Week 5 - Pluralism and the Treat of Waitangi

In teaching week 5 you will discuss pluralism and the Treaty of Waitangi in your tutorials.
Use this discussion, the notes in your ALVC book and the internet to respond to the following
questions

1. Define the term 'pluralism' using APA referencing.


According to Caldwell(1991): Pluralism in art refers to the nature of artforms and artists as diverse. The cultural context of art is all encompassing in its respect for the art of the world's culture. Inclusion of individuals of differing ethnicities, genders, ideologies, abilities, ages, religions, economic status and educational levels is valued. Pluralism honours differences within and between equitable groups while seeing their commonalities.-Caldwell, B. (1999) Cultural Context. Retrieved 28 Aug, 2011 from Academic Literacies in Visual Communication 2: Resource Book (2011)

2. How would you describe New Zealand's current dominant culture?

Culture is really hard to define, but I can say the original culture of New Zealand is largely inherited from English and European custom, interwoven with Maori and Polynesian. But during the time change, many different of raises of people immigrate here and become a racially diverse place nowadays.

3. Before 1840, what was New Zealand's dominant culture?

The main culture before 1840 suppose be Maori culture. The Maori people arrived New Zealand before 2000 years ago; they settled the islands and developed a distinct culture. The reason of the 1840 is the Maori people sign the Treaty of Waitangi with European people, they lost a lot of land, entering a period of culture and numerical decline.

Treaty of Waitangi

4. How does the Treaty of Waitangi relate to us all as artists and designers working
in New Zealand?

The history is an important part of the country, no matter in any area. Treaty of Waitangi is a part of important history in New Zealand, as a designer or the artists who living in this land and create the art for the place, the art work or the any design in this land wants to make the sympathetic responses, they must consider the culture which is relate to the history.

5. How can globalization be seen as having a negative effect on regional diversity in New Zealand in particular?

The globalization is mean Globalization is a process of interaction and integration among the people, companies, and governments of different nations, a process driven by international trade and investment and aided by information technology. This process has effects on the environment, on culture, on political systems, on economic development and prosperity, and on human physical well-being in societies around the world. We can see the New Zealand society is become plurasilm, many different raise of people immigrate and bringing different culture. In my opinion, TV show is a good media to know many news and knowledge but also a most easy and fastest media to change the regional diversity. People will get used to watching American drama or talking show, the contents will effect people's thinking and the all the information which people revive will be American news.

6. Shane Cotton's paintings are said to examine the cultural landscape. Research Cotton's work 'Welcome'(2004) and 'Forked Tongue' (2011) to analyze what he is saying about colonialization and the Treaty of Waitangi.

Shane Cotton is one of a famous artist in New Zealand, who born in 1964 in Upper Hutt, his Maori heritage is located in New Zealand's Northland. He painted a lot of landscape early, and the landscape references in Cotton's paintings recall the symmetry of Maori carving and the work of Colin McCahon. Cotton's work is evocatively includes both Maori iconography and culture. In the work '' Welcome(2004)'', Cotton delicately delineates images that have become synonymous with his work, including the controversial motif of "upoko tuhituhi" or “marked heads”, and his iconic birds. In Cotton’s depiction of these ancestors and in referencing their after-life and the heavens, his work can be seen as a way to keep their identity and memory alive. Another work ''Forked Tongue(2011)'' which features a cliff face, a fantail, some Maori designs and a tracery of red lines these symbols or metaphors become starting points for an elaboration on the links between the physical, historical and spiritual landscapes. we can see many of the work from Cotton have been discuss the a lot about Maori and Pakeha characters and impact of the Treaty of Waitangi, their ambivalence about concepts of landownership and the notion of two cultures living in the one land.

'Welcome' (2004) Shane Cotton

http://www.printsandprintmaking.gov.au/catalogues/work/52293/shane-cotton-welcome.aspx

'Forked Tongue'(2011) Shane Cotton

7. Tony Albert's installation 'Sorry' (2008) reflect the effects of colonization on the aboriginal people of Australia. Research the work and comment on what Albert is communicating through his work, and what he is referring to. Describe the materials that Albert uses on this installation and say what he hopes his work can achieve. Define the term 'kitsch'.

