BVA313 art theory week 7
Art Theory, BVA313 week 7.
This week we are learning about the significance of contemporary art practices in New Zealand - Aotearoa.
Shannon Te Ao - is an artist, writer and curator whose current research interests include performance and video art practices. The majority of Te Ao's recent artistic output has seen him investigating and responding to material drawn from Māori paradigms, testing the implications of alternative creative, social and linguistic models in relation to contemporary video art and other performative practices.
Searching for a non verbal connection:
Megan Dunn talks to the artist about his Walters win, cultural subcontracting, Te Reo and home.
https://www.pantograph-punch.com/post/interview-shannon-te-ao
He has created a performative installation piece to show the "activism" and then explains if performance art is futile in relation to actual political change? Alongside the history of Te Whiti and Tohu, the Parihaka movement and Maori activists today ".
He was asked if his work was more about translation but then replied with that it is more about transportation.
His idea was to communicate text to animals to try and test out the different aspects of the project.
I was questioning what it meant to have that as a model of success, and to have that model of success become canonical.
The idea of him being nominated for the Walter's prize made him doubt himself and have the idea in his mind that he was not going to win at all. He didn't prepare himself and I guess wanted to have the illusion that it was all a surprised and not to get his hopes up if he didn't win.
His art space is an on going project and has everything translated into Te Reo Maori. To create a certain link and translation to his artwork.
The artist quotes in the end of his interview "I do. I feel my own difference being acknowledged all the time. Within an art context, I’m certainly treated differently because of who I am, and I know my work is as well. Sometimes that’s positive, sometimes it’s not.
The use of Te Ao in art, along with the exploration of the use of Te Reo.
The racial depiction of my work that could be said is something I don’t want to show and want to diminish the idea of that in my work.
The whole idea of my work is that I want to show the relationship between me and the other person. The idea of friends is my family. As a European artist I must be careful of racial negativity in my work.
Significance of three different contemporary art practices in New Zealand - Aotearoa.
This week we are learning about the significance of contemporary art practices in New Zealand - Aotearoa.
Shannon Te Ao - is an artist, writer and curator whose current research interests include performance and video art practices. The majority of Te Ao's recent artistic output has seen him investigating and responding to material drawn from Māori paradigms, testing the implications of alternative creative, social and linguistic models in relation to contemporary video art and other performative practices.
Searching for a non verbal connection:
Megan Dunn talks to the artist about his Walters win, cultural subcontracting, Te Reo and home.
https://www.pantograph-punch.com/post/interview-shannon-te-ao
He has created a performative installation piece to show the "activism" and then explains if performance art is futile in relation to actual political change? Alongside the history of Te Whiti and Tohu, the Parihaka movement and Maori activists today ".
He was asked if his work was more about translation but then replied with that it is more about transportation.
His idea was to communicate text to animals to try and test out the different aspects of the project.
I was questioning what it meant to have that as a model of success, and to have that model of success become canonical.
The idea of him being nominated for the Walter's prize made him doubt himself and have the idea in his mind that he was not going to win at all. He didn't prepare himself and I guess wanted to have the illusion that it was all a surprised and not to get his hopes up if he didn't win.
His art space is an on going project and has everything translated into Te Reo Maori. To create a certain link and translation to his artwork.
The artist quotes in the end of his interview "I do. I feel my own difference being acknowledged all the time. Within an art context, I’m certainly treated differently because of who I am, and I know my work is as well. Sometimes that’s positive, sometimes it’s not.
The use of Te Ao in art, along with the exploration of the use of Te Reo.
http://www.radionz.co.nz/audio/player?audio_id=201818328 -“Kim
Hill talks to artist, writer and curator Shannon Te Ao, whose current research interests
include performance and video art practices. He lectures at Whiti o Rehua
School of Art, Massey University. He won the 2016 Walters Prize for his 2013-14
work, Two
Shoots That Stretch Far Out, and an exhibition of his work and those
of the other finalists (Lisa Reihana, Joyce Campbell, Nathan Pohio), is
currently on exhibition at Auckland Art Gallery Toi o Tamaki (to 30 October).”
http://www.radionz.co.nz/national/programmes/saturday/audio/201818328/shannon-te-ao-walters-prize-winner
Racheal Rakena
Lonnie Hutchinson
For my theory I am wanting to explore the argument that was made about my work of how it could be perceived as "Racist" due to having a European woman and a woman of culture and color together in my work. Where actually it is about love and friendship and how the relate and create that link of a relationship to make up who I am in my paintings.
His artwork is more about performance based art, with big installations to create a wider feeling.
