk/download/pdf/36693214.pdf
Abramović, Marina. 2014. "Press Release. Marina Abramović: 512 Hours". serpentinegalleries.org. https://www.serpentinegalleries.org/sites/default/files/press-releases/MarinaAbramovi%C4%87PressPackFinal.pdf
Abramović, Marina. 2012."Marina Abramovic: The Abramovic Method, my body, my performance, my testament | Exclusive interview" youtube.com https://youtu.be/gyq-0uPBTMI
Abramović, Marina. 2015. "Episode 1 Marina Abramović In Residence" vimeo.com https://vimeo.com/131622514
Abramović, Marina. 2015. "An Art Made of Trust, Vulnerability and Connection | TED talk" youtube.com https://youtu.be/M4so_Z9a_u0
Abramović, Marina. 2017. "Artist body, public body" youtube.com https://youtu.be/0BbYkm9goOE
Abramović, Marina. 2017. "The Cleaner" modernamuseet.se https://www.modernamuseet.se/stockholm/en/exhibitions/marina-abramovic/
Abramović, Marina. 2018. "Behind the scenes of Marina Abramović's new virtual reality artwork" youtube.com https://youtu.be/n6uDOC8u03s
Abramović, Marina. "Artist Interview" artload.com http://artload.com/video/marina-abramovic
Anderson, Laurie. 2003. "Marina Abramovic by Laurie Anderson" web.mit.edu http://web.mit.edu/allanmc/www/abramovic-anderson.pdf
Gillian Wearing
Rogers, Jude. 2019. “Gillian Wearing on George Eliot: 'She spoke of life from every side' “ theguardian.com https://www.theguardian.com/tv-and-radio/2019/nov/10/gillian-wearing-bbc-documentary-george-eliot-everything-is-connected
Wearing, Gillian. 1997. "Dancing in Peckham". theguardian.com https://www.theguardian.com/artanddesign/video/2012/mar/26/gillian-wearing-dancing-peckham-video
Vanessa Beecroft
I have become interested in the work Vanessa Beecroft as my work has began to incorporate performance and the use of human figures as part of my creative project. Researching the work of artists that use the human figure as a key component of their art practice has become an area of interest, to expand my understanding of how other artists make use of figures to convey the concepts and frameworks of their art practice. The following precedents have been collected as the initial exploration of the strategies and methodologies of Beechcroft's practice and how it relates to my own.
Beecroft, Vanessa. 2008 "Trailer MK2 Grand Palace / VB 62 / SPASIMO PALERMO - Vanessa Beecroft - 2008" https://liarumma.com/projects/vb62
Art Gallery of NSW. 2009. "40 years Kaldor public art projects 1999 VANESSA BEECROFT". artgallery.nsw.gov.au https://kaldorartprojects.org.au/projects/project-12-vanessa-beecroft/
Bryson, Norman. 1999. "US NAVY SEALS" parkettart.com https://www.parkettart.com/downloadable/download/sample/sample_id/638
Hickey, Dave. 2000. "VB 08-36: Vanessa Beecroft Performances". books.google.com.au https://books.google.com.au/books?id=I1lLAQAAIAAJ&q=vanessa+beecroft+performances+book&dq=vanessa+beecroft+performances+book&hl=en&sa=X
Koppelman, Charles. 2008. "A Work In Progress". ckoppleman.com https://www.ckoppelman.com/writing.html
Burton, Laine Michelle. 2005. "The blonde paradox. Power and agency through feminine masquerade and carnival" griffith.edu.au https://research-repository.griffith.edu.au/bitstream/handle/10072/365277/02Whole.pdf?sequence=1&isAllowed=y
Delvaux, Martine. 2016. "Serial Girls: From Barbie to Pussy Riot" books.google.com.au https://books.google.com.au/books?id=tMhKDwAAQBAJ&printsec=frontcover#v=onepage&q&f=false
Richard Prince
The work of Richard Prince is relevant to my own practice, as he also appropriates and re-contextualises cultural elements to expose and question the framework that produces them, as I also do with my own practice. I think as my practice evolves to become more performance based that Prince may become less relevant, however, even with my current performance based artworks they are inspired by cultural elements, and are intended to challenge the viewer to question the cultural framework that spawned the initial image or reference that the performance is inspired by.
I will continue to refer to Prince as an ongoing inspiration at this stage, as I think he is very important figure that challenges the notion of originality, and evolves his practice as an ongoing comment on the shifting cultural landscape.