Tony Albert’s work reflects political, historical, environmental and cultural issues relevant to Indigenous-Australian people in today’s society. Provoked by the stereotypical representations of Indigenous-Australians in mainstream culture, Albert’s paradoxical wordplay examines cultural alienation and displacement. In his work ''Sorry'' revels in the sense of irony in the work, with the impetus of such a momentous and joyous event being an apology. The material which his was used is kitsch objects applied to vinyl letters. Kitsch is means something of tawdry design, appearance, or content created to appeal to popular or undiscriminating taste.

8. Explain how the work of both artists relates to pluralism.

In my opinion, Shane Cotton’s work is related to pluralism, it because the way how he uses the colonialization as a theme to his artwork, and about Tony Albert’s work, he does have some work that has relation such as some different object.

http://qag.qld.gov.au/collection/indigenous_australian_art/tony_albert http://www.nbr.co.nz/article/shane-cotton-paintings-examine-cultural-landscape-126412 http://www.gowlangsfordgallery.co.nz/editions/shanecotton.asp http://dictionary.reference.com/browse/kitsch http://exposuredvd.com/?page_id=124 http://en.wikipedia.org/wiki/Shane_Cotton http://thearts.co.nz/artist_page.php&aid=24 http://www.nbr.co.nz/article/shane-cotton-paintings-examine-cultural-landscape-126412 ALVC BOOK

Week 4 - Kehinde Wiley and inter-textuality

1. Find a clear definition of Intertextuality and quote it accurately on your blog using the APA referencing system. Use your own words to explain the definition more thoroughly.
 
Intertextuality is the shaping of texts' meanings by other texts. It can include an author’s borrowing and transformation of a prior text or to a reader’s referencing of one text in reading another. Intertextuality refers to the way that any one text (written or visual ) is influenced, or made up of a variety of other earlier texts.(Chandler, D. (2003))

2. Research Wiley's work and write a paragraph that analyzes how we might make sense of his work. Identify intertextuality in Wiley's work.

He is a renaissance technician with hip-hop subject. Kehinde Wiley was born in Los Angeles in 1977. His father was from Nigeria, and his mother was African-American. He did not grow up with his father, so, at the age of 20, he traveled to Nigeria to explore his roots and meet his father. His latest work focuses on young black men in a sadly familiar posture: Down. Part of Wiley's process was lifting his subjects straight from the street and rendering them-complete with sneakers, track pants, tank tops, and team caps-in the visual language of classic European portraiture, all of these issues relate to the intertextuality, we can see really clearly intertextuality in his art work.

‘down’ by kehinde wiley

deitch projects, new york
november 1 - december 20, 2008



3.Wiley's work relates to next weeks Postmodern theme "PLURALISM" . Read page 46 and discuss how the work relates to this theme.

Pluralism in art refer to the nature of artforms and artists as diverse. The culture context of art is all encompassing in its respect for the art of the world's culture. Include of many different values. I can see in Wiley's work relate to the pluralism. Most of his work have the colourful patten as the background background, I can say the style of the most painting is colsed to renaissance artist, which is fine and details. However, he inter new element of the issue in the picture to create his own art, from the clothings and the another object in the painting, Wiley makes the art more interesting and much different from the renaissance painting.

4. Comment on how Wiley's work raises questions around social/cultural hierarchies , colonisation, globalisation, stereotypes and the politics which govern a western worldview.

Wylie conflates historical formulas-Renaissance, Baroque, Rococo, with hip-hop fashion elements and finds his own complex style. Most of his works emphasizes the everyday theatricality of Black youth culture, with its fetishization of personal style. That how he work on the sensitivity issue. Turn the serious subject into the funny or interesting image and combine with the old classical painting.

5. Add some reflective comments of your own, which may add more information that
you have read during your research.

In my opinion, Wiley try to used the old classical painting to make people have sympathetic responses, and created his own personalty. One of the important thing in his painting is the posing of the man in the picture, that is the part to show the emotion of whole painting.

http://topics.nytimes.com/topics/reference/timestopics/people/w/kehinde_wiley/index.html

http://www.designboom.com/weblog/cat/10/view/4538/down-by-kehinde-wiley.html

http://en.wikipedia.org/wiki/Pluralism

http://www.interviewmagazine.com/art/kehinde-wiley/

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Week 3- Hussein Chalayan

1. Chalayan’s works in clothing, like Afterwords (2000) and Burka (1996) , are often challenging to both the viewer and the wearer. What are your personal responses to these works? Are Afterwords and Burka fashion, or are they art? What is the difference? Not all clothing is fashion, so what makes fashion fashion?.

