Diana Brighouse FAM2 presentation 2010

Boundaries

Between disciplines

Between art practices

Between viewer and artwork

Between self and reflected image

Dexter Dalwood Sharon Tate’s House 1998

You, the viewer, do the rest. Just add blood and imagine the corpse. http://www.independent.co.uk/arts-entertainment

I’m after how to make a deliberately disrupted image that makes

the viewer think about that event, the violence of the image, how that image was made, and how it relates to the history of painting.

Dexter Dalwood in Interview 2010http://www.twocoatsofpaint.com

Study for Trial of Milosevic (detail) 2004

Dexter DalwoodTrial of Milosevic I 2005

Angela de la CruzLoose Fit (blue) 2002

‘Angela de la Cruz ...turns a repertoire of destructive acts into a creative process.

The series of punches, kicks and folds inflicted upon its surface make it into an animated sculptural object which hangs from the wall in a crumpled and dejected mess.’

De la Cruz questions the status of painting -- abstract works are disrupted physically; torn, broken, folded and taken from their stretchers. - the works do not attempt to convey emotions but demonstrate the emotions they themselves are feeling. http://www.culture24.org.uk

Homeless, 1995

The form of the essay film is employed to test the hypothesis that agravic space-time may be reconceived as a temporary

heterotopia for concentrating the apprehension of disorientation that accompanies global crisis and their understanding of microgravity as a field of forces that

immerses and extends subjectivity. http://despairingself.wordpress.com

There are more futures than we realize, and more failures too.

The past is littered with the debris of these futures, while our present incorporates the unstable collective memory of hopes that have long since been abandoned.

The Otolith Group doggedly investigates these temporal slips and Utopian dreams of ‘the temporality of past potential futurity’.

http://www.frieze.com

Otolith III 2010 Film still

Otolith III 2010

Film stills

Gallery view, Tate Britain, Otolith III, Turner prize shortlist 2010

A work of art is only an installation if it makes dialogue with the surrounding space.

A sound installation is usually site-specific but sometimes it can be readapted to other spaces. (Wikipedia)

Susan Philipsz Lowlands Glasgow / London 2010

Susan Philipsz deals with the spatial properties of sound and the relationships between sound and architecture.

Philipsz’s unselfconscious melodies trigger awareness in the listener, temporarily altering their perception of themselves in a particular place and time.

Surround Me, City of London 2010-11

She employs her disembodied voice in unconventional settings, ultimately intensifying the listeners’ sense of self and connecting them to their environment. http://www.artpace.org

Wild as the wind, Belfast 2003

Boundaries

Between disciplines

Between art practices

Between viewer and artwork

Between self and reflected image

My aims

To blur/ transgress the boundary between the work and the viewer

To challenge and disturb the viewer’s assumptions and beliefs (the boundaries of the self)

To reach beyond the exclusive boundary of the ‘art fraternity’

'Most of the art that gets into the Turner Prize is some kind of extremely

contemporary rubbish – assemblies of rubbish masquerading under important names.‘ (Brian Sewell)

http://www.dailymail.co.uk/news/article-1317601/Turner-Prize-2010

http://www.youtube.com/watch?v=_7_kg_UZxxI&NR=1