Ken Wentworth

Influences

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/24837/1/Sue%20Ellen%20Dodd.pdf

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. It initially breaks each of these elements down to essential components to give an understanding of the frameworks of the project, prior to further detailed investigation of project elements and influences. The document is in three chapters as follows. Chapter One:  Pop Culture: Gossip and Celebrity Gossip, “where the exegesis most directly addresses broader research about gossip and establishes it as a fundamental modus operandi for human communication, expressing our desire to ‘know.’ Pop culture”, this is then related back to how this is investigated via the Gossip Pop project. Chapter Two: Pop Art, focuses “on relevant aspects of the pop art movement”. “A primary focus in this chapter, ..is the discussion of Andy Warhol. The chapter concludes by re-evaluating reification and recognition in light of the Warhol ethos”.Chapter Three: Pop Music, “is where the exegesis..tackle(s) the important role of pop music in contemporary art practice”.

The reason I have included this reference is that the work of Sue Dodd was very current at the point that I commenced my creative investigation of gossip media imagery 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.


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 performative 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.

Candice Breitz

Shillinger, Jakob. 2011. "The prosumer version - Art from the masses". flashartonline.com https://www.flashartonline.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 artist 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’ artist’s discussed are: Aleksandra Domanovic, Candice Breitz, Oliver Laric etc. It analyses the shift with the prosumer artist’s to a new form of repurposing of imagery or cultural elements, one that is endless and shifting, and involves the viewer as an active participant in this repurposing 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 groupings of characters from media imagery exploring archetypes and also nuanced relationships that can be displayed. I am reducing the image to its basic components by removing identifiable facial features and reducing pictorial elements to simple shapes, 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
Jennifer, Allen. 2018. "Candice Breitz: From A to B and Beyond". atc.berkeley.edu. http://atc.berkeley.edu/201/readings/JAllen.pdf
Breitz, Candice. vimeo.com. https://vimeo.com/candicebreitz

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 am also via my use of existing physical imagery attempting to comment on and place the viewer in this nonlinear cultural environment, to place them in a new place of contemplation, to consider their place in the multifaceted cultural and physical environment that we now inhabit.


Erickson, Steve. 2013.“Doug Aitken is Redefining How We Experience Art”.

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. Through my reworking of cultural artifacts, I also attempt to create a new world or space for the viewer to inhabit, a place of contemplation that allows for a revisioning of meaning expanded from the original source material. I also anticipate that I may replicate some of Aitken’s concepts as experiments to feed the development of my own practice.


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

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 the use of imagery of the body in space in my paintings and my planned video / photographic 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 - and thus universally accessible.

Zagala, Anna. 2015. “Making gaps: David Rosetzky's collaborators in conversation
[online]” Artlink, Vol. 35, No. 3, 32-37.

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 via the use of media imagery and exploration of space, micro / micro, and the digital meta space to explore the gaps we all attempt to negotiate via our relationship to the world and our interpersonal relationships to others.

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

Ryan Trecartin

Katamura, Katie. Kunzro, Hari. Oct 2011. "Ryan Trecartin: In conversation" frieze.com 
https://frieze.com/article/ryan-trecartin-conversation

This online article is an interview with Contemporary Artist Ryan Trecartin. Via questions directed at the artist the writer further investigates and elaborates on the underlying meanings in Trecartin’s work. Trecartin explains that his projects usually start with words, written or audio. Visual components are also linked to lynguistic components: logos, products, graphic design, interfaces etc. The script is then expanded from these basic elements, and spatially different characters, signifiers, mentalities and accents form. What is actually filmed then stems from the script in a synergy between script, situation and performers. The performers are given free agency to create something new, to create additional meaning/s that were not originally intended.

The reason I have chosen this article, is that in a new way Trecartin is also repurposing cultural elements into a new form. The work is multifaceted and fractured, which I find relates to the digital and physical world we now inhabit. My own creative project is also making use of existing cultural signifiers and repurposing them, to place the viewer in a similar non-linier, fragmented cultural and psychological landscape.

Trecartin, Ryan. 2017. "OMG! WTF! (overcommunication) - The Thing About...Art &

This video commences with the artist Ryan Trecartin explaining his artwork and creative practice. He explains that he is trying to comment on how people are sculpting out a space with conversation, but without it being clear what they are saying, and how via non verbal communication somehow the meaning in these interactions is still conveyed. He creates works inspired by these kind of interactions and how to him they collectively create a thematic or singular didactic meaning. He then acts this out, and via multiple bodies communicates a singular concept. He then elaborates on the concept, in relation to his video artwork ‘The centre of Jenny’, he references social media, and how the interface dictates your engagement with others in a way, and raises the question ‘do you want to be in a hub, or do you want to be in an environment that has tools that you can use freely’, and expands that this is about free will. Characters are like reflected, fragmented versions of stereotypes.

The reason I have chosen to look further into this video, is I can see that in different way than what I am doing at the moment, Trecartin is also extracting elements of culture and repurposing them to analyse and critique the world we live in. His works are quite condensed in the meaning they convey, which is unsettling and destabling for the viewer. However, I find the fact that the works are nuanced in a new and interesting way is intriguing, as you are learning to navigate a new space he has created when viewing them. I would also like to aspire to create artworks that also have intricate and unsettling meanings to the viewer in the future, and think I will keep Trecartin as an ongoing reference to feed and inspire complex meanings in my work.

John Baldessari 

Elizabeth Peyton

Image / text based reference materials

Celebrity & Pop

Concealment and constructed space

Datafication, the internet, media streams, and public versus private space.

Performance, digital pastiche, humour and the absurd.

Appropriation and collage.

Reimagining painting (Painting 2.0)