Hi all
Thanks for all your work this semester - the blog attests to an engaged and thoughtful group.
As i said in class i fully enjoyed teaching the unit and I am looking forward to reading your essays.
If you need to speak to me about essays I am about the place every morning.
Also no more entries will count towards you assessment - i was going to turn off permissions but it seems i would have to do it one at a time, and i gave up after 2 or so. Sorry for those i removed...
Monday, November 1, 2010
Friday, October 29, 2010
ending
I found this course very fascinating and will definitely leave with a head full of new knowledge. It has been very different to any other theory class I have had over the past few years and although it has been hard to get at times it has left me thinking about some really interesting topics from situationism to transversal concatenation..and the list goes on.
I enjoyed the way the classes progressed a lot. It was really well structured and allowed for some extremely intriguing thoughts to come through. One thing that has made this class specifically enjoyable was how relavent it was and without doubt helped me view art and institutions from many different perspectives.
The blogs were a bit messy and hard to keep track of because of the amount of people involved, but in the end it was a great way of sharing knowledge especially in a relatively short time frame.
Altered Perception
Social Relations and Critical Spaces 2010 has definitively altered and defined my perception not only on art but also activated an ongoing procedure of self-reflexivity (or a critical sense) of the how the apparatus or moreso the process of art can become highly complex and its strategies challenging. Also that art is fluid and can be transferred or shift or combine into distinct strands from an object to post-object type work and how other institutional mechanisms of power operate and tie-in/correspond/intersect with art – outside itself and within – ie politics, culture, socio-history, community/collaborative practices, etc. Trying to see how all these various and distinct 'machines' work and how their dynamic resonate/relate. The course overall provided an array of quality concepts/material readings/links to quickly get through which tested my own ability to take as much on board as possible through as much of the readings/texts as I could acquire and in combination with the weekly blog as a continuing format not only was it challenging but it became rewarding as it developed my technique to fine tune, critique and engage (with others in an ongoing physical dialogue) with these new strands of knowledge. Overall I find it all beneficial in my progression to look at all these various strategies yet remain eclectic and true to my own directives, a key way to keep developing my research/art practice per se. So reluctantly I walk away from this THAP course that has altered me on many different levels and hopefully in many positive/beneficial ways.
To sum up
in truth, i enjoyed many of the points made in this class, especially in regards to the museum/gallery and how they operate AND how the perception has changed with the advent of institutional critique and the rise in artists that focus on their role in society. However, my qualms come into place in regards to my own practice. It did open up new avenues for the future, and i have taken into account the new and greater perceptions i have gained, but as a whole, there is not a lot of relation between my practice and what we have been learning about. It actually worked the opposite way in the fact that i feel my practice has been rendered obsolete now that it seems social art is the new band wagon to jump on.. at least it feels as such. if u cant change art anymore change the artist?? or rather, change the people who see the art? who knows
these blogs did become a mess i found a stressful mess for a time considering they had to be done before 9 oclock every fking monday morning, although somewhat helpful and insightful, they are all over the place jumping from topic to topic...a pain in the arse to read... GOODLUCK CALEB!
Other than that, probably going back to the start of the semester i would have done a different topic on the bounds that id want something more motivating to my practices in third year, nevertheless i have taken what i have learnt it and will apply it accordingly to whatever i endeavour to do.
these blogs did become a mess i found a stressful mess for a time considering they had to be done before 9 oclock every fking monday morning, although somewhat helpful and insightful, they are all over the place jumping from topic to topic...a pain in the arse to read... GOODLUCK CALEB!
Other than that, probably going back to the start of the semester i would have done a different topic on the bounds that id want something more motivating to my practices in third year, nevertheless i have taken what i have learnt it and will apply it accordingly to whatever i endeavour to do.
GARDEN FRIEND
i enjoyed the class in the garden. i wonder why all of our classes are not done in the open air, do away with technology!
i found it a very good idea, although there is the breach between what is art and what is gardening. i think, as i think what was said on the day, that it is not so much that its the fact of the garden, but rather the social interraction between people and between nature that gives it an identity in art.. particularly with social relations. i think it can be quite controversial this topic, but it is down to personal thought about what is considered art...i think there is a lot to speak about in regards to artistic gardening... or the social relations around. for instance you have the communty farms in lakemba, where you can plant and grow your crops alongside others and share knowledge on flora and a managerie of other things i suppose... i think the thing about social relations in regards to making a garden or a farming communtiy is that it invites discussion, no matter the topic.
In an artistic sense, and i bring this back to the kwons paradigm of 'art as public interest' and with the greater awareness now of global warming and reducing your carbon footprint, it has great relelvance. perhaps make the garden look like a giant oil refinery just to give it some spice!
i found it a very good idea, although there is the breach between what is art and what is gardening. i think, as i think what was said on the day, that it is not so much that its the fact of the garden, but rather the social interraction between people and between nature that gives it an identity in art.. particularly with social relations. i think it can be quite controversial this topic, but it is down to personal thought about what is considered art...i think there is a lot to speak about in regards to artistic gardening... or the social relations around. for instance you have the communty farms in lakemba, where you can plant and grow your crops alongside others and share knowledge on flora and a managerie of other things i suppose... i think the thing about social relations in regards to making a garden or a farming communtiy is that it invites discussion, no matter the topic.
In an artistic sense, and i bring this back to the kwons paradigm of 'art as public interest' and with the greater awareness now of global warming and reducing your carbon footprint, it has great relelvance. perhaps make the garden look like a giant oil refinery just to give it some spice!
so-long/farewell.
To begin with I have to admit how much of a struggle i found the majority of this course, It has basically turned me off the entire institution. I have learnt little, aside from my chosen essay topic, and have not been inspired all too much. To me it just all sounds like bullshit. Why is this art? Why is this not art? The majority of conversations i have had with people over this topic have been all wank. It is almost as if people have lost passion, drive, spirit. Who really cares why he/she does this/that for so on and so forth and because of all this it is worth hundreds of thoundands of dollars. Do we really think the greats were sitting there making art thinking 'I wonder how i will be criticed for this in the future? Is this art? What about this?"
