17/5/2017 CRIT
17/5/2017
Set up my work (photos and choices I made and why I made them)
Essay workshop
Group meeting - mid year report
CRIT!
Guest lecture at Auckland Art Gallery
1) I went in Early today to set up my art work for the crit:
Here on the wall is the skirts made out of last years material and the new beaded elements as well. I didn't wear it because it is unfinished without its top.
Here is the information I layed out so that everyone would know what they were looking at and the significance it holds.
This is the information sheet I gave everyone so that they understood what each element of the skirt meant - why each part was so important.
Here is the layout will the bead selling board and the photo frame with the photo of me wearing the skirt - I removed those 2 items
This is how I layed out the information sheets (The cabnet was in my locker at the time but was on the table for the display.)
Here is the work correlating to each other
2) essay workshop
Owl Purdue online writing lab - annotated bibliography (this is not designed for art writing so use sparingly) read this.
The relevance of the author to the text they are writing
Take the research further not central to the reading and texts done. Analyse author, field, discipline, tradition.
Decide if the reading/information is worth your time
Keep in mind words can have different meanings in different fields so be straight up about definitions of key words.
3) group meeting
Mid year report - check with Tara when it is due
We send in a written report and get verbal and and written feedback.
Check report guidelines as to what to write about.
Cross group crits next week - sign up today
Bfa hons exhibition and grad show discussion
4) CRIT!
Cultural appropriation
“Cultral appropriation is part of the idea, pick traditions of each one to create an identity.
Can’t represent any cultures because I don’t belong to them.
The printed skirt was more succesful than the beading - maybe only use text
Look into hybridity - hybrid culture?
Think about the audience - they need to be able to consume/digest it
Maybe do a diary entry - how these plays of culture effect my everyday life.
Too many topics in one go (culture, souvinerism, personal displacement) need to pick one and scope it down.
Beaded objects seen as a backwards step.
Photos ad objects/souvineers were described as kitch.
Address it from a biographical approach. Forming my own history
Lisa rayhana - in pursuit of venus (narrative, detail in a specific moment, making it obvious, narrowing it down, had an interpretation - talks about it in a missing way - filling in information that is not there)
Souvenirs are dangerous because it loses its significance
Theoretical standpoint - hybridity, orientalism, displacement.
Is belonging to a culture a personal, mental choice or through geneology?
Qualities of culture, eg: experience of a Language (use of Afrikaans last year)
I’m in dangerous turf because I come from a ‘privileged’ position of descending from colonisers not the colonised.
Reading: Spivak and Babba (theorists)
Difference between considering a culture and representing it
Latty Robinson ‘can I take a photo on a marai?’
Go back to gesture, to experience
A lot of focus on a form asking ethnicity - could be a good place to start talking about experience.
Where are you from? General question but quite personal.
Next step: look into artists and see how they have dealt with multiculturalism and cultural identity to find a way forward in my own practice.
5) Tina talking about the legacy of Gordon Walters
Kowhaiwhai work - cultural appropriation
Use of Maori designs for his series
the lecture was pitched to a gem an audience who didn't know about Walters and a nz audience (of visitors) so had to find an equilibrium
Contemporary nz art
‘cultural safety’ show?
Koro paintings 1950-1980s
Direct effect of cross cultural, using themes and motifs of the Maori tattoo and patterns, fern fronds.
Indigenous expressionist
Geometrical approach to a place and culture that previously was mainly landscapes
Been told off for the inappropriate use of this cultural motif in his work
Pakeha using their cultural property no matter what
Walters singled out for this
How companies use these motifs for branding (air nz)
Maori artists recreated these work
Through actions enable a way into a much larger context
Art reinterpret forms over and over again
The painting: the poet (1947) end of the 2nd world war, made by Walters after experiencing Maori rock art. Used as a starting point for his art - lines attend dots
Scoen? Dutch have artist at the same time,
‘Walters cultural theft’
Walters almost threw it away but his wife saved it
Graphic simplification
How did Gordon Walters deal with being a Pakeha using Maori art?
Drawn lines on the human form used to differentiate culture.
The lines had meaning, a clue to the man's identity. Each man's moko is unique, marries being painted with European features because Polonesian features were unknown.
Maori believe that images and representations hold spirituality
Displaced people, identified by the items they hold around them even though they are obviously in an unfamiliar place
Look into the Koro series and try and find out the reasons of colour choices
The viewer brings in their cultural space
‘Every generation makes over what they have inherited’
How did he respond to his critiques early 90s? Retreated, his works moved away from the Koro motif, he was the punching bag for the conversation, (transparency works were next)
Tao skoen more appropriate uses because he was more scholarly about it
Maccan artist
Sisyfis task labour us and unending
Is art a European idea? (Find reading)
Peter Robinson, Judy miller, Dick Frizzell, Michael Parikowhai’s, Lisa rhihana, all part of this massive debate of multi cultural ism, of cultural identity, (Yuki kihara) (Yinka shonibare)