Prince, Richard. 2014. "New Portraits". richardprince.com http://www.richardprince.com/exhibitions/new-portraits_1/#
Prince, Richard. 2014. "New Portraits". gagosain.com https://gagosian.com/exhibitions/2014/richard-prince-new-portraits/
Plaugic, Lizzie. 2015. " The story of Richard Prince and his $100,000 Instagram art" theverge.com https://www.theverge.com/2015/5/30/8691257/richard-prince-instagram-photos-copyright-law
Author not specified. "RICHARD PRINCE I CHANGED MY NAME, 1988" rfc.museum https://rfc.museum/images/stories/archive/20170208-calvinklein.pdf
LACMA - Richard Prince Exhibition Backgrounder http://www.lacma.org/sites/default/files/Richard%20Prince%20Untitled%20%28cowboy%29%20-%20Exhibition%20backgrounder.pdf
Tempesta, Erica. 2015. "Artist uses other people's Instagram photos in an exhibition without their permission - then sells prints for $100,000 EACH" dailymail.co.uk https://www.dailymail.co.uk/femail/article-3097994/Artist-fire-using-people-s-Instagram-photos-exhibition-without-permission-selling-prints-borrowed-images-100-000-EACH.html
Deitcher, David. 1991. "The birth of the viewer" daviddeitcher.com http://daviddeitcher.com/wp-content/uploads/2017/04/DavidDeitcher_OeuvresOriginales_1991.pdf
Newhoff, David. 2015."Richard Prince Instagram series reflects digital-age values" illusionofmore.com https://illusionofmore.com/richard-prince-instagram/
Yablonski, Linda. 2017. "Photo Play: The Story of the Pictures Generation" artinamericamagazine.com https://www.artinamericamagazine.com/news-features/magazines/photo-play/
Cronin, Sarah L. 2014. "The Art of the Copy: A Look at Appropriation, Copyright and Labour" https://www.law.ox.ac.uk/sites/default/files/migrated/robertson_paper.pdf
Sue Dodd
Dodd, Sue Ellen. 2013. "Gossip Pop: A Performative Investigation Of The Role Of Pop In Contemporary Art Practice". Vuir.Vu.Edu.Au. http://vuir.vu.edu.au/24837/
This text forms part of a thesis submission by Melbourne artist Sue Dodd, Submitted in fulfillment of the requirements of the degree of Doctor of Philosophy. It details her creative project Gossip Pop, in its methodology and also theoretical framework. The Gossip Pop project came to prominence in the Melbourne art scene around the same time that I also commenced my investigative project in 2005. Due to our use of similar subject matter I have thus referred to this thesis as a way of understanding how Dodd as an artist extracts and implants meaning onto similar source material to myself. It also aided me to understand essential components of her creative project, to give an understanding of its frameworks, and to enable me to undertake further detailed investigation of project elements and influences. The reason I have included this reference is that the work of Sue Dodd was very contemporary and influential at the point that I commenced my creative investigation of gossip imagery from celebrity magazines in 2005. She is a key figure in this area of recent times in the Australian Contemporary Art scene, and thus a key figure in placing myself amongst my contemporaries and within a historical context in my area of creative investigation. Aside from Dodd being a prominent and key artist of the time, the element that resonates with me, is a playful engagement with the creative process via the use of celebrity magazine images. She had fun in a tongue and cheek manner with her practice, and actively encouraged the audience to be knowing and engaged observers in the wit and irony of the content of her performance based artworks, she made art fun, which is something I aspire to replicate.
Dodd, Sue Ellen. 2005. "Gossip Pop - Fears for Spears". youtube.com. https://www.youtube.com/watch?v=31pblXrXtAQ&feature=youtu.be&t=26s
Dodd, Sue Ellen. 2005. "Gossip Pop - Starf**ker". videoartchive.org.au. http://www.videoartchive.org.au/sdodd/starf.html
These video artworks form part of the Gossip Pop project by Melbourne based artist Sue Dodd. The video work "Fears for Spears" uses the text from a celebrity gossip magazine article about Britney Spears as the starting point for the creation of the video artwork. Dodd takes key text elements from the body of the article to form a type of makeshift pop song, and then contrasts the words from the body of the article with the chorus taken from the source article headline Fears for Spears. It re-purposes the original text taken from the article to make a new work. The video work "Starf**ker" in this case repurposes the story or cultural archetype of the "starf**ker", who gains validation by association with celebrities. Both works in a tongue in cheek manner comments on the nature of the media landscape that we all now inhabit, and makes the audience/viewer an active and knowing participant in the ironic meaning engendered. These works relate back to my work as I also use source material from celebrity gossip magazines, and repurpose it to make artworks that endeavor to extract additional and complex meanings. I am currently experimenting with the use of gossip magazine images, and also performance works that attempt to reenact archetypal scenes from these images. I anticipate that the project may progress to video-based artworks, but regardless will refer back to the artworks of Sue Dodd as an ongoing influence and inspiration for my future work.