I think we should be about pushing people to do what they love, let them call it whatever they want. art/not art - it's not about that! Try is this your passion? does this make you feel alive? is it simply just what you do or felt like doing? - then great, thats all that matters.
I think we should be about pushing people to do what they love, let them call it whatever they want. art/not art - it's not about that! Try is this your passion? does this make you feel alive? is it simply just what you do or felt like doing? - then great, thats all that matters.
the garden
From the garden class with Lucas & Diego, I left with a mixture of emotions. Personally, i do not see the garden as art - but rather an artform. A few months before this class, i started working with the concept of hanging plants unsidedown - altering natural growth and human perceptions (which, to me was art - but somehow the garden I have at home as purely a garden) It comes down to intention I suppose, and an arguement that can never be won. I still think this way. The only real thing i gained from this class was a depper desire to garden (or more so to give our 300 odd tadpoles a new home in a new garden)
I read a quote (from Gobblieb i think?) that stated that he was sick of people stating that they wanted to go back to nature, and to him, that people seemed more concerened with going back, than about nature - I think this quote sums up the majority of nature based works, and is something we need to think about on a whole.
Aside from this I am mostly worried that this will fall through, that ceramics courtyard seems destined to continue as a graveyard. I only hope that people will continue to care for it, and as well as the animals that will begin to live off it's growth.
I read a quote (from Gobblieb i think?) that stated that he was sick of people stating that they wanted to go back to nature, and to him, that people seemed more concerened with going back, than about nature - I think this quote sums up the majority of nature based works, and is something we need to think about on a whole.
Aside from this I am mostly worried that this will fall through, that ceramics courtyard seems destined to continue as a graveyard. I only hope that people will continue to care for it, and as well as the animals that will begin to live off it's growth.
different thought
i think that the certain degrees of relational aesthetics that i stongly agree with and stongly disagree with. I think your arty party world is a bit trivial, or making points about gallery space or museums. Fair enough if u want make those points, changing the spaces and what not, but i suppose it depends whether or not you seek to change or alter society and in what ways. if refering to the paradigms on this topic from Kwons sitings of public art, 'art in public spaces' model is good and well as you have a change in context away from the gallery and the museum, but after a time in just becomes another ornament in the grand architectural contructs of our cities... so to a degree, these works say only a very little... like the work in redfern... it is there, it exists.. hoorah...
then you have 'art as public spaces', which i think is a better move. now have forms that can directly influence a person or people, it can affect them, change moods, alter perceptions.. but i think art for social realtions in the political and socio-economic arena, 'art in the public interest model' makes for a more valid point discouse. Like the CAE or IAA, these collectives who make works which tackle the issues of our time, like biodefense and public censorship. here you have artists, often anonymous, who challenge almost to the extent of activism, the status quo of our context and to create change amongst the population as a whole... not merely a tourist or observer who notices nice sculptures here and there....
then you have 'art as public spaces', which i think is a better move. now have forms that can directly influence a person or people, it can affect them, change moods, alter perceptions.. but i think art for social realtions in the political and socio-economic arena, 'art in the public interest model' makes for a more valid point discouse. Like the CAE or IAA, these collectives who make works which tackle the issues of our time, like biodefense and public censorship. here you have artists, often anonymous, who challenge almost to the extent of activism, the status quo of our context and to create change amongst the population as a whole... not merely a tourist or observer who notices nice sculptures here and there....
BOOM!
I’ve really enjoyed this class, initially I was very apprehensive, as I went on exchange last semester and was unfortunately completely forgotten and didn’t get to choose my theory class. But after completing a semester of social relations and critical spaces, I’m really glad I did. I think that since having more of a learning process when it comes to collaborative practices I enjoy the concept a lot more, I really appreciate this because I think that so many of us (myself included) just rely upon our knee jerk reactions, which is no good. I think we have this general negative exterior, we are apprehensive of the unfamiliar, which is human nature, the fear of the unknown, but it’s the personal choice to evolve past this and gain some form of understanding of whatever subject you may not agree with or completely understand. Choosing to not always take the easiest most convenient option, to extend your own personal abilities to understand is much more beneficial than being a judgemental creep. I think this is extremely pertinent when it comes to art, as the daughter of two very conservative parents I have found it extremely important to at least attempt to look beyond an initial reaction of “What? Eating noodles inside a gallery? That’s not art.” In order to broaden my own personal understanding of the world, especially the world I want to be a part of, the art world. I think that this particular course has shed a lot of light on the differentiation or the lack of a need for the differentiation of what art is. Who the fuck cares? Must we define everything? Human beings are constantly attempting to define and identify everything, we must conquer and pillage all, otherwise what? Nothing, it’s fine just to accept things as they are as opposed to having to know everything.
BOOM!!!! We’ve finished uni!
BOOM!!!! We’ve finished uni!
I Want to Make a Garden
I found last weeks visit to Lucas and Diego’s garden project very inspiring, I for one am not a successful gardener, but I found what they had to say and the constant munching of things that they had nurtured and produced themselves brilliant. I think some really interesting points were raised throughout our open discussion. One of which was the depressing but true reality that we as students are hindered by the constant cloud of “don’t trust the youth, they destroy all” hanging above our heads. One person mentioned a fellow students struggle to create an exterior installation on the SCA campus; this is extremely frustrating and disparaging. To me the idea of university is to encourage free thinking (hopefully) that eventuates in individualistic theorisation of life and it’s various facets. We are no longer teenagers and the need to be treated in a way which allows us to know that we are respected by our peers is fundamental to the possible growth and experience of university education. Now I’m sure that it may seem as though I’m talking out of my Steiner raised ass, but I truly believe this. Lucas also made a good point that their project should assist students in the future, now that the ice has metaphorically been broken administrative staff and various hindering of running wild may realise that we won’t shit all over the perfectly groomed campus. Although I’ve made my point being the fence sitter I am I do symapthise with the fact that Callan Park is a predominantly heritage listed site, this obviously results in boatloads of rules and regulations that must be abided by in order to continue to run and for me, a person who has no less than LOVED her university education, it would be a fucking travesty if the SCA wasn’t to continue due to such incomprehensible legislation.
