Assigning Movements

This exercise reminds me a little bit of trying in vain to chose a political party. None exactly fit what I believe in, yet I'm too stubborn to compromise on anything, so I've remained an independent, whatever that means. The same problem arises when I try to explain my work to someone who has never seen it and does not have a background in art. I resort to a strange string of hyphenated words, like fiber artist/cardboard-sculptor-inventor-of-impossible-objects...

Of course it's nearly impossible to accurately do the same for another artist, but I'll attempt it.

Ann Hamilton: (a fiber artist/sculptor/installation artist/performance artists/unconventional photographer) MODERN. (incidentally, the Walt Whitman poems she used were "Song of Myself" and "I Sing the Body Electric") 
McGee: (a graffiti/street artist)POSTMODERN.  He recontextualizes graffiti by placing it in a gallery and making it a desirable commodity instead of vandalism.

Kara Walker: (installation artist)POSTMODERN.  She references the silhouette portraits, but depicts caricatures of slaves and slave masters.
Shahzia Sikander: (painter/installation artist) A marriage between traditional eastern practice, which prizes conformity to a formula, and western art practice, which prizes individuality)  POSTMODERN

James G: Hamilton, Walker, McGee, Sikander

I feel like all the artists we read about are postmodern, with maybe the exception of Ann Hamilton. Modernist ideology was to reject tradition and be part of the avant-garde, while postmodernism rejects this notion of progress. Perhaps most obviously, Shahzia Sikander rejects this idea of the avant-garde and directly works within her traditions. Her personal identity is a strong influence in her miniature paintings, mixing her traditional Pakistani technical background with more Western ideas about content and expression.

Kara Walker is much like Sikander in the way that her personal identity is very relevent in her work. Her vinyl silhouettes draw reference to, as she mentioned, olden silhouette artists while, as the NYT article mentioned, keeping an “Old South Flavor.” The ambiguous figures and mini narratives call on the audience to piece it all together, a very postmodern idea.

Barry McGee, also following postmodernist ideas, makes an interesting distinction between what is and what is not “high” art. Preoccupied with his “street cred,” he works both inside and outside of the gallery space, using graffiti art as his aesthetic and medium. The use of low-brow medium in a high-brow place, such as a gallery, seems directly related to postmodern thinking. Interestingly, and perhaps hypocritically, Barry McGee desgined a shoe for ADIDAS, which I think is somewhat ironic considering he that he has complained about “trying to maintain a level head under the constant bombardment of advertising” and expressed many concerns about “selling out” in the video.

It is harder to get a read on where Ann Hamilton is coming from, because she very much is rejecting the traditions of classical art, and makes very conceptual installation pieces, which are definitely “advancing the guard.” But her highly abstract installations are also highly open to interpretation and rely on the viewer to take away their own interpretation. She is definitely in contrast to the other three artists we looked at this week. The others seem to be rejecting this idea of progress, that their work has to be “new,” but Ann Hamilton seems to be interested in this idea of progress.

