Ellen Brooks

In early pieces I used the floor as a place for looking. The work at this time was about the act of looking and being looked at, about voyeurism and vulnerability. This psychology has always fascinated me. I wanted to shift the scale of the photograph to take it off the wall and see that it could be read in a different way, but remain photographic”

 

Eleanor Antin

I reaCarving: A Traditional Sculpture, 1972

I like the way that Antin has presented her work. its sort of pinned up.tumblr_lu7ngop6lM1r5zhi2o1_1280

Multiple occupancy of selves… research

I am attracted to the effect of pinning the work up. its contemporary and reminds me of more everyday appearances of photography- i think if it was in frames it would not have been as effective.

I appreciate this piece and like the pinning. however i dont think my work would really benefit from the pinning up- maybe if i had created my work with the pinning in mind i could have altered the work in ways that would make it more appropriate.

 

Mary Kelly

Post-Partum Document. Analysed Markings And Diary Perspective Schema (Experimentum Mentis III: Weaning from the Dyad) 1975 by Mary Kelly born 1941

 

This piece, this installation, is a diary. Diary of Mary Kelly’s relationship with her son as he grows up. Kelly is exploring important issues regarding life as a mother, a woman, a person, a relationship, societies attitudes. Her work is psychological and a personal narrative to her life as a woman in society, becoming a mother and her son growing up.

During this period the second wave of feminism was taking place, alongside a number of female artists such as Marina Abromovic, Judy Chicago, Barbra Kruger. While many feminist artists were trying to fight the objectification of women and emphasise the important female role models that history has ignored, Mary Kelly’s art concentrated on the understated daily routine of a woman- motherhood.

The set up of Kelly’s work is significant to her concept as well as the content;

As an installation within a traditional gallery space, the work subscribes to certain modes of presentation; the framing, for example, parodies a familiar type of museum display in so far as it allows my archaeology of everyday life to slip unannounced into the great hall and ask impertinent questions of its keepers…”

Post-Partum Document, by Mary Kelly (page xx)

Inside the clean, white frames that are typical of ‘art’ are controversial images of stained nappies and personal interactions.

“Both refer to Post-Partum Document as parodying the seriousness of the hallowed space of exhibition by forcing attention to a certain absurdity of the frame. Kelly is able to demonstrate the power of the frame as a signifier of art as a category by placing unexpected content within the frame: both highly personal objects and esoteric forms of knowledge -Mary Kelly’s Post-Partum Document by Vanessa Thill November 2012”

Kelly is documenting her experiences, her intimate moments with her son and those moments of motherhood that were not openly discussed – her use of the frame is almost mocking the stereotypical gallary and what is constituted as art. I THINK??

Lorna Simpson

Please Remind Me Of Who I Am 2009

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“Lorna Simpson questions identity and memory, gender and history, fact and fiction, playing eye and ear in tandem if not in synchrony to prompt consideration of how meaning is constructed.

capture crossed glances, pauses in convo, transitional events.

Simpson purposefully chose thick bronze frames to exhibit her photographs and ink drawings. The heavy material of the frame reflects the way in which Simpson felt about her work and the historical weight that the images represent. Each photograph has it’s own story; who is the person, why were they getting photographed, who was the photograph for, what were they doing. It’

The frames are set out in a deliberately loose way, almost cloud-like. The viewer’s eye floats over the images, from photographs to ink drawings.

Lorna Simpson typically displays a series of photographs as a piece; the set up is very important with the work she is showing.

Five Day Forecast 1991 by Lorna Simpson born 1960

As the title of the work emphasises, this structure suggests a diary of sorts, or at any rate a ‘forecast’, to use its meteorological metaphor. The similarity of the pose in the photographs, however, suggests the drudgery of repetition with little variation on the horizon.

The sequence of photographs, with their subtle variances in the subject’s posture, suggests a series of time-lapse photographs of a figure shifting slightly from side to side.

Louise Bourgeois

I am a searcher… i always was…and i still am…searching for the missing piece”

Time

time

Fragile

the-fragile

Untitled

untitled-album

This is a self portrait…the person looks around, pivoting constantly. Where am I today? Where will i be on the compass?”