Legalize LA
I’m sure the majority of us have seen the American Apparel t-shirts with the slogan “Legalize LA Immigration Reform Now!” the latter part of the sentence is in smaller writing, you may be forgiven for assuming legalize LA was in regards to the legalisation of homosexual marriage rights, as I did when I first saw them. I wanted to know what message this trendoid clothing company was attempting to spread.
America “land of the free” is a very promising prospect for millions of Hispanic nationals. Los Angeles is one of the closest large cities to the Mexico/USA border, proving to be a popular access point for illegal immigrants. Like most first world countries America relies upon these immigrants to continue to uphold the hierarchal systems implemented by the CEO’s and managing directors of the companies that in reality have a lot to do with running the country.
So what is American Apparel doing about this? Their “Legalize LA” t-shirts are sold all over the world, in an attempt to alter the perception of the general public or at least provide them with an alternative perspective. Fashion and clothing are often viewed as an art form in some contexts, art like fashion is often utilised in order to propagate a message to a wider audience, in this way American Apparel has succeeded, they’ve managed to enliven the message of immigration reform throughout all western countries in the world, obviously because this is where American Apparel have their stores.
Publix Theatre Caravan’s ideas of no borders is really fascinating to me, I have lived in Australia my entire life, as one of the most isolated countries in the world, the idea of boarders and boundaries is foreign to me, the only instance in our white Australian history of a realistic “invasion” was World War 2, when Darwin was bombed by Japan. Currently the raging debate of “boat people” and “queue jumpers” continues, the threat of people seeking asylum from warring countries is our biggest issue when it come to immigration. In reality 1% of illegal immigrants enter the country via boats and the majority of visa over stayers are British and American nationals, who most probably like the beach.
Immigration reform is a extremely pertinent issue facing everyone in this day and age, where we are more than happy to break down borders through technology and globalisation, yet there are still (according to UNHCR figures) 10.5 million refugees in the world, I think we should all runaway and join Publix Theatre Caravan, it’s brilliant and so incredibly needed at this time.
America “land of the free” is a very promising prospect for millions of Hispanic nationals. Los Angeles is one of the closest large cities to the Mexico/USA border, proving to be a popular access point for illegal immigrants. Like most first world countries America relies upon these immigrants to continue to uphold the hierarchal systems implemented by the CEO’s and managing directors of the companies that in reality have a lot to do with running the country.
So what is American Apparel doing about this? Their “Legalize LA” t-shirts are sold all over the world, in an attempt to alter the perception of the general public or at least provide them with an alternative perspective. Fashion and clothing are often viewed as an art form in some contexts, art like fashion is often utilised in order to propagate a message to a wider audience, in this way American Apparel has succeeded, they’ve managed to enliven the message of immigration reform throughout all western countries in the world, obviously because this is where American Apparel have their stores.
Publix Theatre Caravan’s ideas of no borders is really fascinating to me, I have lived in Australia my entire life, as one of the most isolated countries in the world, the idea of boarders and boundaries is foreign to me, the only instance in our white Australian history of a realistic “invasion” was World War 2, when Darwin was bombed by Japan. Currently the raging debate of “boat people” and “queue jumpers” continues, the threat of people seeking asylum from warring countries is our biggest issue when it come to immigration. In reality 1% of illegal immigrants enter the country via boats and the majority of visa over stayers are British and American nationals, who most probably like the beach.
Immigration reform is a extremely pertinent issue facing everyone in this day and age, where we are more than happy to break down borders through technology and globalisation, yet there are still (according to UNHCR figures) 10.5 million refugees in the world, I think we should all runaway and join Publix Theatre Caravan, it’s brilliant and so incredibly needed at this time.
final thought
I really enjoyed Social Relaions and Critical Spaces this semester. I think it was very valuable doing it 2nd year so that I can go into 3rd year next year with now trains of thought and knowledge of artists and artistic ways of thinking that I have never come accross before. It was really beneficial learning about Laibach, Bourriard, Miwon Kwon and it was really great reading Raunig Art and Revolution. I personally don't go to performance shows so studying art this semester with a strong performance/interective side was quite enlightening.
I do think Bourriard's arty parties are a little ridiculous... everyone getting together going for a walk to a pub and calling it art? no thank you. I'm a firm believer 'art' needs to involve some sort of trained or practiced skill. I disagree with quite a few ideas of 'art' we discussed in our classes.. arty parties... calling a garden art. I do think it is a great way to get people together to talk. I just don't consider this art!!
I can sympathise with other opinions of this that differ from my own.. but i don't think my opinion will change any time soon. This was definately a class more about 'people relating to people, and just calling it art' than art itself.
I do think Bourriard's arty parties are a little ridiculous... everyone getting together going for a walk to a pub and calling it art? no thank you. I'm a firm believer 'art' needs to involve some sort of trained or practiced skill. I disagree with quite a few ideas of 'art' we discussed in our classes.. arty parties... calling a garden art. I do think it is a great way to get people together to talk. I just don't consider this art!!
I can sympathise with other opinions of this that differ from my own.. but i don't think my opinion will change any time soon. This was definately a class more about 'people relating to people, and just calling it art' than art itself.
Theatre and Canvas
Art and Revolution is an investigation into the interlay bewtween of practices where art and revolution over lap for a limited time and how this effects the emerging practices.
It discusses how "when they approach their fails, traces of the overlap can still be recognised".
I think it is really interesting looking at creating and establishing links and connections between disconnected terrain (the machines) in order to inspire new trains of thought based on temporary overlapping. I belive this limited exchange will have concrete effects overtime. The effects might not necessrily be seen immediately but will definately show sometime in the future be it through art, relolution, politics of war, as all affect eachother and i believe will for hundreds of years to come.
It discusses how "when they approach their fails, traces of the overlap can still be recognised".
I think it is really interesting looking at creating and establishing links and connections between disconnected terrain (the machines) in order to inspire new trains of thought based on temporary overlapping. I belive this limited exchange will have concrete effects overtime. The effects might not necessrily be seen immediately but will definately show sometime in the future be it through art, relolution, politics of war, as all affect eachother and i believe will for hundreds of years to come.