Other References
Colless, Edward. 2004. "Hot Gossip [Melbourne Performance Artist Sue Dodd]." Australian Art Collector, no. 30: 104.
John Baldessari
The work of John Baldessari relates to my earlier creative project that involved the use and adaption of found images from popular culture and trash magazines. My use and relationship to images has shifted recently, and the work of Baldessari is now more of a foundation and history to this process.
The common element to my artist influences is authenticity and unwavering commitment to their own individual creative process. For this reason, even though I feel as though conceptually my creative project has changed in its focus and trajectory, Baldessari is still an important influence to refer to inspire and guide my creative journey and process.
Other references
Baldessari, John. 2018. "Youtube playlist". youtube.com https://www.youtube.com/playlist?list=PLD6399E6546A12ACC
Salle, David. 2017. "Interview October". davidsallestudio.net http://www.davidsallestudio.net/'13%20Interview_October(Baldessari).pdf
The Art Story Foundation. 2015. "John Balbessari". saylor.org https://www.saylor.org/site/wp-content/uploads/2012/02/ARTH208-7.2.4-John-Baldessari.pdf
Elizabeth Peyton
Much like with the influence of John Baldessari, the work of Elizabeth Peyton played in influence early on in my current creative project. She also uses images from celebrity gossip media streams as a foundation for her paintings. I also find it refreshing that Peyton doesn’t overly intellectualise what her paintings are about and revert to speaking in "art speak". When I was only doing my painted works I found the work of Peyton related to my artwork quite strongly, however, as I have now started to focus on more performance based artworks this is now less applicable.
As I find Peyton as an important influence in the foundation of my creative project, I will refer to her as an ongoing reference to place my creative project in a cultural and creative framework that relates to the genesis of my ongoing art practice.
Other references
Peyton, Elizabeth. 2018. "Youtube playlist". youtube.com https://www.youtube.com/playlist?list=PL8533FD572AB0D73D
Shapton, Leanne. 2013. "Elizabeth Peyton: Describing is no end or beginning - Interview, The Believer". regentprojects.com http://www.regenprojects.com/attachment/en/54522d19cfaf3430698b4568/Press/5485130ab7a8371e7a6cdee7
Peyton, Elizabeth. 2018. "Selected works". gladstongallery.com https://gladstonegallery.com/artist/elizabeth-peyton/work#&panel1-1
Examining images/pictures and what they mean culturally.
The theorist / academic WJT Mitchell was an influence and interest since I studied my Undergraduate Degree in the 90's, I have recently started looking into his writings again, as the notion of investigating what pictures mean culturally is of interest to me as it still relates to my artistic practice. I will continue to read his writings along with other academic writings that also investigate this area.
Mitchell, WJT. 1996. "What Do Pictures Really Want?" monoskop.org https://monoskop.org/images/2/25/Mitchell_WJT_1996_What_do_Pictures_Really_Want.pdf
Mitchell, WJT. 2005. "What is image?" users.clas.ufl.edu http://users.clas.ufl.edu/sdobrin/WJTMitchell_whatisanimage.pdf
Mitchell, WJT. 2017. "Image theory - living pictures" bib.irb.hr https://bib.irb.hr/datoteka/844345.W.J.T._Mitchells_Image_Theory.pdf
McNamara, Andrew. 1996. "Words and Pictures in the Age of the Image: An Interview with W. J. T. Mitchell" eprints.qut.edu.au https://eprints.qut.edu.au/4620/1/4620.pdf
Woodrow, Ross. 2009. "Reading Pictures: the Impossible Dream?" research-repository.griffith.edu.au https://research-repository.griffith.edu.au/bitstream/handle/10072/29873/61044_1.pdf?sequence=1&isAllowed=y
Mitchell, WJT. 2009. "Showing seeing: a critique of visual culture" www.nyu.edu https://www.nyu.edu/classes/bkg/methods/mitchell.pdf
WIESENTHAL, CHRISTINE, BRAD BUCKNELL, and W. J. T. Mitchell. "Essays into the Imagetext: An Interview with W. J. T. Mitchell." Mosaic: An Interdisciplinary Critical Journal 33, no. 2 (2000): 1-23. Accessed August 15, 2020. www.jstor.org/stable/44029680.
