vsw100 Art Creativity Portfolio 2 Part 2

Week 9: Project Three: Remix and Juxtaposition (Continued)
Week 9 Exercise 3: Novel Combinations

Combined Segments to Create New Object 3 of 3 - Mootruck
When constructing Mootruck a
couple issues arose that were
unexpected. First when detaching
the head of the cow from the body
so that the arms could be removed
the material started to fall apart.
This required me to then remove
the arms and stich the body to the
neck line to prevent the material
further falling apart. Then there was
an issue around how to stick the
cow down over the cabin so that the
cow would look correct. I discovered
the only way to do this was to glue it
down. However the glue needed to
be added first as there was no way
to reach under the sides of the
material once it had been placed
over the cabin. This caused a further
issue as the material keep getting
stuck in the wrong location.. It was
also very difficult to hold the truck
in place as it kept sliding off.
Eventually I was able to move the
cow about to a suitable location bit
by bit. The following slide is simply
for viewing prepose only.
Placing the rack also cause some distress as it needed to be placed
under the material. This was something I had not considered in my
digital testing. Due to over looking this I needed to very carefully
remove the material enough to place the rake under it. This made it
difficult to glue the material back down. Once I was able to resolve
the issue the outcome was not to bad.
Placing the spade was easy. When I had deconstructed the grill of the
car, there where two forks which I was able to attach the spade. This
process went smoothly.

I believe the fine outcome was reasonably successful despite the
hiccups when constructing it. On reflection I feel the Mootruck is
defiantly surreal in its final appearance and is extremely imaginative
and very dreamlike . It certainly ignores logic and seeks my
subconscious mind. I still feel the size of the cows head would be
better if it was smaller or even had I considered stuffing it so that it
was less flimsy and more stable. This was a concern I had previously
raised during my digital testing but due to restriction in the materials,
I was unable to correct the problem. If I was to return to this project
and had a greater scope in materials the first thing I would do would
be to fill the cow with stuffing as I feel if it was stuffed and much
firmer that maybe the size would not be such an issue.

The following slide is simply for viewing prepose only.
Week 9: Project Three: Remix and
Juxtaposition (Continued)
Week 9 Exercise 3:
Novel Combinations
Web Based Research - Artist 1
Chapman Brothers
Exquisite Corpse, 200
(Jake Chapman 2000)
Jack and Dinos Chapman
Exquisite Corpse, 2000
Etching on paper, 228 x 78mm
TATE

At first glance Jake and Dinos Chapman work is
really grotesque but at the same time extremely
thought provoking. Their way of creating a single
piece of work dually is remarkable and inspiring. I
see their joint creation as highly imaginative and
abandons the reason bringing forward the events of
their unconscious minds. There use of multiple
limbs and heads reminds me of the alien form. It is
this thought that has made me consider my idea
behind my Tri-falien design.
Web Based Research Artist 2 Wangechi Mutu Family Tree, 2012
Wangechi Mutu,
Family Tree, 2012,
mixed-media collage on paper, 16.25 x 12.25,
Nasher Museum of Art at Duke University.

As with Jack and Dinos Chapman work in my eyes Wangechi
Mutu work is totally grotesque yet fascinating to observe due
to its surreal approach to the human form. She sees her
family tree in the mythical sense and produces them to look
like a supernatural beings who could be considered as holy,
divine or sacred. Her design is a prime example of
transformation and adaption through her primitive outlook
fused with her expressive vision of the future. It is her fusion
of human, animal and aliens transformed through adaption,
along with her mythical approach that will influence my work
in Surfing Elephant as I will be transforming two animals
and attaching them to a surfboard to create a mythical tale of
a surfer.
(Mutu 2012)
Web Based Research Artist 3 - Meret Oppenheim Eichhrnchen (Squirrel), 1969
Meret Oppenheim
Eichhrnchen [Squirrel] 1969
fur, glass, plastic foam
23.0 (h) x 17.5 (w) x 8.0 (d) cm
National Gallery of Australia, Canberra

My first thoughts on Meret Oppenheim design
Eichhrnchen [Squirrel] 1969 were quite bizarre as I
recognized the beer pot but found myself really unsure
about the furry critter until reading the title. Her work for
me is self-contradictory and absurd, but at the same time is
explicable as it expresses a truth. I like how she combines
both found and made products together to undermine the
lucid and disclose the unconscious. By manipulating the
found and made products she renders the original idea of
the stein redundant. Her use of the squirrel both lures and
deters making it hard for one to enjoy the drink. It is easy to
see why she is so successful in her vision of surrealism.
Although all my products are made product Meret
Oppenheim use of juxtapositions will be useful in my
Mootruck idea as I will juxtapose my spade and rake at
either end of the truck and then take her bizarre idea of the
squirrel and place a cow in a way that it becomes the cabin
of the truck.
(OPPENHEIM 1969)
Web Based Research Artist 4 Marcel Duchamp Bicycle Wheel, 1951
Marcel Duchamp
Bicycle Wheel, 1951.
Metal wheel mounted on painted wood
stool, 51 x 25 x 16 1/2" (129.5 x 63.5 x
41.9 cm)

