4 May 2011
Press Release
I decided to go for a plain press release no fussy imagery just the location date and time of the exhibition. I feel this is more intriguing opposed to something which explains the event exactly, in which case there would be no need to turn up. The use of only a small amount of text also means people will be more likely to read it. The press release tells them about the event enough to intrigue without giving too much away. I also included the disclaimer which was used in the original YBA Sensation Exhibition, highlighting the use of the term 'distastful' and the irony and effect this will have by including 'distaste' on the only piece of information the public will bring with them to the event.
Drawn plan
On entrance to the room there will be destructive tools available hammer etc. The artworks will be arranged in an almost bedroom like arrangement, in primary focus on entrance to the room will be the Tracey Emin's bed, with the Myra piece behinde with enough room for the 'vandals' to access. The slashed Monet piece hanging beside it & the Urinal will be placed at a reasonable height making it accesabile to users, similar to the arangement we find them in bathrooms. The noble and webster piece is only revealed to its full extent in the dark, when a light is shone on the piece it presents a very complex shadow, the lights in the room will be on but dimmed slightly showing the piece to be nothing more than a pile of trash. The performance artist Brener will be moving aroung the room providing a performance both visual and audio.
2 May 2011
Title -
Art:ATTACK
Curatorial concept -
The theme of art and artworks under attack is the curatorial concept. Research led me through many of the ‘shock works’ of our time, many artists seemingly motivated by works which will shock and generate column inches opposed to expressing aesthetic innovation. What I noticed through research is that many of these ‘shock works’ find themselves under attack, not by every person that dis-agrees with them but by a select few that choose to act.
Art has long served as one of our great civilising forces, as the culture of the elite we seem to retain composure around the works we witness in a white cube space. When works rile us we do not agree but simply move on to the next, with no action. I am allowing the public the opportunity to do what they wish with modern art in an exhibition entitled- Art:ATTACK.
The public are invited to make a very literal ‘attack’ on many of the biggest players in modern art. A white cube gallery space supplies tools of attack upon arrival, do visitors wish to use, containing artworks which have all made very high sums of money but could also questionably attack and devalue many of the respected values in art. Symbolic of the curatorial concept is the Monet piece included in the exhibition, a classic painting from a prolific practitioner, it is a piece which would stand out as being very different to the ‘shock works’. Upon research I found out drunks broke into the Musee D' Orsay in Paris and slashed Monet's painting leaving it with a four inch tear. The painting was later repaired but what I present is the torn version. It presents the question to any vistor, if a Monet piece can be destroyed what is there to respect in a bed? Surely a urinal is meant to be urinated in?
The artists have made their money, you can choose to be a raucous vandal and get away scot free. Promoting the anarchic atmosphere I plan to include the performance artist Alexander Brener shouting at the paintings, he is questioning the works, and the public in turn will question the works and also why he is shouting, contributing to a atmosphere of disorder and coas.
Do you follow as the title says and attack or does the superior aura of the white cube space prevail once again…
The theme of art and artworks under attack is the curatorial concept. Research led me through many of the ‘shock works’ of our time, many artists seemingly motivated by works which will shock and generate column inches opposed to expressing aesthetic innovation. What I noticed through research is that many of these ‘shock works’ find themselves under attack, not by every person that dis-agrees with them but by a select few that choose to act.
Art has long served as one of our great civilising forces, as the culture of the elite we seem to retain composure around the works we witness in a white cube space. When works rile us we do not agree but simply move on to the next, with no action. I am allowing the public the opportunity to do what they wish with modern art in an exhibition entitled- Art:ATTACK.
The public are invited to make a very literal ‘attack’ on many of the biggest players in modern art. A white cube gallery space supplies tools of attack upon arrival, do visitors wish to use, containing artworks which have all made very high sums of money but could also questionably attack and devalue many of the respected values in art. Symbolic of the curatorial concept is the Monet piece included in the exhibition, a classic painting from a prolific practitioner, it is a piece which would stand out as being very different to the ‘shock works’. Upon research I found out drunks broke into the Musee D' Orsay in Paris and slashed Monet's painting leaving it with a four inch tear. The painting was later repaired but what I present is the torn version. It presents the question to any vistor, if a Monet piece can be destroyed what is there to respect in a bed? Surely a urinal is meant to be urinated in?