Thursday, October 28, 2010
closing.
I've found this semester to be such a good end note for my time at SCA.
I think the way we explored art not as a singular model but as a larger, more communal structure, leads this to be the main idea I have embraced through the course. The fact that we discussed so many different topics and ideas; institutional critique, Laibach, political activism, public art etc...
The way in which we approached critical theory, by examining the real world, I see as particularly significant and rewarding. By understanding more about the world we live in we can make more astute decisions in regard to the everyday.
This has reaffirmed my belief that art actually means something. In the same semester where I had to discuss "the death of painting," I have found that art it is still a vehicle that has the potential to disrupt the everyday and subvert it, to create a better understanding of where we are, where we have come from and where we are going.
The course had a particularly positive sense, in that through researching into all these different collectives it promotes a sense of action. Especially after the class with Lucas and Diego, and their 'do it because you can' attitude.
I think the way we explored art not as a singular model but as a larger, more communal structure, leads this to be the main idea I have embraced through the course. The fact that we discussed so many different topics and ideas; institutional critique, Laibach, political activism, public art etc...
The way in which we approached critical theory, by examining the real world, I see as particularly significant and rewarding. By understanding more about the world we live in we can make more astute decisions in regard to the everyday.
This has reaffirmed my belief that art actually means something. In the same semester where I had to discuss "the death of painting," I have found that art it is still a vehicle that has the potential to disrupt the everyday and subvert it, to create a better understanding of where we are, where we have come from and where we are going.
The course had a particularly positive sense, in that through researching into all these different collectives it promotes a sense of action. Especially after the class with Lucas and Diego, and their 'do it because you can' attitude.
Papastergiadis on Ranciere
In ‘Aesthetics and politics in the age of ambient spectacles’ Nikos Papastergiadis compares the ideas of theorists Jacques Ranciere and Gerald Raunig as they relate to the relationship between art and politics. Papastergiadis believes that the question of whether or not art is enmeshed in the everyday is irrelevant, but the nature of this entanglement is what is of importance. He writes
The point is not if art is entangled with social, political, and economic structures, but how it weaves itself into these scenarios, and whether or nor it can retain a critical force.
Focusing on Ranciere, Papastergiadis asserts that it is aesthetics that defines the relationship between art and politics. He cites as a key text, Ranciere’s The Politics of Aesthetics, which he says defines aesthetics as the reconfiguration of the perceptual order through the recoding of everyday objects and relations. This Ranciere argues, leads to the creation of new modes of political subjectivity. Papastergiadis asserts that the affirmative link that Ranciere identifies between aesthetics and political transformation is indicative of the terms in which politics exist within art. Ranciere defines a ‘distribution of the sensible’, as an alternative to philosophies and authoritarian practices that limit the capacity of individuals to be active in acts of governance. Ranciere argues that aesthetics and politics both address this process, and each do so within the operations of their own systems. He states that aesthetics and politics, as they may operate to promote the ‘distribution of the sensible’ do so in opposition to any order of aesthetics and politics that constrains democratic dialogue. Aesthetics is said by Ranciere to be capable of overturning existing hierarchies of signs to contrive new narratives and forms that link individual affect to a social existence.
Institutional Critique
Pollock and Tureen, Arranged by Mr. and Mrs. Burton Tremaine, Connecticut, 1984
Louise Lawler Silver dye bleach print
.....
struggling to make my works for this semester has really made me resent the idea concept of insitutional critique. I never though it would directly affect me, because thinking about my art in terms of the future just scares me to death. But in regards to art making, which funnily enough before i came to art school, i though was a spontaneous action, and expression, has now turned into this regimented open discussion of my work and others. I began art school bright eyed and very cross disciplinary, until i got sorted into my section and isolated from the rest of the pack. now ive begun to dislike the idea of the art institution, knowing full well that we're going to be trying to be friends for a while, and this upsets me. The fact that if no one sees my art, it may not be art distrubs me greatly. I make art for myself and weather i destroy it or send it to the MCA when im done really doesn't make a fucking difference.
what happened to love and creation? maybe i was a 60's child born to late.
"institutional critique emerged as a genre. "- MIT press website.
Why are we still held back by it then in the 21st century. fuck the white cube.
what happened to love and creation? maybe i was a 60's child born to late.
"institutional critique emerged as a genre. "- MIT press website.
Why are we still held back by it then in the 21st century. fuck the white cube.
to society or to not society.
"Everything that was directly lived has moved away into a representation." This quote from society of the spectacle really speaks to me within the context of social relations and critical spaces, as well as my day to day life, and art. I think, seeing a debord's text was published in 1967, it was both a way for him to explore the happenings of his context, as well as extrapolate the future. I think art now, (which is a total umbrella statement) has moved into representation, especially photography, there is nothing that cannot be made without using an aspect of everyday life, and representing that so to speak.
I think i do live through representation, especially as artists. I feel as though through technology we have strayed from direct experience and interaction, and now do not directly live anything. something to think about i guess.
I think i do live through representation, especially as artists. I feel as though through technology we have strayed from direct experience and interaction, and now do not directly live anything. something to think about i guess.
Transversal Concatenation
When thinking about this phrase during class this morning I was completely stumped. after thinking about what Caleb then went onto say about in the lecture I slowly began to understand what we were discussing.
There are very few things in this world that exists purely independent and within there own walls. When you break things down the sum of there parts can be traced back to all kinds of things. take a house for example. A house is the end product of many different parties exercising their skills and knowledge. You can break it down into suppliers, Builders, Plumbers, Electricians, Architects, Laborers Etc. and nobody really cares who built what and takes credit for the final product because its just a house and they all got paid. But what happens when the house falls down because of an electrical problem that started a fire that burnt through a wall that was supposed to be made of brick. the blame can be spread over two or three different fields and the boundaries regarding labour are disbursed to reduce fault.
What i am trying to say is everything that happens in life can be categorised, but those walls are only as retardant to other groups as long as someone doesn't mind if parties don't mix. NIKOS PAPASTERGIADIS paper where he talks about post 9/11 and Guantánamo Bay got me thinking about what are the links between politics, art and war and i immediately thought about the media.