Marcel Duchamp work on the bicycle
wheel reminds me of a windmill due to
the shape of the stool and the wheel
making it expressive and imaginable
although uncontrolled by reason it
certainly seeks his unconscious mind and
makes the work very surreal in its
outcome. I like how he has taken two
made products and placed them
together, despite the fact they were
totally unrelated and made no sense at
all to produce a highly successful piece of
art. His use of unrelated made products
to produce a successful piece of art will
inform my work in my Surfing Elephant
as I will take the elephant and the roaster
both made products yet totally unrelated
in concept to produce my elephant in a
wet suite.
(Duchamp 1951)
Web Based Research Artist 5 David Salle - Muscular Paper, 1985
David Salle
Muscular Paper,
1985
Oil, synthetic
polymer paint,
and charcoal on
canvas and
fabric, with
painted wood,
in three parts
8' 2 1/8" x 15' 7
1/8" (249.3 x
475 cm)
MoMA
(Salle 1985)
I particularly liked David Salle work Muscular Paper, 1985 because of how busy it was. Each panel has its own idea or story to tell. Its
interesting how he uses the different texture on each panel to create a space to intervene between things; resulting in the ability for him
to combine imagery from art history so that he can produce multiple meanings. He has a sense of freedom in his work that allows him to
have a total disregard for logic, freeing him up to produce creative outcomes that are often challenge in terms of their connection from
one another. It is this freedom I wish to portray in my work for Tri-falien by disregarding logic and allowing myself the freedom to use
totally unrelated made products to bring forward my idea and draw a connection to the products through the work itself.
When creating Elephant
Surfer the traditional way I
come across an interesting
issue with the feet that I had
not thought about during my
digital testing stage. The
roasters feet laid out flat and
didnt bend the traditional
way. So I needed to find a way
to resolve this issue. To do
this I made slits across the
back of the ankles to allow
the feet to bend forward. I
then took out parts of the feet
underneath to allow for me to
glue the feet down. This
proved to be a successful
technique.
Week 9: Project
Three: Remix and
Juxtaposition
(Continued)
Week 9 Exercise 3:
Novel Combinations
Week 9 Online
Activity
Elephant Surfer
To reflect on the traditional
Elephant Surfer I feel my
belief that it would be
successful in my intention
to be correct. Looking at it
in its new form I can clearly
see that I have successfully
expressed my imagination,
which was certainly
uncontrolled by reason, and
defiantly brought out my
subconscious mind,
allowing the elephant to
become a mythical tale of a
surfer. I am more than
pleased with my final
outcome.
Week 9: Project
Three: Remix and
Juxtaposition
(Continued)
Week 9 Exercise 3:
Novel Combinations
Week 9 Online
Activity
Elephant Surfer
Tri-Falien was reasonably
easily assembled. After
cutting the frog at its waist I
had to consider the best way
to attach the body to the
tripod. The question was
would it be best to glue this?
Or sew this? As the cutting
left a ragged edge I felt it
would be best to sew it as
this would also tidy up these
jagged edges giving the final
outcome a cleaner look, but
it would also allow the legs
to move freely.

The next thing was to
consider the best way to
attach the arms. At first I
considered unstitching some
of the side seems so that I
could insert the arms. The
more I thought about this
idea, the more I didnt like it;
this would leave issues
around how to attach the
arms successfully without
having the material at risk of
fraying.
Week 9 Online Activity - Tri-Falien
This led me to considering
the idea of simply gluing
the arms into place. I liked
this idea but was
concerned that they might
be at rick of dropping of if
pulled about. So I decided
to test my idea by snipping
of a small piece of the
arms and gluing them to
another piece of material
to see how the plastic
would react to the glue.
Once dry I started to pull it
around some to see what
might happen.
Week 9: Project
Three: Remix and
Juxtaposition
(Continued)
Week 9 Exercise
3: Novel
Combinations
Week 9 Online
Activity
Tri-Falien
By doing so I established
that the arms would
withstand a little bit of
pulling about, but a lot of
physical force would result
in the arms becomes
undetached or torn taking
some of the material with it.
So I decided to go a head
with gluing the arms to the
side seems as I believe the
chances of physical force
taking place to be very slim
if at all.