Celebrity & Pop
I have collated reference material that relates to celebrity and pop, as this is an area that pertains to my art practice. I am now moving towards artworks that are performance based, however, as there is still an ongoing link to imagery that originates from popular culture / celebrity steams with my performance work I will continue with this as an ongoing area of investigation to inspire and feed into my creative practice.
Schultz, Julianne. 2005. "Addicted to celebrity". griffithreview.com. https://griffithreview.com/editions/addicted-to-celebrity/
De Botton, Alain. 2016. "Pop and philosophy" youtube.com. https://youtu.be/9ypg71Aixwc
Andy Warhol: https://www.youtube.com/playlist?list=PLNXT_1ZvImdSe-iVZlwd9SP7nFqjkLdUf
Dicochea, Claudio. 2013. "CASTA 2.0". adrianaclaudio.com. https://www.adrianaclaudio.com/claudio-1
Chang, Christina. 2003. "Beyond Pops Image: The Immateriality of Everyday Life". quod.lib.umich.edu. https://quod.lib.umich.edu/cgi/p/pod/dod-idx/beyond-pops-image-the-immateriality-of-everyday-life.pdf?c=bulletinfront;idno=0054307.0015.101;format=pdf
Sylvester, Darren. "Exhibitions" sullivanstrumpf.com https://www.sullivanstrumpf.com/artists/darren-sylvester/exhibitions
Sherborn, Phillip. 2004. “Christian Marclay’s cochlea implants”. parkettart.com https://www.parkettart.com/downloadable/download/sample/sample_id/584
Datafication, the internet, media streams, and public versus private space.
An area of interest that has intrigued me is how the digital landscape and personal privacy are now areas that are relevant to all of us in the modern world. We are all intertwined in a digital landscape that is unavoidable, and that compromises our individual privacy. In order to engage in the modern world we all now need to accept digital privacy policies that undermine our individual privacy and rights to protect that privacy. This area of interest will be an ongoing focus of investigation, as it is an inescapable element of the modern world that will be relevant to my ongoing creative project.
"I think we’re living in a time when you can use more than just words and how they’re strung together to express an idea. Because of the way people read, share and merge information now, the way something is contained and framed is just as valuable as the content inside."
Cracking the code: https://www.youtube.com/watch?v=_ZS4V25qnFc
Democracy, data and dirty tricks: https://iview.abc.net.au/programs/four-corners/NC1803H010S00
Nguyen, An. 2017. "News, Numbers and Public Opinion in a Data-Driven World". proquest.com. https://ebookcentral.proquest.com/lib/RMIT/detail.action?docID=5151752
Brinn, Jaqueline. 2015. "Are we killing time? Social Media and the Perception of Time during Leasure". researchgate.net. https://www.researchgate.net/publication/285236513_Are_we_killing_time_Social_Media_and_the_Perception_of_Time_during_Leisure (Full text here: https://drive.google.com/file/d/1mjHDyxPcZ1XaU8yC5eXCFYgcDLaXP2gA/view?usp=sharing)
Wikibooks contributors, "Perspectives in Digital Culture/The Prosumer Society," Wikibooks, The Free Textbook Project,https://en.wikibooks.org/w/index.php?title=Perspectives_in_Digital_Culture/The_Prosumer_Society&oldid=3190876 (accessed September 30, 2018).
Performance, digital pastiche, humour and the absurd.
Humour, pastiche, absurdity and performance are areas of interest that relate to my practice, and that I will continue to have as an area of focus to inspire and build upon to influence my creative projects. I envisage that potentially my text/performance based artworks may evolve to use humour or absurdity to defuse current overly earnest foundational works that have evolved to date.