Every significant piece he created a story of movement, travel, flight, even loss, from the clothes that fold into airmail envelopes to those famous pieces of “portable architecture”. And I think the ''Afterwords(2000)'' is kind of architecture combine with fashion, the skirt is made by wood with many layers. He choose different material to challenge how people define fashion and create new art. The wood is different from the fabric, the wood skirt on the model looks really attractive and reasonable, and the wood also enhance the whole dress. Another work ''Burka(1996)'' which challenging ideas such as modesty, identity and feminity, Chalayan presented models wearing different length burka inspired creations with nothing underneath them, with some of the model's being completely naked except for a mask and sandals. The burka is the one of the important thing Muslim womem should dress. It also shows women to appear to be all the same with their faces covered, like the burka or length of the mask. Clothing is a medium to make people accept that how he turned the fashion into art . I think that why Chalayan's fashion works looks fashion and creative.

2.Chalayan has strong links to industry. Pieces likeThe Level Tunnel(2006) and Repose(2006) are made in collaboration with, and paid for by, commercial business; in these cases, a vodka company and a crystal manufacturer. How does this impact on the nature of Chalayan’s work? Does the meaning of art change when it is used to sell products? Is it still art?

'The level tunnel' is a 15m long, 5m high installation that can be experienced from the exterior or blindfolded on the inside. The different from Chalayan's original work is this work is kind of art. Chalayan has developed an experience of the senses, working with a number of different materials and playing with scent, touch and sound. The viewing is blindfolded and led into the installation, where they are confronted with sound created by a flute made from a vodka bottle. I do not think the art become selling product will not be art any more. Because if the art can turn into the part of our life or another simple idea can mostly people understand, that make art work more successful. Further on, a breeze carries the scent of lemon and cedar as the visitors moves along the leather coated railings. a heart monitor is fitted onto the visitor and a display on the outside projects their heartbeat to external viewers.

   



3.Chalayan’s film Absent Presence screened at the 2005 Venice Biennale. It features the process of caring for worn clothes, and retrieving and analysing the traces of the wearer, in the form of DNA. This work has been influenced by many different art movements; can you think of some, and in what ways they might have inspired Chalayan’s approach?

Exclusively produced for Venice Biennale, The Absent Presence, is an enigmatic story based on identity, geography, genetics, biology and anthropology. Chalayan opens the argument on how certain identities can or cannot adapt to new environments and generates a research based narration for his cross-disciplined installation with filmic images and sculptures. There is a serious research behind the end product displaying the interplay of the real and the imagined with a series of collected clothes and deformed crystallized garments. A DNA extraction process from the clothes collected from unknown people, an anthropological evaluation, and a 3 D manipulation all treated through the London sound-scape as the environment reveals the approach of Chalayan to the dilemma of identity

4. Many of Chalayan’s pieces are physically designed and constructed by someone else; for example, sculptor Lone Sigurdsson made some works from Chalayan’s Echoform (1999) and Before Minus Now (2000) fashion ranges. In fashion design this is standard practice, but in art it remains unexpected. Work by artists such as Jackson Pollock hold their value in the fact that he personally made the painting. Contrastingly, Andy Warhol’s pop art was largely produced in a New York collective called The Factory, and many of his silk-screened works were produced by assistants. Contemporarily, Damien Hirst doesn’t personally build his vitrines or preserve the sharks himself. So when and why is it important that the artist personally made the piece?