In terms of my outcome I
felt that Tri-Falien was very
successful in its delivery of
both facts and fantasy,
creating a surreal
appearance in its efforts to
take on the human form. I
believe I allowed my
imagination to take over to
explore possibilities an
allow my subconscious to
come into play.
All in all I am very pleased with my
outcome and find Tri-Falien to be very
pleasing on the eye. I do feel that my
audience would be able to interpret my
work and understand that it is a
surrealist approach to the human form.
When constructing Mootruck a
couple issues arose that were
unexpected. First when detaching
the head of the cow from the body
so that the arms could be removed
the material started to fall apart.
This required me to then remove
the arms and stich the body to the
neck line to prevent the material
further falling apart. Then there was
an issue around how to stick the
cow down over the cabin so that the
cow would look correct. I discovered
the only way to do this was to glue it
down. However the glue needed to
be added first as there was no way
to reach under the sides of the
material once it had been placed
over the cabin. This caused a further
issue as the material keep getting
stuck in the wrong location.. It was
also very difficult to hold the truck
in place as it kept sliding off.
Eventually I was able to move the
cow about to a suitable location bit
by bit. The following slide is simply
for viewing prepose only.
Week 9 Online Activity - Mootruck
Placing the rack also cause some distress as it needed to be placed
under the material. This was something I had not considered in my
digital testing. Due to over looking this I needed to very carefully
remove the material enough to place the rake under it. This made it
difficult to glue the material back down. Once I was able to resolve
the issue the outcome was not to bad.
Placing the spade was easy. When I had deconstructed the grill of the
car, there where two forks which I was able to attach the spade. This
process went smoothly.

I believe the fine outcome was reasonably successful despite the
hiccups when constructing it. On reflection I feel the Mootruck is
defiantly surreal in its final appearance and is extremely imaginative
and very dreamlike . It certainly ignores logic and seeks my
subconscious mind. I still feel the size of the cows head would be
better if it was smaller or even had I considered stuffing it so that it
was less flimsy and more stable. This was a concern I had previously
raised during my digital testing but due to restriction in the materials,
I was unable to correct the problem. If I was to return to this project
and had a greater scope in materials the first thing I would do would
be to fill the cow with stuffing as I feel if it was stuffed and much
firmer that maybe the size would not be such an issue.

The following slide is simply for viewing prepose only.
Week 9 Online Activity Evidence of Discussion Engagement Online
Thread:Week 9 Online ActivityPost:Week 9 Online ActivityAuthor: Gaylene DuncanPosted Date:January 28, 2014 6:53
PMStatus:Published
Hi Tanisha and Fellow students. I have already added this as part of my revised work that has a full explanation of this work, but am
posting it again displaying just my Novel Combinations for the purpose of the Week 9 Online Activity. I hope you enjoy them.
Cheers Gaylene Attachment: Week 9 Online Activity.pptx (1.296 MB) Reply Quote Mark as Unread

Thread:Week 9 Online ActivityPost:RE: Week 9 Online ActivityAuthor: Debbie ArnoldPosted Date:February 14, 2014 6:10
AMStatus:Published
Hi Gaylene...very creative and unexpected combinations, so well done! I like that you wrote that you created them without any real
preconcieved reason, which is what I think Surrealism is about. I guess that childrens' art is created without reason, it is so random and
fresh and so many artists are interested in that concept.
Elephant surfer was my favourite, just so unexpected that I couldnt help but giggle. Your research about surfing was commendable and
ties in well with your end result. Tri-alien was an interesting character, perched on its three 'legs' but with a very endearing quality to its
face. The little moo truck was to me, the least surreal of the three, perhaps because I felt that it looked like a little character from a
children's movie and wasnt as detourned as the others.
But, great work, I think that you really enjoyed your foray into surrealism, it shows. Well done on all of your excellent and informative
research too! Deb Reply Quote Mark as Unread