James

Art 21: Past and Present

Within the readings and video segments centered on the well-known artists Shahzia Sikander, Barry McGee, Ann Hamilton, and Kara Walker, each individual seemed to speak greatly about the world around them. Creating statements through their art, these different artists each speak in an original and groundbreaking manner. Each creator uses their own perspective of the world and creates pieces that speak of the environment and cultures around them as well as their experiences with the things. With each reading and video centered on the individual artists the viewer is able to gain a general understanding about the artists’ processes, messages and perspectives. The viewer is also handed an opportunity to her each artist speak on their inspiration, which then aids in the realization of the artist’s evolution and content.
Ann Hamilton is an artist that creates many different types of pieces, from ideas founded in media presentation to more instillation-type artworks. Hamilton seems to stand out in a world of many creative minds because of her distinct ideas of line and the ingenuity that can be seen in her use of certain materials. In one piece that is highlighted in the video segment, Ann uses her mouth as a pinhole camera to create a new take on the relationship to the photographed object, as well as the artist placing one’s self into a situation of vulnerability. Hamilton is shown creating an instillation piece entitled “Tropos” that focuses on the movement of line and transforming it into a sort of epic journey. Through such pieces it seems that this artist was not only influenced by line, but also by the idea of capturing a moment much like that of the impressionist mindset. Striving to show the evolution of line over time and the perspective of a person, or camera, Hamilton creates a new way of capturing a moment of time that shows her own personal ideas as well as partakes in the experience of the viewer which is a more post-modernist stand point.
Creating dramatic silhouettes the fill up walls, rooms, and even animated media pieces Kara Walker finds a seemingly simple way to express her view of the world as well as her creativity. Through the video segment Walker is seen as a strong woman who channels the struggle of African Americans through out history in order to create pieces that use a simplistic presentation and somewhat devious imagery. Within the silhouettes that seem to depict stereotypical images of slavery in America and era surrounding it, Kara twists the description of figures into images that may seem simplistic and creates a more interesting and thought provoking experience. With figures that evolve into grotesque and sexual images, the interaction with Walker’s pieces creates a strong message on the views that address identity, racism and sexuality. With this transformation of representation, as well as breaking down walls of subtly, this work stands strongly in the ideals of Walker’s historical perspective and the post-modernist mindset. Walker’s art becomes about experiencing these tainted compositions as well as discovering that everything may not be what it seems. While maintaining this interaction the pieces also address issues such as race and sexuality, which both remain very current and controversial, in a fairly novel method.
Shahzia Sikander is an artist that devotes her time to creation that is bound to the very traditional form of Western art of the page. Creating pieces that mostly focus on the idea of small but elaborately detailed paintings, Sikander is another artist who comments on her cultural background as well as her personal history. In one segment from the videos Sikander speaks greatly on the idea of transforming words into movement and figurative formations that create an image rather than a legible text. This idea strides away from that of those of what may be traditional in Pakistani and Western art of the page, but still shows us the inspiration that has be taken from this area. Sikander can be seen very obviously as a Post-Modernist in the way she relates to the transformation of traditional representations, like in her manipulation of words, while also becoming very relevant to carrying on a culturally traditional art form and adapting it for a different time period. This is a mindset that could also be linked to that of the Dada movement in its approach to poetry. At this period of time and in this mindset the meaning of words were being stripped away so that the viewer was forced to experience more of the words’ aesthetic qualities rather than the meanings that have been inflicted on them by scholars throughout history.
The last artist is one that throws his attention to the streets and the ideas and philosophies that take refuge there. Barry McGee is an artist that focuses greatly on graffiti styles and transforms these methods to fit into the space in which he is working. Although Barry states a sense of uncomfortably with the idea of galleries when compared to placing his work out in the streets of the public, he successfully carries the ideas of graffiti art over into a space that might not be seen as the conventional form for the particular subject matter. When placed in a show with the artist known as SWOON, the gallery is transformed into an environment where the viewers can experience and in some ways interact with the art work. The art takes a turn from being confronted in a wide open space to one that is almost thought of as intimidating when spoken on by SWOON. The characteristics of McGee’s work bring the idea of the low-brow artist off the streets and into a venue that is perceived by many as a far more respectable one. This distinction and struggle between the two environments becomes and large commentary in the work of Barry McGee and SWOON. It becomes a commentary on how art is broken down into categories which then influence the level of respect it should typically receive. With ideals and inspiration taken from graffiti of the 1970’s both artists, much like those that were discussed above, transform their chosen medium in a way that allows them to comment on the issues of today’s current societal state as well as personal artistic viewpoints.

Artist Series: Hamilton, Sikander, McGee, & Walker

What enables an artist to create a work of art that they become fully invested in? PBS’s Art 21 documentary series attacks this question from all angles. Featured artists Ann Hamilton, Shahzia Sikhander, Barry McGee, and Kara Walker have each developed a breadth of work that explores common themes such as spirituality, place, and storytelling. Our class’ reading accompaniments offer an expansion upon these themes and focus on each specific artist’s work, while giving the reader an art critic’s personal interpretation and reaction.

            Ann Hamilton stresses the importance of verbal language and it’s ability to be broken down into abstracted and fragmented visceral experiences. This different way of seeing with fresh ideas of natural materials and functions can define Hamilton as a modern artist. Her thoughts and experimentation with different mediums plays a progressive and conceptual role. Intuitive experience is essential within her work entitled tropos. Viewing sections of a whole, such as a strand of thread for example, Hamilton connects this building block and it’s capabilities to a bigger scheme of thought, just as words within sentences. This process takes on a spiritualistic resonance to Hamilton that she interprets and defies within her fiber pieces and art installations. Lynne Cooke’s essay on Hamilton’s tropos installation at the Dia in Beacon, discusses the artist’s continual interest in visceral experiences, especially leading an audience into them. Her choice of tactile material like the terrain of horsehair enveloping the gallery floor, and her manipulation of light, transform and transfer familiar space and substances into a realm that challenges or provokes viewers innate tendencies to act towards these stimuli (tropos). Experiences can be of a spiritual sense regardless their connection to a god or supernatural force. In the words of Cooke, “ experience for Hamilton, leads to knowledge, or, more precisely, to a form of knowledge which is far greater value and significance than mere codified information.” I believe Hamilton’s act of making things is a spiritual process that creates a whole entity and experience when finished. This end result becomes something that can take on new meaning and definition.