Creed, Martin. 2017. " Work No. 2811 What The Fuck Am I Doing?". martincreed.com http://martincreed.com/site/works/work-no.-2811
ACCA Education, “Ourselves”. content.acca.melbourne
https://content.acca.melbourne/uploads/2016/11/ourselvesedukit.pdf
Katamura, Katie. Kunzro, Hari. Oct 2011. "Ryan Trecartin: In conversation" frieze.com
https://frieze.com/article/ryan-trecartin-conversation
https://content.acca.melbourne/uploads/2016/11/ourselvesedukit.pdf
McCarthy, Paul. 2018. "Youtube playlist". https://www.youtube.com/playlist?list=PL6460F2D2B5D8A822
Coulter, Ross. 2013. "Oh the Humanity! Humour and Performance in Contemporary Art Practice" unimelb.edu.au https://minerva-access.unimelb.edu.au/bitstream/handle/11343/39768/311425_COULTER%20file%20properties.pdf?sequence=1
Lindman, Pia. 2012. "NYTimes Performances". vimeo.com https://vimeo.com/17968104
Shadler, Renae. "Past Projects" renaeshadler.com http://renaeshadler.com/pastprojects/
Price, Seth. 2018. "Dispersion". sethprice.com. http://sethpricestudio.com/BOOKSARCHIVE.html
http://nahmadprojects.com/exhibition/i-am-not-tino-sehgal/
Appropriation and collage
Artists that use appropriated images from cultural media streams interest me in my creative project, as I am also using and re-contextualising imagery to enable the viewer to see elements of their world in a new perspective. I will continue to gather resources that further investigate these areas both in a general sense and also through individual artists that use appropriated imagery in their art practice.
Evans, David, ed. 2009. "Appropriation". London : Whitechapel Gallery
Hick, Darren Hudson and Reinold Schmücker, ed. 2016. "The aesthetics and ethics of copying". London : Bloomsbury Academic
Shore, Robert. 2017. "Beg, steal and borrow: Artists against originality". London : Laurence King.
King, Alex. DR.ME. 2016. "Breathtaking renaissance in contemporary collage art: Painting with scissors". huckmagazine.com. http://www.huckmagazine.com/art-and-culture/art-2/breathtaking-renaissance-contemporary-collage-art/
Exhibition curator: Kroksnes, Andrea. 2018. "Faithless pictures". nasjonalmuseet.no. http://www.nasjonalmuseet.no/en/exhibitions_and_events/exhibitions/national_gallery/Faithless+Pictures.b7C_wJfOYm.ips
Marclay, Christian. "List of works" whitecube.com http://whitecube.com/artists/artist/christian_marclay#list-of-works
Harding, Richard. 2014. "Juxtapose: An Exploration of Gay Masculine Identity and its Relationship to the Closet" (Chapter 3: The Invisible Man) researchbank.rmit.edu.au https://researchbank.rmit.edu.au/eserv/rmit:161180/Harding.pdf
The Phenomenological, philosophy, the body and mortality
The body as a conceptual origin for investigation of individual and collective experience of the world is an ongoing area of interest and investigation for me. Also, underlying my investigation is human mortality, fragility and individual and collective vulnerability, and exploration of this via my creative project and exploration of the human figure as a philosophical marker of this. I will continue to expand on this area of investigation in conjunction with my creative project to further expand the breadth of the project.
Heinämaa, Sara. 2015. "The Many Senses of Death: Phenomenological Insights into Human Mortality". helda.helsinki.fi. https://helda.helsinki.fi/bitstream/handle/10138/158344/The%20Many%20Senses%20of%20Death_Phenomenological%20Insights%20into%20Human%20Mortality.pdf
King, Peter. 2011. "Body and soul" individual.utoronto.ca http://individual.utoronto.ca/pking/articles/Body_and_Soul.pdf
Tuan, Yi-Fu. "Space and place: Humanistic Perspective". geog.uoregon.edu http://geog.uoregon.edu/amarcus/geog620/Readings/Tuan_1979_space-place.pdf
Garret, Don. 2009. "Spinoza on the Essence of the Human Body and the Part of the Mind That Is Eternal" nyu.ed http://www.nyu.edu/gsas/dept/philo/faculty/garrett/papers/Spinoza%20on%20the%20Essence%20of%20the%20Body%20and%20the%20Part%20of%20the%20Mind%20that%20is%20Eternal%20FINAL%20DRAFT.pdf
Barker, Timothy. 2009. "Process and (Mixed) Reality: A Process Philosophy for Interaction in Mixed Reality Environments" icinema.edu.au http://icinema.edu.au/assets/166/barker.pdf
Barnard, Helen. 2006 "NATURE, HUMAN NATURE AND VALUE A Study in Environmental Philosophy" orca.ct.ac.uk https://orca.cf.ac.uk/54314/1/U584128.pdf
Baker, Lynne Rudder. 2015. "Human Persons as Social Entities" people.umas.edu https://people.umass.edu/lrb/files/bak15socialper.pdf