Thread:Week 9 Online ActivityPost:RE: Week 9 Online ActivityAuthor: Gaylene DuncanPosted Date:February 14, 2014 7:23
AMStatus:Published
Hi Deb
Thanks for the great feedback mate. I'm pleased they were so unexpected as this to me really highlights creativity. I feel creativity should
bring about new ideas in the most un expecting forms. Elephant surfer is my favorite also like you I look at him and can't help but laugh. I
don't know there is something about this little guy. Tri-alien face kind of reminds me of the song "Don't worry be happy" by Bob Marley as
for me his kind of laid back not to worried about the worlds events and just chilling out. His actually become a stress releaser as his on the
TV in front of me when im working so when I get stressed and do my usual look up I see him think of Bob Marley and Don't worry and be
happy. I am inclined to agree with you about Mootruck being the lest surreal. I think this is because I wasn't as creative enough with him
an as you say represented a character from a child's movie. His a good one to learn what not to do by. Once I understood surrealism I
loved every minute of it Deb. I could see me doing many more of these when I have time.
Cheers Gaylene Reply Quote Mark as Unread
Module 3: Independent Project
Project Four: Exhibiting Ideas (Proposed Exhibition)
iLecture 6: Introduction to The Gallery Experience Gemma Weston
Types of Frames
The Museum:
Historical
Modern
The Gallery:
The contemporary institution
Commercial galleries or
dealerships
The Artist Run Initiative (ARI)
The Festival/Biennale/Art Fair
The alternative
venue/experience:
Supervision of existing models
Public Art
art in non art spaces
Practical functions of the Art Museum:
Preservation of objects considered significant
Maintaining and expanding a collection
Categorization
Less practical, or Symbolic Functions of the Art Museum:
A state/ nationally directed Art Museum represent and preserve a local culture or a movement.
For example: Cubist work collected and displayed in Paris Museums.
The collection can represent or even perpetuate an ideology. For example: colonial imperialism in
the case of the Louvres African acquisitions or Neo-Classicist scholasticism, in the Medici
collection.
The act of display and preservation can itself bestow significance and value upon an object the
collection of a work by a museum legitimizes it.
The architecture of a Museum itself can bestow significance, or can be designed to suggest a
particular reading of the collection it houses (Dewey 2005)
It is important for one to understand that the way we understand art and experience
it has changed dramatically over time. We didnt always have galleries. In classical
Greece and up until the 11
th
century during the Gothic era art was experienced
through architecture and of design through civic life. Visual culture was tied up in
these different discourses. It was functional, commemorative, instructional and
educational. During the renaissance (Florence, Italy, roughly 1500s) a series of social
developments took place including the rise of prosperous merchant class such as the
Medici family and technological advancements, which renewed interest in classic
Greek scholarship, which changed the role of art in society along with its content and
focus. The private collection of the Medici family ended up being known as The Uffizi
Gallery, which opened in 1765. This brought with it the idea of modern art and art
galleries. It was one of the first modern art museums. It didnt open to the public until
1765 when the Medici family fell from power and it became the property of Florence.
This was not the only public art museum. There were other examples of wealthy
families donating their collections London and other countries. The architecture was
rather ornate and suggestive and didnt really frame the work but rather participated
in it.
(University 2013)
(University 2013)
(University 2013)
The MONA museum is a great example of creatorship. This come about by David Walsh like for art as he could afford to bring art to him
ending in him acquired a vases and multi-million dollar contemporary collection. Its method of creation of throwing everything together
opposes the way things are done today as today theres a rigorous system, which follows themes, subjects and geography. So the MONA is
like an contemporary updated version of the Medici Family which allows for the opportunity to patronize and to buy art outside of the usual
excepted channels of purchasing and experiencing art and now days this often influences the taste of art theory or history.

The art institute known as the Louvre in Paris is a great example of how ideologies such as those at the Medici and MONA are made physical.
It was originally a fortress then a palace, storage and display for the crowns collection. In 1793 it become the property of the people and
opened to the public. Its collection was expanded as a result of the war and colonial interest of the French. The Louvre represents the
practical and symbolic but also functions like a museum. So it safeguards the object that is considered important. How they organise the
collect influences how its understood. Because its directed by the state it more than likely reflects the ideas of its nation.

Modernity is the movement of society toward industrial capitalism and away from agrarian feudalism. This allows society to become aware
of its own progress.
Modernism art and design trends that are related to the progression
of Modernity.

The Salon is the annual exhibition held by the Academia des Beaux.
Arts. If your represented here it can lead to successful artistic career
although the academic jury are very conservative and very much
opposed to any new painting developments. It was the Salon that
marked the start of avant grade due to it unprecedented rejection of
3000 works.

If we were to look at the gallery vs the museum we would find that
the museum preserves a collection whilst the gallery exhibits
independently from the collection. The gallery in a contemporary
context presents new work in a temporary arrangement, but in other
gallerys it is considered a way station for a collection of artwork by a
museum. But museums preserve the past whilst the work in the
gallery is present and often in order to predict the future.
(University 2013)
(University 2013)
(University 2013)
The White Cube a wholly neutral space presents the work in isolation from the
external world. The art work is considered autonomously and independently
from other stimuli. It presents the art work as though its outside of time,
where no competing ideology can detract from the present work itself.

Commercial galleries represent a group of artist selling work to clients and
collections. The work is held in stock as they dont tend to keep a collection.
The galleries role is to participate in the discourse surround art through the
selection of artist. The participating artist often influences art history and
theory.

The ARI Artist Run Initiative dates back to the independent organized
exhibitions of the early avant grade, which was space run for artist by artist.
Their aim was to exhibit innovative work from emerging cultural practitioners.
Its basically grass roots gallery space which is self-funded through grants. It
tends to seek and alternative format, occupying cheap or dilapidated space
generally under-developed urban areas. The work is often experimental and
cross disciplinary which aims to support and develop the artistic community.