Who is the media? obviously the media is the big named papers, and Television news programs but who are their journalists? if everybody who witnessed 9/11 filmed it on their phones do they become journalists? if a solider films something behind the front lines are they a journalist or a soldier with a camera? I think that people can find themselves in situations where there "title" can change momentarily and then change back without any real effort or even understanding of where they belong. in these examples it is the technology that is blurring the lines between these fields and in a sense the role reversal of some of these parties is subverting the media. the media seems to be all powerful when it comes to any story being told. the media is what it is until we become more apart of it than itself.
Luke Turner
October 11, 2010 2:33 PM
There are very few things in this world that exists purely independent and within there own walls. When you break things down the sum of there parts can be traced back to all kinds of things. take a house for example. A house is the end product of many different parties exercising their skills and knowledge. You can break it down into suppliers, Builders, Plumbers, Electricians, Architects, Laborers Etc. and nobody really cares who built what and takes credit for the final product because its just a house and they all got paid. But what happens when the house falls down because of an electrical problem that started a fire that burnt through a wall that was supposed to be made of brick. the blame can be spread over two or three different fields and the boundaries regarding labour are disbursed to reduce fault.
What i am trying to say is everything that happens in life can be categorised, but those walls are only as retardant to other groups as long as someone doesn't mind if parties don't mix. NIKOS PAPASTERGIADIS paper where he talks about post 9/11 and Guantánamo Bay got me thinking about what are the links between politics, art and war and i immediately thought about the media.
Who is the media? obviously the media is the big named papers, and Television news programs but who are their journalists? if everybody who witnessed 9/11 filmed it on their phones do they become journalists? if a solider films something behind the front lines are they a journalist or a soldier with a camera? I think that people can find themselves in situations where there "title" can change momentarily and then change back without any real effort or even understanding of where they belong. in these examples it is the technology that is blurring the lines between these fields and in a sense the role reversal of some of these parties is subverting the media. the media seems to be all powerful when it comes to any story being told. the media is what it is until we become more apart of it than itself.
Luke Turner
October 11, 2010 2:33 PM
The Unknown Known
This concept added by Slavoj Zizek to Donald Rumsfeld's ideas about understanding our place within the universe and the societies in which we have constructed got me thinking about what category I fall under as a white Australian middle class male.
It is an inherent understanding within Australian culture that "Australian's" are unique for their unusual sense of humour. It is often the darker things in life, the tougher times or the pressure environments that perpetuate jokes, laughs and cynical sarcasm which act as a vent or release from the reality of ones actual situation. Of course this is not the sole purpose for telling jokes however if you look at the stereotypical Aussie larrikin its root stem from tough times such as the Convicts, WW1/2 ANZAC digger attitudes as well as the Great Depression.
During these times it is easier to get through them if you can have a laugh at your own expense (take the Mickey out of yourself). This has become apart of Australian culture, it is not necessarily taught, but there is an underlining social pressure to not be offended by a joke at your own expense. It is un-Australian and therefore it is expected that within Australia others coming to live here must live by the same unwritten laws of humour.
My feeling is that there are a number of problems that arise from these social pressures of the Aussie Larrikin. It poses a problem particularly within racist jokes or slants. Often Australian’s are in denial about being a racist nation because many opt to hide behind the banner of being funny, just pulling your leg, good-natured banter etc. In edition if somebody is offended by a joke at their own expense they are also Accused of being Un-Australian, which further ostracises them from our society.
In my opinion you can categorise this kind of racism in the same way as Rumsfeld.
• Those who know they are being racist (and it is their intension)
• Those who are aware that there are potentially boundaries between humour and racism but gage it based upon their own perspective (meaning if they are white middle class Australians they gage whether or not they would take offence and perhaps don’t fully consider the culture they are targeting)
• And those who are completely ignorant to the fact that the understanding of humour as a social pressure can perpetuate racial problems even know they are aware that there is such a thing as a racist joke.
In many ways this inherent clash between our culture and others that is not unspoken but must remain under the safe banner of good Aussie humour which is tied up in Australian identity. It's potentially this attitude that condones small doses of racism, and if challenged humour would not be the problem it would be deemed as something else in order to preserve and maintain our Larrikin heritage.
Luke Turner
September 19, 2010 10:25 PM
It is an inherent understanding within Australian culture that "Australian's" are unique for their unusual sense of humour. It is often the darker things in life, the tougher times or the pressure environments that perpetuate jokes, laughs and cynical sarcasm which act as a vent or release from the reality of ones actual situation. Of course this is not the sole purpose for telling jokes however if you look at the stereotypical Aussie larrikin its root stem from tough times such as the Convicts, WW1/2 ANZAC digger attitudes as well as the Great Depression.
During these times it is easier to get through them if you can have a laugh at your own expense (take the Mickey out of yourself). This has become apart of Australian culture, it is not necessarily taught, but there is an underlining social pressure to not be offended by a joke at your own expense. It is un-Australian and therefore it is expected that within Australia others coming to live here must live by the same unwritten laws of humour.
My feeling is that there are a number of problems that arise from these social pressures of the Aussie Larrikin. It poses a problem particularly within racist jokes or slants. Often Australian’s are in denial about being a racist nation because many opt to hide behind the banner of being funny, just pulling your leg, good-natured banter etc. In edition if somebody is offended by a joke at their own expense they are also Accused of being Un-Australian, which further ostracises them from our society.
In my opinion you can categorise this kind of racism in the same way as Rumsfeld.
• Those who know they are being racist (and it is their intension)
• Those who are aware that there are potentially boundaries between humour and racism but gage it based upon their own perspective (meaning if they are white middle class Australians they gage whether or not they would take offence and perhaps don’t fully consider the culture they are targeting)
• And those who are completely ignorant to the fact that the understanding of humour as a social pressure can perpetuate racial problems even know they are aware that there is such a thing as a racist joke.
In many ways this inherent clash between our culture and others that is not unspoken but must remain under the safe banner of good Aussie humour which is tied up in Australian identity. It's potentially this attitude that condones small doses of racism, and if challenged humour would not be the problem it would be deemed as something else in order to preserve and maintain our Larrikin heritage.
