Anish Kapoor Sculpture

1. Research Kapoor's work in order to discuss whether it is conceptual art or not. Explain your answer, using a definition of conceptual art.

“In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.” - Sol LeWitt (1967)

I think that Kapoors work is conceptual work because it seems to me that he has planned and knows what he is going to make beforehand.


2. Research 3 quite different works by Kapoor from countries outside New Zealand to discuss the ideas behind the work. Include images of each work on your blog.


Sky Mirror (2006)

The ‘Sky Mirror’ is a 35-foot-diameter concave mirror made of polished stainless steel. Standing nearly three stories tall at the Fifth Avenue entrance to the Channel Gardens at Rockefller Center. It presents viewers with a vivid inversion of the skyline reflecting an upside-down portrait of this elegant and iconic New York City skyscraper. I like the idea of this one because you get to see what you don’t normally see when walking around the streets. We often miss the beautiful tall buildings and the open sky in our daily life.

Between shit and architecture. (2011)

He has used a machine that pushes out concrete leaving only gravity to form piles.
Kapoor explained to us, ‘The machine carries on inexorably, but the material does its own thing, so the process in unpredictable.’ I like the idea that he is not in control of any of the formation and he has let the materials form where they may. This shows that he did not know how it was going to turn out or what he had planned. This work is not conceptual.

Svayambh (2007) Wax and oil-based paint

“The title is a Sanskrit word meaning ‘auto-generated’. As it passes through doorways that are slightly too small to accommodate its bulk, this huge block of crimson wax will slough off some of its fleshy excess onto the elegant marble surrounds. Instead of acting as a doorway to subliminal experiences, the obdurate lump will barge through actual doorways, leaving messy trail that seems to mock the aspiration of those sculptures seeking to disguise their physicality.” (Material World, 2009, Royalacademy.org.uk)

3.Discuss the large-scale 'site specific' work that has been installed on a private site in New Zealand.

This piece has been named after its site, which passes through a carefully cut hillside, provides a kaleidoscope view of the beautiful Kaipara Harbor at the vertical ellipse end and the hang contoured rolling valleys and hills of “The Farm” from the horizontal ellipse.

4. Where is the Kapoor's work in New Zealand? What are its form and materials? What are the ideas behind the work?

“The Farm”, is an installation on a 400ha private estate outdoor art gallery in Kaipara Bay. It is designed to withstand the high winds that blow inland from the Tasman Sea off the northwest coast of New Zealand’s North Island. The sculpture is fabricated in a custom red PVC-coated polyester fabric by Ferrari Textiles supported by two identical matching red structural ellipses that weigh 42,750kg each. It also creates a kaleidoscopic view of Kaipara Harbor.

5. Comment on which work by Kapoor is your favourite, and explain why. Are you personally attracted more by the ideas or the aesthetics of the work?

I personally really liked ‘Sky Mirror’ because it was placed in a very busy and big environment but as you walk past you are urged to stop and admire this Artwork. It creates such an eye-opening mood and makes you think more about what is around you. I like the idea of the sculpture and how it is so solid and fine but I also am intrigued by the aesthetics of it.

References:

http://www.publicartfund.org/pafweb/projects/06/kapoor/kapoor-06.html

http://www.royalacademy.org.uk/ra-magazine/autumn-2009/features/

http://fabricarchitecturemag.com/articles/0110_sk_sculpture.html

Pluralism and the Treat of Waitangi

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

According to Caldwell (1999):

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 worlds cultures. Inclusion of individuals of differing enthnicities, genders, ideologies, abilities, ages, religions, economis status and educational levels is valued. Pluralism honours differences within and between equitable groups while seeing their commonalities. (para 1).

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

I believe New Zealand is very multi-cultural and we accept many different ethnic groups into our Country. Over the past years our culture has defiantly been broadened by globalization and immigration from the Pacific Islands, East Asia and South Asia but European and Maori remain the two largest ethnicities.


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

Maori culture has predominated for most of New Zealand’s history of human habitation. Over the ensuring centuries of Maori expansion and settlement, maori cultire diverged from its Polynesian roots. Maori established separate tribes, built fortified villages, hunted and fishes, traded commodities, developed agriculture, arts and weaponry. Europeans migrated to New Zealand in increasing numbers from the late 18th century. After 1840 and the Treaty of Waitangi, Maori lost much of their land and authority, entering a period of cultural and numerical decline.


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

I think The Treaty of Waitangi has influenced us as Artists and Designers to look at the cultural side of art and to show our history through our work. It is a great way to show our independence and unique culture.

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

New Zealand’s culture has been taken by many Artists and used for many different reasons. For example, designer Jean Paul Gaultier has taken the moko to promote his latest collection. This has no connection to New Zealand culture but he has taken this as an aesthetic look.

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.


According to John Daly-Peoples (2010), Cottons work “Forked Tongue”, 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.

“Landscape references in Cotton’s early paintings recall the symmetry of Maori carving and the work of Colin McCahon. Simple images, sepia-coloured and scaled metaphorically, derive from nineteenth-century Maori Folk Art, which Cotton perceives as signifiers of Maori culture cleverly veiled within a Christian context.” Biography, (n.d), thearts.co.nz.

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'.

‘13 February 2008 is an historic date etched into Australia’s national memory. On this day, Australia witnessed one of its most overtly optimistic displays of unity and national pride, when Prime Minister Kevin Rudd offered a formal apology to Indigenous Australians. It was a day when, in the eyes of many, the country grew up.’ Tony Albert, (n.d), Queensland Art Gallery.

Albert has tried to capture this emotion and introduced us to a forest of faces, each sharing elements of history with those stolen from their people, land and culture. He presents the audience with a simple word, bold letters on a wall, indicative of an indigenous Australian response to the apology.

Kitsch is a form of art that is considered an inferior, tasteless copy of an extant style of art or a worthless imitation of art recognized value. The concept is associated with deliberate use of elements that may be thought of as cultural icons while making cheap mass-produced objects that are unoriginal.

"The Sorry work is about my personal collection which, in a way, was always a comfort to me. There were images of Aboriginal people around me and my collecting these objects was my way of marking my respect." (Tony Albert, n.d)

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

Both of these Artist make you think more about your own country and your heritage. They help us look at the positive side of history and we should be proud of where we live. You also see how different and unique cultures really are.



References:

http://www.nbr.co.nz/article/shane-cotton-paintings-examine-cultural-landscape-126412

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

http://www.nowpublic.com/culture/cheeky-french-steal-moko

http://thearts.co.nz/artist_page.php&aid=24&type=bio

http://www.youtube.com/watch?v=_Drb9RbW3Tw

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

http://www.theaustralian.com.au/news/arts/curios-of-the-contemporary/story-e6frg8n6-1111119151528