International art tourism The Biennale experience is a multimillion dollar
festival ran every year to showcase the worlds best and most relevant
contemporary work. It is in over 50 countries. Its model is synonymous with
contemporary being a globalized experience and standardized which performs
for international audience. Its the largest and longest running festival since
1895. Although glob it is focused on two locations the Arsenale a large ex-
shipyard where a curated exhibition occurs around the Biennales theme and
the Giardini a garden of national pavilions. A custom built gallery spaces where
each participating nation presents an artist/exhibition. Those nations which are
without representation in the Giardini have satellite exhibitions.
(University 2013)
(University 2013)
(University 2013)
Week 10: Article Beyond The On-Line Museum: Participatory Virtual Exhibitions
By Jonathan Cooper
An advantage to a physical museum is that because the objects are physical, one gets to directly experience them. Online these are only
representational so cannot be personally experienced. The other thing is no preparation is required if visiting in person, but online you
need the name of artist, title, or keyword to search or browse by curatorial area. This means you need to have prior knowledge or an
understanding of the museums curatorial hierarchy. In a physical museum objects are arranged by expert curators so appear in context
such as related objects, location and or time. Online however these are stored records in a database which as a rule are not pre-
arranged. There is a cost for having this unique physical experience in a physical museum and that is the fact that it restricts each work to
being in a single fixed position. The architectural limitation of space means many physical museums can only show a small proportion of
the collection. This though has led to some museums providing visitors with special areas to view works not displayed. (Cooper 2006)

Physical museums often offer aids to interpret catalogues, text panels, extended labels, guided tours, lectures, performances and other
public programs. Whereas online museums offer extended information on some of the objects, but beyond this those visiting are pretty
much left to their own device with internal and external search engines. One of the greatest advantages of a physical museum is the
social and cultural aspect as many people attend sometimes singly or in couples or small or large groups, but visiting online this social
aspect is lost as it generally means a solitary experience. (Cooper 2006)

It is clear that both the physical and online museums both have strengths and limitations. A limitation for the physical objects is it can
only be in one place at a time a consequence of the law of physics. But two strengths are the ability to attend unprepared as the objects
are presented in context and arranged by a profession curator. As a result this can be both a strength and a limitation due to it having the
possibility of browsing unprepared and benefits of professionals. This is a limitation though, as it restricts opportunities for visitors to
create their own narratives and connections. Its not possible for the museum to allow the public to handle and relocate the objects as it
be like giving up their responsibilities. These restrictions are not an issue for the on-line museum. (Cooper 2006)

Navigable Panoramas
The best way to bring the browsing experience to the Web is by using navigable panorama technology like Quick Time VR, which
allows a serious of panoramic images from the exhibition to be created with clickable regions inserted for navigation and zooming for
individual objects. This is normally done to extend the photo-documentation and capture the physical exhibition experience when
visiting. (Cooper 2006)
By Jonathan Cooper
Private Bookmarks
A solution to achieving personal engagement and encouraging participation from visitors is to allow a certain amount of private space to
allow bookmarking of chosen objects. The interface is thinly scattered or distributed under the illustrated object in the database of the
general collection (a link). This requires the visitor to be registered with the web, and have their computer set to accept cookies, but then it
allows them to access a page with a thumbnail of their chosen artworks and limited captions. This then allows you to add or remove
artworks at your pleasure. It doesnt allow for rearranging or sharing the artworks with others. (Cooper 2006)

Virtual Gallery
Its more likely that a person when given the opportunity to take part has a more positive and meaningful response to the tangible
outcome, particularly if this is publicly recognised. By allowing them to select meaningful objects and arrange them, then write about them
and make it publicly available then the level of engagement is much greater than if it were a private selection. The Fine Arts Museums of
San Francisco (FAMSF): Virtual Gallery. Running from 2001 to 2005, allowed its visitors to choose works and create a small

exhibition with title and introductory text. This would then
become part of the FAMSF web site. So it could be seen by
all. When you entered the gallery you were confronted with
six rooms. Each contained a link for an exhibition. Each
exhibition had four walls with about three or four art works
displayed. With the move of the mouse caption details were
displayed in pop-ups providing further information. You
would search the collection to fine further works with the
use of keywords. This would display your results at the
bottom of the screen ten at a time. Then you dragged it to
the wall. It also allowed the works to be enlarged, reduced
again, moved and deleted. You could save it with a title and
short description along with email addresses of people you
invited to your opening. Yours then displaced the oldest of
the six current exhibitions which would stay till six
exhibitions later, when it was then pushed off to the achieves
which could be viewed. (Cooper 2006)
(Cooper 2006)
With over two thousand achieves of these Virtual Galleries its easy to see they are popular and easy to use. Some were rapidly put
together possibly because it had to be complete in a single session as there was no save option available. This meant many went public
uncompleted as many didnt realise they could save and found themselves with not enough time to give this task so had no choice but to
abandon it. If remarkable exhibitions were created they would be often lost once removed from the front page to the achieves. However
virtual galleries empowering tools (Cooper 2006).