            New meaning and definition is a perfect lead-in to Shahzia Sikander and her modification of traditional miniature paintings. Her work, constantly combating the exoticised tags of being simply “Asian” or “Pakistani”, offers more than its roots to a methodical and ritualistic process. Sikander addresses contemporary issues within her work; and incorporates personalized imagery that she develops out of memory. Breaking tradition, her paintings vary in scale from small book leaflets to large elaborate gallery installations. I admire Shahzia’s carefully executed and patience-required process. In a sense, this method of becoming so focused and engulfed within a meticulously painted work becomes a spiritual meditation. An approach to painting such as this should not be overlooked, but more importantly overshadow the important themes and conflicts Sikander includes within her work. Her ethnicity surely plays an important part in her art, but it is not confined to Muslim or Pakistani culture. Many of her paintings reference the Italian Renaissance (Venus’ Wonderland) and/or American pop culture as well. Sikander meshes Eastern and Western mythology and identities with a post-modern flair and in turn creates a unique and personalized line of work accessible to anyone.

            From working within the confines of a gallery to tagging highly trafficked city streets, Barry McGee is shown as a versatile graffiti artist whose art is accessible to an array of people depending on location. John Haber’s art review of Deitch Project’s Barry McGee and SWOON show highlights the dichotomy of space and place in conjunction to how a gallery functions in comparison to an outside urban setting when dealing with “urban” or “low-brow” art. McGee’s post-modern work pulls inspiration from graffiti artists of the 70s and 80s, tramp art, and Mexican murals. His highly characterized figures and use of found objects have been painted and adhered to gallery walls. Place is an essential component to McGee’s art, thus taking it out of it’s context within an environment where it is usually frowned upon into a setting where it is welcome, takes on a different connotation.

            Kara Walker’s work can be interpreted as the prevalence of racism throughout history and in modern times. Her post-modern approach in depicting stereotypical silhouettes of African-Americans, characterized white southern belles, and southern gentile men, refer to America’s racial discrimination and segregated past. But these depictions concurrently spark a reflection and create dialog between generations and race. Her contemplative approach to controversial topics and presenting them in such an uncomfortable juxtaposition to her viewers opens her work up to many interpretations as well as negative and positive reactions.

            Ann Hamilton, Shahzia Sikander, Barry McGee, and Kara Walker, are artists of the 21^st century who offer new insights on today’s modern culture as well as the past. The incorporation of general themes such as place, identity, sexuality/gender roles, spirituality, and storytelling, help viewers understand an aspect of their work. This general idea of subject and or art “genre” can then become expanded and unfolded even broken up into something quite more elaborate and personal to both artist and viewer.

Cody & Mcgee,walker,hamilton,sikander

After viewing these artists and reading the articles presented about them, it is obvious that their relationships with art very similar, Ann Hamilton stands out.

McGee and Swoon present themselves as graffiti artists who have refined their work to fit a gallery setting. This in itself almost contradictory and McGee tells about how he finds it difficult to keep the street crowd’s respect of him. He says for every inside work, he tries to do one hundred outside to keep his credibility. It’s always fairly clear that most intense graffiti artists have created their styles and usage from their own culture o living in a highly urban area. Shahzia Sikander also uses her cultural background in her artwork.
Sikander focuses on religion, painting miniature paintings in the classical Middle Eastern fashion. She incorporates her own feelings of the strain of living in a volatile area, religion and society. Sikander uses her experiences with life to send the message of Muslim women and women’s oppression. Her artwork is a direct result of her cultural background and when/where she is living.
Kara Walker uses her cultural identity as an African American woman to act as a catalyst between our society and its past. Her blatantly minimalist works include black silhouettes of harsh scenes that play on black stereotypes and factual events from the older generations. Her works encompass issues within race, violence, sexuality and identity with such a minimal piece of art.