The artists have made their money, you can choose to be a raucous vandal and get away scot free. Promoting the anarchic atmosphere I plan to include the performance artist Alexander Brener shouting at the paintings, he is questioning the works, and the public in turn will question the works and also why he is shouting, contributing to a atmosphere of disorder and coas.
Do you follow as the title says and attack or does the superior aura of the white cube space prevail once again…
Artworks included-
Art
Monet, Le pont d' Argenteuil(attacked), 1874.
under
Attack?
Duchamp, Fountain, 1917.
Tim Noble and Sue Webster, Dirty White Trash, 1998.
Tracey Emin, My Bed, 1998.
Marcus Harvey, Myra, 1998.
1999: Tracey Emin is nominated for the Turner Prize. Part of her exhibit is My Bed, her dishevelled bed, surrounded by her rubbish, condoms, blood-stained knickers, bottles and slippers.
Two performance artists, Yuan Chai and Jian Jun Xi, jumped on the bed nude in order to improve the work, which they thought had not gone far enough. They called their performance Two Naked Men Jump Into Tracey's Bed. The men also had a pillow fight with applause from the crowd, before being removed by security guards.The artists were detained but no further action was taken.
2001: Martin Creed wins the Turner Prize for The Lights Going On and Off, an empty room where the lights go on and off.
Heavy reliance on the art object to make its impact. Object is the artwork, often a found object, which has no artistic skill in its production.
---------------------------------------------
http://www.cathnews.com/article.aspx?aeid=25923
http://www.sbs.com.au/news/article/1522606/Vandals-target-%27Piss-Christ%27
Two men smashed 'Piss Christ' with a hammer and possibly a screwdriver. (Getty)
Police in the south of France are searching for two vandals who destroyed a US artist's photograph of a plastic crucifix submerged in urine that outraged in the 1980s.
http://www.cathnews.com/article.aspx?aeid=25923
http://www.sbs.com.au/news/article/1522606/Vandals-target-%27Piss-Christ%27
Police in the south of France are searching for two vandals who destroyed a US artist's photograph of a plastic crucifix submerged in urine that outraged in the 1980s.
Two men armed with a hammer and a screwdriver-like device attacked "Piss Christ" by New York-based Andres Serrano at the Collection Lambert museum of contemporary art in Avignon on Sunday, officials said.
A second Serrano photograph, "The Church: Sister Jeanne Myriam," was also targeted in the late-morning incident in which three guards who tried to intervene were assaulted, the museum's founder Yvon Lambert said.
Closed on Mondays, the museum - which spotlights "Piss Christ" on the homepage of its website - intends to reopen its doors on Tuesday "with the damaged works shown as they are".
Several hundred conservative Christians had demonstrated outside the gallery, while the Roman Catholic bishop of Avignon, Jean-Pierre Cattenoz, had called for the "odious" photograph to be removed. French Culture Minister Frederic Mitterrand condemned "an attack on a basic principle, the exhibition of these works being fully in line with the freedom of creation and expression enshrined in the law." He admitted however that "one of the two works could shock some people."
"Piss Christ" triggered an uproar in 1987 after it won its creator -- who claimed the urine was his -- a prize underwritten by the National Endowment of the Arts, which gets taxpayer support throught the US government. The late conservative senator Jesse Helms led a political charge against it, holding it up as an example of publicly-funded "slime and sleaze" in the world of contemporary art.
Serrano made 10 Cibachrome prints of "Piss Christ", including one that sold at a Christie's auction in New York for a higher-than-expected 277,000 dollars in May 2008, and an equal number of "Sister Jeanne Myriam".