By Jonathan Cooper
myVirtualGallery
The Art Gallery of New South Wales launched its own
interactive tool in May 2005 called myVirtualGallery. It
required registration and login but then you were able
to create your own virtual gallery over as many sessions
as you liked with several walls and closed loop so where
the first wall ended the last wall started. It allowed an
introduction text panel on both the title wall as well as
the other walls. Only approved exhibitions would go
public and all past exhibitions were retrieval through
searching. This allowed remarkable exhibitions to
feature as long as required. All exhibitions started with a
single wall. The collection was searched, works chosen
and dragged onto the wall. A title and introduction was
written and you saved the work. This then entered the
system. However you could still add more if required
with no limit of time. If you wanted it public you would
hit the submit button which would now have the status
pending approval. During this time no more changes
could be made. If they were approved they would
automatically appear on the Exhibition list page from
newest to oldest. If selected they may also appear in the
Featured Exhibitions (Cooper 2006).
(Cooper 2006)
By Jonathan Cooper
Philosophical Issues
Some of the problems myVirtualGallery encounter was lively debate between the curators, fellow educators and marketing people.
Some curators found the idea of untrained people curating virtual exhibitions as pointless and felt it meant curating required no skills,
but for some the issue was in the exhibition going live as this would raise interesting essential questions regarding the role of the
museum in some art museums (Cooper 2006).

Some of the concerns were things like who had the right to make public statements about important artworks? Does definitive,
authoritative interpretation of artwork exist? Should the repetition of artist and their work be protected and would that be part of the
curators role? Is it ok for a museum to allow the public to criticise in the same manner the newspapers or letters to editors do?
The debate sparked a gamut of opinions. On one side it was thought only professionals should be allowed to curate exhibitions and
interpret art works in the public arena (authoritism) But on the other side it was believed that all should have this right to curate,
interpret and share personal thoughts on art with others (autonomisim). Not all curators were so extreme with their authoritist view.
Those who leant toward authoritism were actually curators. Its possible this is a reflection of their need for inward focus of the
curatorial profession in contrast to the outward focus of the museum education, although the extreme authoritist view seems
conservative to the perceived liberalism dumbing-down of art (Cooper 2006).

With the virtual exhibition the word curator was removed. My introduction took over the introductory panel and my response replaced
the My introduction. When completed, they changed the complete button to submit, making it clear not all will be accepted. A disclaim
spelt out that the view were that of the curator. They added linked pages connecting the experience of creating a virtual exhibition to
the role of the curator in a physical museum. The pages were originally under collection but were now placed on the web sites education
section (Cooper 2006).

By Jonathan Cooper
Public Responses
The response from the public in regard to the myVirtualGallery, started slow, but increased at a steady pass. Over a period of six months
from the launch to the end of December 2005, 250 exhibitions were created by non-staff. 82% were never submitted. Of the remaining
45 exhibitions, 11% were rejected with comments once submitted and never resubmitted and the last 17 exhibitions, so 7% were
approved with minor alterations. Clearly the criteria expected much more. The aim was to produce public exhibitions which were
insightful, informative and thought-provoking (Cooper 2006).

Even though users were allowed to create exhibitions over a period of time and then add considered responses using text panels 90% of
those exhibitions were created and modified in one day. 75% displayed introductions with no text panels making it clear that having the
option of extra time didnt mean the option would be taken up. Most still did it in a single session and most like to see how it worked.
Having the option to choose if you wanted to submit or not, the experience for the
viewer personally, is made more rewarding as they dont have to go through
exhibitions that are no good.

Prior to the launch there was a real fear that the process of submitting would be
time-consuming, but this was not the findings. This allowed detailed responses with
constructive suggestions.

An interesting outcome was how differently people chose to display their artworks
on the wall. They were hung at different heights; some walls were crowded, whilst
others contained just one small or large work. This highlights the need to consider
how much contemporary western museum practice in two-dimensional display is
based on physical factors like height of visitors or psychological principles or fashion
or weather its ok for virtual exhibitions to resemble a crowded living room.