Louise Bourgeois uses her personal events in her life to create her work; looking at her past, femininity, unconscious and body.

louise_bourgeois_wunderkammer_3.jpg

The works in this room form an idiosyncratic collection of objects that suggests the environment of Bourgeois’s home and studio.

Bourgeois uses a large range of materials and techniques with her work; displaying small delicate pieces to large conflicting installations. This is one of the reasons why her work is so important; she expresses herself and popular issues in the world so well. Bourgeois uses her work to ‘liberate herself from her past’ and I believe this is partly why her work is so poignant and evoking- because she is fully expressing and trying to get rid of that particular complex.

Bourgeois depicts real life situations; emotions, memories, sexual desire, body, and unconscious- her work is honest and biographical. This is something that I find particularly attractive in artwork- I like to explore other people’s minds and feelings, I like to try and feel how they feel in their work and similarly I like to depict my emotions in my own work. I’m drawn to the art of the female body and portraiture.

Bourgeois’ ideas are brutally honest and the way she conveys them are captivating. Bourgeois’ work influenced many feminist artists and is still having a big impact on art today.

Louise is most famous for her sculptures, particular her spider piece. However, I first learnt about her work through her paintings and prints. Having looked through a plethora of her work, she has become a huge artist for me and my work. Her sculptures are particularly interesting because they don’t immediately look like what they are conveying- it’s only further into the exploration of her work that you find the meanings lying within. She was very clever and a master of the materials she chose to use, manipulating them in highly imaginative ways.

I give everything away-This is a long series created by bourgeois during her insomniac nights. This series shows many moments of a Self that she may not show during the day, this is maybe parts that have woken her, kept her awake, dreams, lucid states, memories  and parts that are stuck in her unconscious. The series very long and spans across a large room over corners and paths the area- I saw this piece on a video and even then I felt a huge wave of honest emotive deepness. Having suffered with psychologically induced insomnia myself, I was able to immediately relate to this piece. I find that those nights where I can’t sleep or stay asleep, I feel my most creative- maybe because it is the feelings that are keeping me awake- you have to get them out, you need that cathartic release in order to let them go and for your mind to let you sleep.

10 am is when you come to me; a series of 20 painted images on empty music sheet paper. The paintings depict 2 peoples arms (Bourgeois and her assistant, Jerry), reaching toward each other in red. The red is significant- it gives the piece an intensity, it gives the body parts life, I see a lot of energy created from the red in the arms.I think red usually leads to images about love/lust, anger and passion- but here it’s not about lust or anger. I don’t get the feeling of romantic love; I feel a sense of support and working together. The way the images show different angles and sometimes one arm is more in show and vice versa shows me a team effort. I think there is love in this piece but a supporting love not a romantic love. After looking at this more, I’ve realised what the layout is reminding me of- a calendar..”mon, tues, weds, thurs, fri” down the Y axis and (week 1, 2, 3, 4) on the X axis. Its a routine.

10 am is When You Come to Me 2006 by Louise Bourgeois 1911-2010

Mona Hatoum

I’ve been aware of Hatoum’s work in terms of her performance art. I’ve always wanted to try and create a performance piece but just haven’t found the right direction into it- instead, today I am looking into Hatoum’s installations. Interestingly, Hatoum’s first group of installations were exhibited here in Cardiff’s Chapter Gallery in 1992.

Mona’s life consisted of being exiled from her home due to war and was not able to return. Her work reflects experiences of her life and identity loss. Hatoum uses materials as a metaphor for conflicts but also she focused on including juxtapositions.

The piece underneath is called Home.

Home 1999 by Mona Hatoum born 1952

“Hatoum appropriates objects related to the domestic kitchen, traditionally a feminine domain, and gives them a menacing, uncanny edge. The work’s title expresses an ironic, ambivalent relationship to the safe, nurturing environment that the word home implies. The artist has explained, ‘I called it Home, because I see it as a work that shatters notions of the wholesomeness of the home environment, the household, and the domain where the feminine resides. Having always had an ambiguous relationship with notions of home, family, and the nurturing that is expected out of this situation, I often like to introduce a physical or psychological disturbance to contradict those expectations.’ (quoted in ‘Mona Hatoum interviewed by Jo Glencross’, in Mona Hatoum: Domestic Disturbance, p.68)”