A second Serrano photograph, "The Church: Sister Jeanne Myriam," was also targeted in the late-morning incident in which three guards who tried to intervene were assaulted, the museum's founder Yvon Lambert said.
Closed on Mondays, the museum - which spotlights "Piss Christ" on the homepage of its website - intends to reopen its doors on Tuesday "with the damaged works shown as they are".
Several hundred conservative Christians had demonstrated outside the gallery, while the Roman Catholic bishop of Avignon, Jean-Pierre Cattenoz, had called for the "odious" photograph to be removed. French Culture Minister Frederic Mitterrand condemned "an attack on a basic principle, the exhibition of these works being fully in line with the freedom of creation and expression enshrined in the law." He admitted however that "one of the two works could shock some people."
"Piss Christ" triggered an uproar in 1987 after it won its creator -- who claimed the urine was his -- a prize underwritten by the National Endowment of the Arts, which gets taxpayer support throught the US government. The late conservative senator Jesse Helms led a political charge against it, holding it up as an example of publicly-funded "slime and sleaze" in the world of contemporary art.
Serrano made 10 Cibachrome prints of "Piss Christ", including one that sold at a Christie's auction in New York for a higher-than-expected 277,000 dollars in May 2008, and an equal number of "Sister Jeanne Myriam".
Sensation (art exhibition)
Sensation Exhibition
18 September – 28 December 1997
Royal Academy of Art in London
Showed a collection of contemporary art owned by Charles Saatchi, mostly including works by the Young British Artists (YBA's). The show generated great controversy due to the Myra Hindley and Virgin Mary imagery. Many of the pieces were already notouriusly known to the public. Damien Hirst's The Physical Impossibility of Death in the Mind of Someone Living, and Tracey Emin's Everyone I Have Ever Slept With .
The Royal Academy disclaimer to visitors on entry:
I cant decide if i find the fact that the exhibition came with a disclaimer warning of 'distaseful' works either highly strange or perfectly suitable! It is not a disclaimer warning of sexually explicit works unsuitable to younger viewers, which is common enough in a gallery, but is actually making the statement that 'people may find (the work) distasteful' if your planning to show serious artworks long laboured over and aimed to achieve respect and recognition in the art world, you would not want the word distaseful in anyway asociated with your exhibition, never mind in print before entering the gallery. It seems from the very start these art works are created to generate spectacle.
18 September – 28 December 1997
Royal Academy of Art in London
Showed a collection of contemporary art owned by Charles Saatchi, mostly including works by the Young British Artists (YBA's). The show generated great controversy due to the Myra Hindley and Virgin Mary imagery. Many of the pieces were already notouriusly known to the public. Damien Hirst's The Physical Impossibility of Death in the Mind of Someone Living, and Tracey Emin's Everyone I Have Ever Slept With .
The Royal Academy disclaimer to visitors on entry:
''There will be works of art on display in the Sensation exhibition which some people may find distasteful. Parents should exercise their judgment in bringing their children to the exhibition. Our gallery will not be open to those under the age of 18.''
I cant decide if i find the fact that the exhibition came with a disclaimer warning of 'distaseful' works either highly strange or perfectly suitable! It is not a disclaimer warning of sexually explicit works unsuitable to younger viewers, which is common enough in a gallery, but is actually making the statement that 'people may find (the work) distasteful' if your planning to show serious artworks long laboured over and aimed to achieve respect and recognition in the art world, you would not want the word distaseful in anyway asociated with your exhibition, never mind in print before entering the gallery. It seems from the very start these art works are created to generate spectacle.
16 Apr 2011
FANTASY-Curation
......by presenting these great works of art i am allowing the viewer to do what they want to them. Will It provoke negative reactions from the public?? It does not matter to the artists as they have already achieved there ‘acclaim’ and money for the work. This is an opportunity for the viewer to say & do what they really want with modern art.
Will they respect the work more so if it is presented in a white cube space.
Or if the work is presented in a abandoned warehouse space will it highlight the throw-away nature of some of the works and reduce their once seen quality??
Rubbish faces works.
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