Chalayan's greatest skill may be his ability to use colors and graphic prints so dramatically, and yet allow the woman wearing them to seem elusive, even chilly. Women who buy his clothes pay dearly for that image. He is the rare designer whose commercial line is priced higher than his own. Each artist or designer have their own personal style, and the personal style is the essential part of the artist. The viewers can see the different story or thinking of the artist, and personally made artist to make different piece.

http://www.designboom.com/weblog/read.php?CATEGORY_PK=&TOPIC_PK=2858
http://www.thisislondon.co.uk/arts/review-23626540-hussein-chalayan-is-fashions-techno-wizard.do
http://en.wikipedia.org/wiki/Hussein_Chalayan
http://www.husseinchalayan.com/blog/

Post-Modernism, Ai Weiwei and Banksy

1. Define Post-Modernism using 8-10 bullet points that include short quotes.

* Is used in the philosophy, literature, socialsciences and architecture.

* Is associated with relativism. And the idea of the relativism is ''anything goes''.

* Is an intentional departure from modernist approaches that had previously been dominant.

* Post-modernism is composed by two words. Post is ''after'', and the modernism belong to the modern period.

* A grand narrative has left the idea in post-modernism.

* Is used in critical theory to belong the literature, drama, architecture, cinema, journalism, and design, as well as in marketing and business and in the interpretation of law, culture, and religion in the late 20th and early 21st centuries. Particularly as an academic movement, can be understood as a reaction to modernism in the Humanities.

* Postmodernism is highly skeptical of explanations which claim to be valid for all groups, cultures, traditions, or races, and instead focuses on the relative truths of each person.

* Social constructivism is another idea with in the post-modernism. The main idea is there is no objective knowledge or absolute representation of reality.


2. Use a quote by Witcombe (2000) to define the Post-Modern artist.


The post modern artist is “reflexive” in that he/ she is self aware and consciously involved in a process of thinking about him/ herself and society in a deconstructive manner, “demasking” pretensions , becoming aware of his/ her culture self in history, and acceleration the process of self-consciousness”

3. Use the grid on pages 42 and 43 to summarize the list of the features of Post-
Modernity.

Since 1980, most of the art has been considered to be Post-Modern. The main focus and content in real and personal, postmodernists subject morality to personal opinion and they define morality as each person’s private code of ethics without the need to follow traditional values and rule. Hyper reality, image saturation are more powerful than original. Postmodernism relies on concrete experience over abstract principles, knowing always that the outcome of one's own experience will necessarily be fallible and relative, rather than certain and universal.


4. Use this summary to answer the next two questions.

5. Research Chinese artist Ai Weiwei's 'Han Dynasty Urn with Coca-Cola logo'(1994)
in order to say what features of the work are Post-Modern.



Ai Wei Wei, he is one of the China's earliest and most influential avant-garde artists. In the late 1970s, he was a member of "The Stars," a group of largely self-taught artists who challenged official communist icons and ideology and helped spark the modern art movement in Beijing. He has also used this symbol in combination with Chinese traditional ceramics. His ‘Han Dynasty Urn with Coca-Cola Logo’ (1994) is a well-known example. The coca cola sign and the urn are totally different period of object. He combined two object to represent the changing of the period. And in post-modernism is focused on making image saturation more powerful than original and he also created a new art work and broke the traditional views and rules. Ai’s concept differs in that the urn and the logo are not fused together as one seamless object, but can be seen with the logo as an act of violent defacement on the urn, or with the logo as artistic graffiti on the urn of mainstream tradition. The hand of the artist is very much present and emphasized.

6. Research British artist Banksy's street art, and analyze the following two works by the artist to discuss how each work can be defined at Post-Modern.(Use your list from point 6.)

Banksy is a pseudonymous England-based graffiti artist, political activist, film director and painter. His street art combine irreverent dark humour with graffiti done in distinctive stencil-ling technique. In his work 'Flower Riot', the pose of the man is throwing the flower, the original object should be stone or something else. Another work is Los Angeles (2008), this work is in Valuable Banksy Street Art Stolen From East Los Angeles Wall. We can see the ancient man is holding the plate with the junk food. Both of the works showed strong post-modernism, which without traditional rules and represent really obvious personal idea.

                                    

http://vanyice.pixnet.net/blog/post/12024649-%E8%97%9D%E8%A1%93%E6%81%90%E6%80%96%E5%88%86%E5%AD%90-banksy

http://www.allaboutphilosophy.org/characteristics-of-postmodernism-faq.htm

http://en.wikipedia.org/wiki/Banksy

http://www.pbs.org/faithandreason/gengloss/postm-body.html

http://ambro32.tripod.com/postmod.html

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