Luke Turner
September 19, 2010 10:25 PM
Who is art for?
This year i have been working on my major project around the idea of graffiti 'cover ups'. This research has brought up many issues such as the obvious Vandalism vs Art, do you categorize these as either creative or destructive activities? In my many readings about these debates many anti graffiti followers will often resort to the argument, who are they to force their opinions, ideas and views on the public.
This lead me to a pair of melbourne (Miles allison and Dominic Allen) artists who have adopted the nature of Graffiti (or Street Art) to the forceful and imposing nature of advertisement. Their practice involves taking over old or unused billboards and hitting members of the public with their own often political views. The subtlety of this seemingly obvious and bold working method is that in general, the public has excepted billboards as an object within public space. If you drive down a freeway you expect to be bombarded with signage. it is an object that falls in that in between space that is the privacy of your own vehicle in peek hour traffic. but the change or alteration to the usual procedures that go into bringing messages to fruition is the works strength.
Luke Turner
September 12, 2010 11:15 PM
This lead me to a pair of melbourne (Miles allison and Dominic Allen) artists who have adopted the nature of Graffiti (or Street Art) to the forceful and imposing nature of advertisement. Their practice involves taking over old or unused billboards and hitting members of the public with their own often political views. The subtlety of this seemingly obvious and bold working method is that in general, the public has excepted billboards as an object within public space. If you drive down a freeway you expect to be bombarded with signage. it is an object that falls in that in between space that is the privacy of your own vehicle in peek hour traffic. but the change or alteration to the usual procedures that go into bringing messages to fruition is the works strength.
Luke Turner
September 12, 2010 11:15 PM
Conversational pieces
after reading the introduction of Conversational Pieces i struggled to understand the importance of the Kester's text. Maybe i misunderstood it because i read it late at night but it strikes me that the paper is more concerned about the ever growing boundaries of art and not the subjects of the works it is critiquing. What i mean by this is the works used as examples are about making a change to specific areas within the community eg. the work evolving Zurich's sex workers. This work was deemed successful as there was a concrete response. the girls were then provided with a shelter that offered them protection comfort, safety etc. so why does it even come into question that this requires a label. was it art that created this or public intervention or what ever. the fact is they did what they set out to do, so in my opinion that holds more weight then whether or not it is art.
Good for art for making a difference, and good for us that we felt it necessary to tell everyone about it...
Luke Turner
August 29, 2010 10:35 PM
Good for art for making a difference, and good for us that we felt it necessary to tell everyone about it...
Luke Turner
August 29, 2010 10:35 PM
the SI way of living.
the quote from last week that got me thinking was
"we don't want a world where the guarantee of not dying of starvation brings the risk of dying of boredom."
I have thought about this concept of living for quite some time from the perspective an expanding industrial society. I remember watching 'Man verse Wild' and being constantly surprised at the level of knowledge that was necessary to survive that i did not know. once upon a time people learnt to kill and prepare meat, take only what they needed because it would not keep. I go to the supermarket, buy my packaged frozen meat and cook it at my own discretion. Now my point is through increased population and increased technology there are many jobs essential to living that i do not understand how they function.
There is a common saying, "learn everything, specialization is for ants." the problem with this is the more you know, the more you know you don't know, it is unavoidable. In someways it is the technology responsible for our reliability on the system of living. I found myself in an interesting position when i thought about technology killing my primal instincts, or at least making education within them redundant. I realized I was getting further from knowing how to live primitively but equidistant from understanding the inner working of modern day technology. I wonder if they will be a point where the system breaks down and people can't function primitively whilst also not being able to help themselves to reset their own technological independents.
the day that cash as a currency dies will be an interesting day for those with SI ideals about removing themselves from the systems way of life.
August 29, 2010 8:45 PM
"we don't want a world where the guarantee of not dying of starvation brings the risk of dying of boredom."
I have thought about this concept of living for quite some time from the perspective an expanding industrial society. I remember watching 'Man verse Wild' and being constantly surprised at the level of knowledge that was necessary to survive that i did not know. once upon a time people learnt to kill and prepare meat, take only what they needed because it would not keep. I go to the supermarket, buy my packaged frozen meat and cook it at my own discretion. Now my point is through increased population and increased technology there are many jobs essential to living that i do not understand how they function.
There is a common saying, "learn everything, specialization is for ants." the problem with this is the more you know, the more you know you don't know, it is unavoidable. In someways it is the technology responsible for our reliability on the system of living. I found myself in an interesting position when i thought about technology killing my primal instincts, or at least making education within them redundant. I realized I was getting further from knowing how to live primitively but equidistant from understanding the inner working of modern day technology. I wonder if they will be a point where the system breaks down and people can't function primitively whilst also not being able to help themselves to reset their own technological independents.
the day that cash as a currency dies will be an interesting day for those with SI ideals about removing themselves from the systems way of life.
August 29, 2010 8:45 PM
Re: 'Legalize LA'
I have such an issue with this topic!
So what is American Apparel doing about this? Their “Legalize LA” t-shirts are sold all over the world, in an attempt to alter the perception of the general public or at least provide them with an alternative perspective. Fashion and clothing are often viewed as an art form in some contexts, art like fashion is often utilised in order to propagate a message to a wider audience, in this way American Apparel has succeeded, they’ve managed to enliven the message of immigration reform throughout all western countries in the world, obviously because this is where American Apparel have their stores.
I think what AA are trying to do is great, but we are looking at American Apparel here. One of the most expensive shops for the simplest cotten basics with the biggest may-as-well-be-porn advertisments I know of.
Can someone please tell me what "alternate perspective" - especially for younger girls growing up thinking this is the way America - "land of the free" (and country most likely to kill you) is meant to look like. To me, this is fucked up on a new level.
Photo's for your enjoyment....