One problem observed was the mismatched relative sizes as this would look rather
small in real life when placed near larger work. Being sure exhibitions automatically
proper and acute scale to each other, yet technically possible and not desirable in all
cases (Cooper 2006).
(Cooper 2006)
By Jonathan Cooper
Technical Issues and Ideas for Version 2
For the myVirtualGallery to operate at a decent speed on an average internet connection thumbnails images were used with the lowest of
three resolutions for works in the collection database with 152 pixels dimension. Once the image is clicked it would appear at a higher
resolution in a separate window. But if enlarge to much on the wall, they became blurred. The use of thumbnails for creating exhibitions are
being consider to speed up the searching with the next higher resolution for viewing. Although exhibitions with many artworks will still have
longer loading time (Cooper 2006).

Despite that the ability to search by creator/curator for an exhibition or by the title and introduction was a big improvement on the
alphabetic index of title and even better idea would be to search by artworks. If viewing other exhibitions with shared artworks was an
option it would take the power of networking for myVirtualGallery to a greater level (Cooper 2006).

One process thats turned out to be inferior compared to creating a physical one was the process of searching for artworks allowed
myVirtualGallery to create shortlist of thumbnails although it never saved at the end of the session. In real life a curator spends many weeks
looking over and refining their list of possible works before anything else. Generally they do this using photocopies generally attached
loosely to a board where they rearrange and explore connections (Cooper 2006).

Week 10 Online Activity Notes

In putting together my own exhibition some of the things that might influence me are as follows: (I will break into five sections), The
Planning, Implementation, Evaluation, Research and Exhibition.

Planning

As the aim of a gallery is to exhibit independently from the collection, presenting new works in temporary arrangements I would first need
to have an idea of the type of work I would be wanting to exhibit. This is still something I am still in the process of considering. After reading
Johnathan Cooper paper Beyond the Online Museum: Participatory Virtual Exhibitions I have come to understand that both the Physical
and the Online exhibit both have strengths and limitation that I feel are very relevant and worth considering. But I think it is also worth
considering how I personally work, along with my knowledge base as naturally this will have a huge impact on my final outcome. This is
something I have found myself debating greatly the past few days as I feel that were I am right now I would be equally skilled in both areas
based on my current knowledge. Whilst the Online experience is a great way for those unable to attend the physical galleries in person I
believe it is important for them personally to still be able to experience art in a no physical sense. By bringing the gallery to the home
certainly allows those less fortunate to still be able to enjoy and engage with art at a distance. So I feel there is defiantly a place for the
advent of web 2. In saying that though having had the privilege of attending an exhibition and a few galleries in person I fully understand the
benefits of being able to rock up unprepared and just enjoy the pleasure of talented curators knowing to well that its been placed in context
with related objects. The reason for this is I like to see what I am really seeing and theres nothing quite like experiencing the work first hand.
I also like the social and culture aspect of going to the gallery personally as although I might not speak with other people I dont already
know it is still interesting to hear the passing comments on works as I find it useful in thinking through the different ways the work might be
interpreted. This is one of the biggest downfalls I find in the online exhibition. So based on my personal knowledge of galleries and
Johnathan Cooper thoughts on the benefits of physical galleries my proposed exhibition will certainly be influenced in this way, as I will
defiantly be creating a pretend physical exhibition.

My next step is to decide the bases of my theme. Will it be the everyday, pleasure or appropriation? At this stage I am thinking more along
the bases of the everyday as this will allow me a lot of scope to work with from the ordinary days to the special occasions or even the
common place. After a good brainstorming session of ideas a follow up research will take place to narrow these ideas that may have come
forward in my brainstorm down until reaching my final decision for my theme. Then Ill take time to consider why this is so interesting. So
when I pitch this to my pretend colleagues I can justify why they should take the time to consider my idea. Ill then put in place a schedule
for each exhibition working backward from the opening date.
Week 10 Online Activity
This schedule will take into account and key deadlines such as when the objects will be needed, dates for things to ask for by, time for the
curator, publication and when to collect materials including photographs, deadlines for press and marketing and dates set aside for meetings
to allow us all to get together to agree on things. The aesthetic elements such as the content and mediums of each work along with its sizes,
colours and subject matter, whether there is a class of work so that Im able to interpret the work and bring their stories across. This will
require me to consider what the most important thing about this piece of work is that I wish to bring across to my audience. So I will need
to do some research to best inform my decisions. Once these decisions are made I will need to set up meetings with owners, curators,
collectors, museums depending on who is in charge of the objects I wish to borrow so that I can try to persuade them to lend the work to
me. (N. P. Gallery 2011)

