SB Art Research 2

Monday, May 24, 2010

Next 2

Sunday, May 16, 2010

Distopia, Dislocation and Disturbance

Josh Keyes

"Scorch II", 30"x40", acrylic on panel, 2009
http://www.youtube.com/watch?v=XaagMhTwl5k
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http://www.youtube.com/watch?v=n1TqCGEBdLw&feature=related
http://www.youtube.com/watch?v=-l-VCl5kQuY
http://www.youtube.com/watch?v=7E7owtOq6EM&feature=BFa&list=PLAC4BF6349D6574CE&lf=results_main
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Joseph Beuys

Unschlitt/Tallow, 1977
(Twenty tons of tallow fat cut into six elements)
http://www.youtube.com/watch?v=Z-u1dgZJV9E
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Matthew Barney - Drawing Restraint 7

Drawing Restraint 7 is part of Barney's ongoing interest in self-imposed restraint. He creates conditions in which it is an extreme challenge to draw on a surface, then attempts to do just that, stressing the notion that form cannot develop without resistance. Barney first experimented with this principle in Drawing Restraint 2, where he strapped himself to an elaborate harness and vaulted up to a pad of paper attached to the ceiling in an attempt to make marks.

In this work, two cloven-hoofed satyrs wrestle in the back seat of a stretch limousine, trying to force each other to make images with their horns in the condensation on the limo's sunroof. Barney's interest in Greco-Roman mythology is apparent in this video installation, and the artist himself plays the young satyr with budding horns who spins endlessly in pursuit of his own tail. This work can be read not only as an extension of Barney's ideas about physical metamorphosis, but as a metaphor for the seemingly endless struggle of the artist.
http://www.drawingrestraint.net/
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Adam McEwen

Honda Teen Facial, 2010
Boeing 747 undercarriage
Approximately: 137 13/16 x 118 1/8 x 71 11/16 inches
http://nicoleklagsbrun.com/mcewen_home.html
http://www.newarttv.com/Adam+McEwen%22%3E
http://www.newarttv.com/Adam+McEwen
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David Cronenburg - Crash

http://en.wikipedia.org/wiki/Crash_(1996_film)
http://www.youtube.com/watch?v=vZTYkmAcsvk
http://www.youtube.com/watch?v=QVg3wNXu_nc
http://www.youtube.com/watch?v=jGpjAfOz6s0&feature=related
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http://www.youtube.com/watch?v=t5tpVcnfJrY&feature=related
http://www.regenprojects.com/exhibitions/2008_5_matthew-barney/
http://morfis.wordpress.com/2010/05/07/weird-hybrid-taxidermy/
http://www.youtube.com/user/TooheysExtraDry

Sunday, April 18, 2010

Communication

http://www4.uwm.edu/cuts/bench/commun.htm

Andrei Molodkin

http://www.orelart.com/Paris/Artiste-25-Andrei_Molodkin

http://slamxhype.com/slambase/andrei-molodkin/

Sunday, April 11, 2010

Research Sites

http://we-make-money-not-art.com/
http://www.pbs.org/art21/
http://www.roslynoxley9.com.au/artists/
http://www.milanigallery.com.au/
http://www.saatchi-gallery.co.uk/saatchi_gallery_index.htm
http://dailyserving.com/
http://www.juxtapoz.com/

Adel Abadin research example

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I found Adel work refered to on this site
http://www.we-make-money-not-art.com/archives/2010/04/-also-on-view-at.php

"My art practice is based on the premise that art produces arguments for the viewer. I started my art career as a painter, but two years ago, I abandoned painting to concentrate on media-based art. Nowadays, I do primarily videos, video installations and short films.The main topics I deal with are of a political nature. This is sometimes attributed to the fact that I am of Iraqi origin, but I believe we truly live in political times, regardless of geographical position, and art cannot thrive outside its social context."

thought his comments and works were appropriate for this subject
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watched his video here
http://vimeo.com/10580875

looked at his representation through this gallery
http://www.kiasma.fi/index.php?id=2434&L=1

reviewed his website
http://www.adelabidin.com/

looked at more video works
http://www.youtube.com/watch?v=QuGmZMp4ggY
http://www.youtube.com/watch?v=JGv4eb06vTQ
http://www.youtube.com/watch?v=jBKT2lkFSKE

read article
http://universes-in-universe.org/eng/nafas/articles/2007/adel_abidin

decided that this video was perhaps a better choice
http://vimeo.com/10581713
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Monday, March 29, 2010

Blurred

IT USED to be simple. Professional artists made high-quality works and punters bought tickets, bought paintings, turned up at shows and generally showed their appreciation. Now the boundary between amateur and professional – between creation and consumption, between artist and audience – has become incredibly blurred.
http://www.marcuswestbury.net/
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http://www.theenthusiast.com.au/archives/2010/why-cant-arts-wankers-and-the-philistine-masses-just-get-along/
Thanks Kareen