So what is American Apparel doing about this? Their “Legalize LA” t-shirts are sold all over the world, in an attempt to alter the perception of the general public or at least provide them with an alternative perspective. Fashion and clothing are often viewed as an art form in some contexts, art like fashion is often utilised in order to propagate a message to a wider audience, in this way American Apparel has succeeded, they’ve managed to enliven the message of immigration reform throughout all western countries in the world, obviously because this is where American Apparel have their stores.
I think what AA are trying to do is great, but we are looking at American Apparel here. One of the most expensive shops for the simplest cotten basics with the biggest may-as-well-be-porn advertisments I know of.
Can someone please tell me what "alternate perspective" - especially for younger girls growing up thinking this is the way America - "land of the free" (and country most likely to kill you) is meant to look like. To me, this is fucked up on a new level.
Photo's for your enjoyment....
Wednesday, October 27, 2010
call me an atheist
As Lucazoid pointed out Sartwell's theory- that by making a cross-cultural analysis of ordinary activities validates it as art, i am starting to make better sense of where TENDING is coming from. There is also the point about good art and bad art but I like to look at art as believable to an individual or not (not an elite institution). For example in this blog and in Renee's you said this kind of art had been written about a lot and is now highly regarded and accepted as art therefore you yourself have accepted rather than questioned it as art too. Or more likely you have indeed questioned it but have come to a different conclusion to me. I'm not saying it is wrong to call this art, but in this analogy.... i can be brought up in a Christian household, go to church and read the bible, a very accepted and cherished book by all around me and millions around the world, but ultimately I still have the choice whether I want to accept and believe in it for myself. In the classes and readings I have done so far I can't say I'm a believer of this kind of art. It is an individual choice that everyone has the right to have an opinion about. Art is so subjective so to say I'm right, or for you to say I'm not right is not the way of this discussion but rather it's become an insight to how different people interpret controversial works with or without the influence of 'elite critique'.
Tuesday, October 26, 2010
Tending
Lucas and Diego's 'Tending' made me think about the communal backyard where I live in Newtown. It was established and is cared for by my neighbour (amateur Gardner) Stan; a retired Italian man in his 60s. He's generously made clear that everyone is welcome to make use of his fresh herbs/veg and enjoy the garden. It's become a place where neighbours interact with each other and relax.
Stan has no family in Australia and spends most of his time tending in the garden, I guess I've deduced that consequently as a migrant - Stan is making his 'foundations' in new soil. His gardening has somewhat helped to ground him and feel at home in a new country.
Andrew Sunley Smith addresses themes of loss and migration in 'Migratory Projects,' which is an exploration of Smith's own personal feelings of loss and belonging as a British migrant. Being quite an extensive project, other things driving the work are; consumerism, environmentalism, greed and accountability. A relevant component of the project is 'Trailer Garden project (2002-07)' where Smith has reworked a trailer into a mobile garden for the modern day migrant/nomad. So that gardens need not be left behind when people move. 'Trailer Garden Project' is also connected to a modified van ('Carrier') with similar concerns, it houses a sauna and roof-top garden. Smith states that these works explore the idea 'that we can only achieve a certain level of independence within dependence.'
http://www.sunleysmith.com/projects/trailergarden/index.html
Sun burn and final weeks
All that nature yesterday - i managed to get sun burnt!
Next week is our last week. You might like to write a blog summing up your ideas/experience in relation to the unit. Please try and back up your statements (dont just make general statements). It is really important that you all turn up to this final class so we can wrap it up and make sure we are all on the same page regarding assessment etc.
This week should be focused on your thoughts on the unit via reading (ramp up your reading in prep for the essay and towards Monday).
Those looking for some direction might want to read this intro to an anthology focused on Ranciere - Communities of Sense
Next week is our last week. You might like to write a blog summing up your ideas/experience in relation to the unit. Please try and back up your statements (dont just make general statements). It is really important that you all turn up to this final class so we can wrap it up and make sure we are all on the same page regarding assessment etc.
This week should be focused on your thoughts on the unit via reading (ramp up your reading in prep for the essay and towards Monday).
Those looking for some direction might want to read this intro to an anthology focused on Ranciere - Communities of Sense
Monday, October 25, 2010
the difference between things
One of the proposed/expected outcomes of this class for us was to come out of it with an understanding of contemporary art practices, whilst developing on our previous semesters class, i certainly was able to do this. I found Caleb very erudite and edifying in his articulation and explanation of the core theorys of each lesson and he encouraged dialogue in class. I used Calebs readings and class as a starting point for my own research as was the point for us all. I particularly enjoyed Zizeks writings and his analogies, i found bourriaud convoluted and infallible, i found his Fordist approach on post Marxism and alienation important though, Laibach.....amazing, i found there satrical and parodical tactics effective as a vehcile to subvert and comment on popular culture. The inclusion of a class on Situationism was fantastic for those who didn't know about it and for me it gave me a new insight and developed my understanding even further, it did affirm for me the redundancy of some of Situationism's practices particularly the groupthink of situationism which was flawed very much like surrealism. The class has changed my feelings to art, it highlighted the importance for discourse and informed artists/practices, something which i will hopefully be able to articulate in my essay on tactile media... Peace out hombres!
Summary
Durning the semester we have been able to examine such a wide range of works that all seem to fit under the umbrella of social, political and relational art.
For me, the interesting thing about all these different projects is how varied they are, be it in the medium (Laibach-Tv and concerts, Studio Orta-sculpture, Rirkrit Tiravanija-installation), the process (use of 'traditional' art-forms-sculpture, installation, performance- or unconventional ones - operating within governmental institutions or seemingly non-art related organizations) or the outcome (visible/tangible or not.
The single most connecting element that relates all of these works seems to be the notion of micro-topias, or creating interpersonal relations on a small scale rather than expecting to change the whole world with one work. When we started this semester, I could not see how most of the works we were studying were any different from previous works like those created by performance artists (i.e Marina Abramovic, or movements (i.e Fluxus)in the 60's and 70's. But now, I guess that it is the idea of micro-topias that sets relational works apart from those of socially oriented art practices of the 20th century.
For me, the interesting thing about all these different projects is how varied they are, be it in the medium (Laibach-Tv and concerts, Studio Orta-sculpture, Rirkrit Tiravanija-installation), the process (use of 'traditional' art-forms-sculpture, installation, performance- or unconventional ones - operating within governmental institutions or seemingly non-art related organizations) or the outcome (visible/tangible or not.