•Innovative digital video artist, Along with being a teacher in a highly respected Māori Visual Arts programme at Te Pūtahi-a-Toi,
Massey University Palmerston North. Rakena is of and Māori (Ngāi Tahu, Ngāpuhi) descent. Her works introduce moving images and installation along with holdingShe works in moving image and installation and holds a Master of Fine
Arts (Distinction) and started her PhD in 2013.
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| Pacific flower 2 year: 2008 size: 1200 x1000mmmedia: Digital still mounted on dibond |
Lonnie Hutchinson
 |
•Lonnie has a Bachelor of Design
from Unitec in 1997, followed by her Masters of Design. She also has a prolific exhibiting career both nationally and internationally,
She has also been awarded a number of international residencies and has made work
for numerous large scale public commissions. 2015 she was then awarded the
Creative New Zealand Pasifika Contemporary Artist Award. A lot of her works also
belong in a number of international private and public collections
including the Auckland Art Gallery, Christchurch Art Gallery, Banff, Canada,
The Dowse Art Museum, New Zealand High Commission, Washington, Massey
University and David Teplitsky
Collection, Hong Kong.
 |
| http://www.tautai.org/black-bird-lonnie-hutchinson-1997-2013-survey |
https://www.youtube.com/watch?v=FcaXFWR02Gg
- talks about her use of Te Reo Maori in her works.
For my own Theory works.
For my theory I am wanting to explore the argument that was made about my work of how it could be perceived as "Racist" due to having a European woman and a woman of culture and color together in my work. Where actually it is about love and friendship and how the relate and create that link of a relationship to make up who I am in my paintings.
His artwork is more about performance based art, with big installations to create a wider feeling.
Wanting to mainly focus my art on the Viewership and not on the maker ship of my work.
This is what I have interpreted in my mind map essay to draft an introduction to my work.
I wanted to go over this as it relates to what I am trying to say for my artwork in not only Research class but in Art Theory too.
Arguments
I
must learn and be careful about the pressure of racial outrage if this ever
appears with my work. This is more about female friendships, the whole
construct of love, friendship and relationship with the people you choose as
family.
Along
with the criticism that this will backfire on, not to convey the idea of any
other portrayals that doesn’t exist within my works. I need to be careful
about the racial context that the viewership or audience could think as a
concept for my work.
Such
as having a white figure and a figure of color, the audience (hope not) may
have the idea it has a racial context, which I want to completely abolish the
idea of any negative racial context of my work.
First critique
Up
until this week I was unaware of the racial concept that was brought up by a
fellow class mate. This is NOT a racial piece and has nothing to do with the
concept of racial accountability.
But
now after my first critique I am wanting to address the issue of the racial
context that could be applied to my work, this will be applied to my art theory
question to help push my idea for my paintings through focusing on the issues
of my work to help the growth of the links of the relationship. To also shine a
light about the subject of viewership of my work and less of the maker-ship of
the work’s.
After our first critique a student suggested I could be depicting
a racial context to my work as the models “Sam” is white and “Ema” is a darker
skin. This critic defiantly did get under my skin as my work I’m wanting to
portray to the audience. Is the relationship between the sister hood and
friendship of these two-particular people. Along with my point of view is to
not show how the depiction of people of colour, have been depicted how they
depict themselves through-out history. Present as the artist but not as the
same way as Ema is. Ema is present as the subject, as I am the present maker.
The racial depiction of my work that could be said is something I don’t want to show and want to diminish the idea of that in my work.
The whole idea of my work is that I want to show the relationship between me and the other person. The idea of friends is my family. As a European artist I must be careful of racial negativity in my work.
This was talked about with a discussion with Traci Meek in my art theory class to show how his influence of his artwork had a lot of criticism especially due to the time period of it.
Norman Rockwell is a great example of a European artist depicting
that whole 1950s scene of European families. Then when he diverged in the idea
of stopping the racial barrier he got severely criticized for that work.
Especially of the painting called “The Problem we all live with” the depiction
of Ruby Bridges as a black child attending a white person school. This portrayal
was a statement to help stop the idea of racial slurs and is considered as a
very iconic and infamous image to support civil rights, especially the civil
rights movement in the U.S (https://www.nrm.org/2010/10/norman-rockwells)
Question Developing:
How to conceive the idea of viewership of the relationship between two different people. To portray the idea of perceived surrealism?
How to perceive to an audience the link of a relationship between a subject form and a maker-ship form?
What I need to do for next week...
Relook at dates for coursework tasks Easter
How to conceive the idea of viewership of the relationship between two different people. To portray the idea of perceived surrealism?
How to perceive to an audience the link of a relationship between a subject form and a maker-ship form?
What I need to do for next week...
Relook at dates for coursework tasks Easter
8
2 April
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Coursework:
Practitioner Research Presentations
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9
9 April
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Critique One Proposal
Presentations
Prepare and give a 10 minute
Proposal Presentation
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