installart

OBJECTS

ASSIGNMENT 2: The Multiple (Parts 1& 2)

Process: Urethane mold casting: Please select a few volumetric objects (not flat – no photographs, letters, leaves, etc) that have meaning for you (it is best if you bring more than two to choose from). They should be no smaller than 3 inches in any direction. They should be made of hard material (hard plastic – such as toys or hard natural object such as a rock). Choose a form that is not too complex. It should not have thin extensions coming off its surface if possible

Use plaster to make a 2-part (or more) mother mold to cradle/support the urethane mold.

Part 1: Make at least 10 plaster casts of your object. The class will evaluate the disparate collection of casts and create a collaborative installation of the objects. This group installation will emerge from a dialog about how the mass produced object means and how (non-linear or disjointed) narrative can be created through a thoughtful arrangement of objects.

DUE: April 6 at the beginning of class.

Part 2: Repeat the above process with a different object. This object should be chosen with the following material/installation context in mind: You will use meltable soap as the material from which you cast two objects to be used in a group installation. The group installation will be comprised around the poetic references that soap, as a material, carries with it. We will install one of each of our soap castings on a pedestal in the arts gallery (similar in function to the way products are displayed on shelves at a store. Then we will arrange the other collection of soap castings on a table located next to a basin filled with clean water. The installation will invite viewers to wash their hands using one of the available soap sculptures. The viewer is encouraged to contemplate the physical and metaphorical outcomes embodied in the activity. The class will discuss how the installation is completed through the way in which the dirty water is recycled.

DUE: We will install the project at the beginning of class on April 13. The installation will be up from April 13 – 15. Students will take turns maintaining the project.

Post Images below…

READING ASSIGNMENT

Reading 3.1 – Installation Art – Goeltzenleuchter

Avant-Garde and Kitsch

Clement Greenberg

Available at: http://www.sharecom.ca/greenberg/kitsch.html

YOU NEED TO FORMULATE YOUR UNDERSTANDING OF THE CONCEPTS IN YOUR OWN WORDS. PLEASE DO NOT QUOTE THE TEXT DIRECTLY UNLESS YOU FOLLOW IT WITH EXPLICATION. SOME QUESTIONS WILL REQUIRE RESEARCH BEYOND THE TEXT.

  1. When was this essay written? Summarize events in Western history during the decade that essay was written. What events in Western history would occur during the decade  that followed the writing of this essay?
  2. How does Greenberg define “avant-garde” and how does he define “kitsch”? (Make sure to discuss why the purpose of the avant-garde was NOT to experiment, and why kitsch came out of the industrial revolution.)
  3. Research the basic tenants of Marxism. What aspects of Marxism relate directly to Greenberg’s critique?
  4. What kind of cultural dilemma do you think Greenberg was describing when he said the following:

One and the same civilization produces simultaneously twp such different things as a poem by TS Eliot and a Tin Pan Alley song, or a painting by Braque and a Saturday Evening Post Cover. All four are on the order of culture and products of the same society…

  1. Greenberg referred to kitsch as a parasite. Why do you think that was a particularly apt metaphor? How does it related to the “culture of consumption” that exists today?
  2. Ultimately, do you think Greenberg’s charge – that one can only (either) be a follower of the avant garde or a follower of kitsch – is true in our day and age? Why or why not?

Experiment 2

Aesthetic Repurposing of the Useful Object  or Beautiful but dumb

LEFT: Erwin Wurm, Truck, 2005

RIGHT: Marcel Duchamp, Fountain, 1917

Objective: Bring to class an object that has a use outside of art (for instance, a computer, a shoe, a toothbrush, etc.). You will use that object as the principle medium for a sculpture. The only mandatory component of this experiment is that in making the object into a sculpture you MUST render the object useless.

Things to think about:

Aesthetics: Since you have to destroy the original use value of the object how can the act of destruction carry with it visual beauty that transcends the abject state of a broken (useless) object?

Poetics: Can you alter the object in such a way that the alteration evokes or comments on the status of the original object?

POST IMAGES OF YOUR PROJECT BELOW


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