The single most connecting element that relates all of these works seems to be the notion of micro-topias, or creating interpersonal relations on a small scale rather than expecting to change the whole world with one work. When we started this semester, I could not see how most of the works we were studying were any different from previous works like those created by performance artists (i.e Marina Abramovic, or movements (i.e Fluxus)in the 60's and 70's. But now, I guess that it is the idea of micro-topias that sets relational works apart from those of socially oriented art practices of the 20th century.
tiny thoughts
It is strange, at times i felt like we rushed over some really interesting ground instead of trying to unknot some of the concepts. While i also found it difficult to surmise each topic from week to week being that they were so often in the scope of one and another. But be that as is may what we did cover was very engrossing and seemed consistently embedded in a progressive and expansive investigation of art, art-making, politics and the social/cultural climate. Moreover this course has provide me with a plateau on which consider and discuss diverse practices and an opportunity to draw on other ideas and trajectories which are not exclusive to art.
But above all i have been acquainted with new avenues on which to track down and many new books have found their way to a permanent home on my bookcase. So for that, Thanks.
But above all i have been acquainted with new avenues on which to track down and many new books have found their way to a permanent home on my bookcase. So for that, Thanks.
‘Last Blog’
This class has been one of very mixed emotions not helping that is it being end of term and a major project due. But this semester has been one of the biggest challenges in my Uni life. The ability for so many really big words to be used to continuously explain subjects which potentially could be understood much more quickly and easily without the large words and complicated quotes intrigued me. Though there were some things which I found really fascinating. The topic of ‘The Spectacle’ is something which I have never had a word for and, it may not necessarily be the best thing, but I live my life being a devotee of ‘The Spectacle’ and one day I will be the one running that car shop not putting the bumper bar on the front and I’ll be driving the sports car too.
Though the blog has often not been my friend due to readings with unnecessary words; on the other hand, the concept of ‘Relational Aesthetics’ and the associated Art which relates to social relations and interactions, is something you know about yet is not something often discussed and researched. It is a type of work which I believe is, in many ways, more relevant and appropriate for today and the different changes in technology. In many ways, the disconnection of people from others through the use of technology which causes a breakdown in social and physical face to face relations and interactions is overturned by this type of practice which brings people together and is something which is definitely needed.
Happy happy joy joy
I feel like the ideal intention of this class is potentially far more constructive and beneficial than the set up of previous THAP classes i have had. As Chris said, Caleb "is treating us like adults", and i think this has been a good wake up call and an important process for third year. The blog is awesome in terms of forcing us to read and to critically think about what we are going to address in class.
However, i feel like given the way the rest of the universities theory classes have been run, the contrast in expectations of this class needed to be clearer and perhaps facilitated our adjusting more from the outset. The expectation that anything we are going to get out of the class had to be driven by ourselves needed to be far more strongly communicated. You may have a theory of how students should participate and a class should run but if this is not the case you need to adapt and construct new ways of dealing and attempting to get them there. We are adults but alot of us dont act like one and aren't used to being treated like one, and i think this needed to be taken more into consideration. For example, i don't think the majority our class was at a level that really facilitated the idea of the class being totally driven as 'conversational', and therefore may have helped to have been more critically driven by Caleb.
I also feel like the aims/ outcomes of this class were really blurry and there have been a few contradictions. I feel like the majority of class discussions have been purely chatting about case studies and not touching on much broader theory has been dissapointing. I also think this is abit nuts when coming to the essay it is obvious that Caleb expects us to have an apt understanding of contemporary theory surrounding politics, art and the idea of 'community'. I think the fact that many peoples essays were on "institutional critique"and the fact that alot of this weeks blog entries have been on how relational aesthetics and activism is going to potentially help or affect theories of their practise demonstrates that this is not the class and perhaps some points have been missed?
Hey Caleb this is no way carries an angry tone, i just wanted to be honest about my criticisms.
In saying that i have personally found this class the most enjoyable theory class, and the contemporary theory i am NOW reading (Ranciere etc) one of the most interesting and relevant.
However, i feel like given the way the rest of the universities theory classes have been run, the contrast in expectations of this class needed to be clearer and perhaps facilitated our adjusting more from the outset. The expectation that anything we are going to get out of the class had to be driven by ourselves needed to be far more strongly communicated. You may have a theory of how students should participate and a class should run but if this is not the case you need to adapt and construct new ways of dealing and attempting to get them there. We are adults but alot of us dont act like one and aren't used to being treated like one, and i think this needed to be taken more into consideration. For example, i don't think the majority our class was at a level that really facilitated the idea of the class being totally driven as 'conversational', and therefore may have helped to have been more critically driven by Caleb.
I also feel like the aims/ outcomes of this class were really blurry and there have been a few contradictions. I feel like the majority of class discussions have been purely chatting about case studies and not touching on much broader theory has been dissapointing. I also think this is abit nuts when coming to the essay it is obvious that Caleb expects us to have an apt understanding of contemporary theory surrounding politics, art and the idea of 'community'. I think the fact that many peoples essays were on "institutional critique"and the fact that alot of this weeks blog entries have been on how relational aesthetics and activism is going to potentially help or affect theories of their practise demonstrates that this is not the class and perhaps some points have been missed?
Hey Caleb this is no way carries an angry tone, i just wanted to be honest about my criticisms.
In saying that i have personally found this class the most enjoyable theory class, and the contemporary theory i am NOW reading (Ranciere etc) one of the most interesting and relevant.
GOODBYE!!!
This class has done more for me than just learn about relational aesthetics. It has helped me place it into my own studio practice of ceramics. An otherwise misinterpreted medium by others as purely the art of making cups and bowls, I've come to learn that ceramics is an original instigator of relational aesthetics. The objects themselves act as a catalyst for conversation and relationships, between artist and audience as well as the audience with eachother. For once I have been able to relate a core theory subject back to my own practice. It took a while but now that I have finally made the link I have enjoyed the classes more. Good bye THAP forever!!!! Xx
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