Now it is apparent that many artists use their cultural identity as inspiration for their works, whether it is in style or in message. Ann Hamilton uses mostly external sourcing to fuel her next projects. For instance, the camera from the mouth was externally sourced in her examination of the eye as a camera and to push that idea further to the mouth. She also focuses a lot of attention on the notion of line. This is transparently external, much like my materially inspired phase, so she explores how far line will take her.

Lauren & art21

Of the four artists reviewed, Ann Hamilton is the only one who can be more rightly described as modernist rather than post-modernist. The way she views the world is highly conceptual, and the methid in which she presents he concepts through her works is often in the “advant garde” theme. You get the sense she wants us to look at the world around us in a way we haven’t experienced before, like her mouth-camera portraits and her fascination with the concept of the line.

The other three artists are better classifies as post-modernist:

McGee and Swoon, in trying to be respectable artist but retain their “street” cred, bounce off the origin of graffiti while also re-interpreting it in a way that is suitable for an art gallery installation. I didn’t think much o their work but I thought the whole idea of tailoring one’s work for a specific space that represents the culture we live in, even as the work itself comes from something that’s about defying convention and putting a mark where it doesn’t belong is more than a little amusing.

KaraWalker and Shahzia Sikande lend themselves as the most obviously post-modern, because both of them are very influenced by their backgrounds and how their history relates to the world around them. Sikande goes for an extremely global interpretation that is both informed by her Pakistani background, but also must reject it to some extent. It creates a really interesting identity paradox. Walker deals with culture in a much more personalized way, dealing with loaded subjects like racism and telling them with a very stark, poignant use of silhouettes. Of all the artists, I like Walker the best because of the way she utilizes such a minimalist visual to tell such complex and jarring narratives. I also like how she does not shy away from controversy; she creates images that illicit a reaction from both the black and white communities for very different reasons, and uses her work to force people to confront issues we’d rather avoid. It is very easy for an artist who deals with such a loaded issue to fall into the visceral-reaction category—making art just to get a rise out of people, to play up on easy targets like white guilt and black anger—but I don’t find her work to fall into that category. She handles the issues deftly and interestingly, and even more importantly the impact of the work itself lives up to her intent.

anna's art21 writeup

In both viewing and reading about McGee, Swoon, Hamilton, Skiandar, and Walker, all can be looked at as storytellers.

Ann Hamilton is shown during the sprituality segment, but with her simple, yet ingenious pin-hole mouth camera, she becomes like some sort of intimate roving reporter. The images her mouth camera create are immediate and intimate. In the video she states how the mouth actually mimics the shape of the eye, and she sees herself as the pupil within. She also creates that same feeling for the viewer, as if we were able to stand within her line of vision.

Shahzia Skiandar also is featured in the sprituality portion. She adds both history and the personal to her traditional miniature paintings. In this she combines Hindu and Muslim culture. I wonder how much of this would be lost on most western viewers, as many people don't understand the differences of and Indian Sikh and a Pakistani Muslim. After 9/11, people were being attacked for wearing a turban. Many were Indian Sikhs, who are not Muslim (not that Muslims should've been attacked anyway, but were, due to ignorance and fanatacism). I actually liked her wall pieces, where she uses layers of papers with paintings, patterns of light, making them luminous and mysterious.

Kara Walker is the one artist under the stories category. Her silhouettes are powerful. I like how she said she chose them because of the way you cannot look at the subject directly. This is the perfect vehicle to bring home our own attitudes we won't address directly. We are onthe cusp of possibly electing our first African-American president, yet reacism still shows itself (in a more subtle way). Everyone says how monumental and wonderful it is, but really it is a shame that it has taken this long to come about.

Barry McGee and Swoon re-create street scenes in gallery installations. Beginning as graffiti artists who have crossed over into the mainstream, it reminds me of the band that makes it big. McGee wonders about his relevance to today's graffiti kids, and whether or not he has sold out. Swoon and McGee though, are telling stories about those streets through their installations.

Graffiti has become mainstream because they found a way to make money off of it. Graffiti markings can be unsightly and crude, but they also tell stories about the surroundings. Both Picasso and the French photographer Brassai shared a love for the graffiti carvings in France. Brassai photographed these, and later the sprayed graffiti in color on his only visit to America. He was fascinated with how these walls would change over time, old images would morph into new ones, continuing the stories of its' surroundings.