I will also have to consider the practical aspects such as lighting, access, space and the condition of my gallery. I will be working based on the
ideology of a gallery specifically a Contemporary art Institute. So focussing on art created at the present period in time, steaming from a
Post-modern art the heir to Modern art. It will be based on a local government gallery, so not for profit organization and ran for the good of
the public. The gallery will be free and open to the public to browse within set of operational times. Then I shall consider the logistics
regarding how my chosen objects will travel, best way to display them, any problems that may arise that could be concerning for curator and
finding a balance between protecting the objects and getting them out there so they can educate. This leads me to my pretend education
resource learning team who will help decided on the kind of exhibition to run, through a serious of meetings to discuss the works to display
and how best to use this works to best educate schools, colleges and universities depending on the chosen ages. A final meeting for the
planning process will take place for the project team. This will be to ensure all is going smoothly so that the public will be able to successfully
engage with the works. If all of the above appears to work then then Ill need to consider the hanging options. (N. P. Gallery 2011)

Implementation

As I am the curator for this exercise I will start this complex process and will to my pretend assistance for advice and support as the project
develops. First Ill be involving the hinderers to discuss the works and consider issues regarding the handling, movement and installation. It is
at this point that the works will start arriving. I will provide the handlers with directions, so they are able to unpack the works. Once
unpacked, these will be checked over by the conservator or exhibition manager. Once complete the handler will lay them out in the gallery
according to the plans, add any fittings required. They will be working with me, the curator, exhibition manager and director to decided what
will go where. It is here where the height and place is determined. This will be largely influenced by the average height of people so that its
not too high but easy to see and read the descriptions taking into consideration of people in wheelchair as well as small children. Here I will
use the research from the planning stage to influence my written text to accompany the objects displayed in the gallery. (N. P. Gallery 2011)
These will contain roughly seventy words stating the most important factors. The text will be kept simple and easy to understand. The font
size will be set at a readable size font for the public. (N. P. Gallery 2011)

Evaluating

In order to assess if my pretend gallery is successful I will measure its success by the response of my peers, family and friends. This in the real
world would be done by assessing the press response, marketing, catalogues sold and public response. I will also revisit my own thoughts as
the curator and assess if I felt I meet my own objectives. (N. P. Gallery 2011)

Research

My research will be a very in-depth process influenced by my ideas above. It will consider what I want my show to be about? And type of
objects it will require to express my objectives. Ill also consider why I think this show is important to do in regard to the work I have chosen.
Where possible Ill be trying to keep a balanced programme in terms of what the gallery covers and source out media, paintings,
photographs, multimedia and if there is new updated material available. All the time considering, how I can make it interesting so that it will
captivate my audience. Ill be asking myself questions, like why I chose this image and what will it explain to the public. Creating a list of key
loans, which will later be followed by possibly another list, as it wont always be possible to lend the works. Ill have to consider the cost and
where these products are coming from as well as its history and what the object meant to its creator. (N. P. Gallery 2011)

Exhibitions

When creating the exhibition Ill need to take my ideas and use them to captivate interest through taking the history gathered in the research
as well as insuring not to have too many of the same size works or black and whites near one another. I must work out if any of these chosen
works talk to one another so I am able to interpret the work and explain this to the public. It is here where Ill need to revisit the lighting,
access, condition, gallery space along with health and safety. (N. P. Gallery 2011)
Week 10 Online Activity - Evidence of Discussion Engagement Online
Thread:Week 10 Online ActivityPost:Week 10 Online ActivityAuthor: Gaylene DuncanPosted Date:February 2, 2014 9:20
PMStatus:Published
Hi Tanisha and Fellow Students.
This is an attachment of what will most likely influence me and my rough outline of direction for my proposed exhibition.
Cheers Gaylene Attachment: Week 10 Online Activity.pptx (113.627 KB) Reply Quote Mark as Unread

AMStatus:Published
Great presentation Gaylene, your ideas are very clear and well thought out. I must admit I prefer an actual gallery to an online one but it
was nice of you to consider the elderly and handicapped. I guess that many galleries will have a web page showcasing their exhibitions
which can be viewed online.

I like the idea of contemporary work, and the fact that you'd like to make the exhibition accessible to all, particularly students, it is already
beginning to feel like a very welcoming space. It's so nice to feel welcome and included, some galleries you walk into feel so intimidating
and well, pretty much like you are only welcome if you want to buy.

And having artwork in different sizes...I think that's great. I enjoy being at galleries, walking up close to some work, being able to stand
right back from others. It's great when there's a well placed bench to sit on and be able to sit and gaze at a large artwork. Engaging the
viewer will only make the viewer enjoy the art so much more. Well done, I think that your ideas reflect your personality and looking
forward to a visit to your gallery! Deb Reply Quote Mark as Unread

AMStatus:Published
Hi Deb what awesome feedback thank you mate. Part of my process as you know is about analyzing my gallery through my family, friends
and fellow students. Just reading your thoughts has told me so much about my process so far and I particularly like the fact you said it
"already beginning to feel like a very welcoming space". I feel this is my number one priority in some ways as if people are not welcome
then their just not going to want to stay and enjoy let alone return. I also found your feedback on the size of the artwork very enlightening
in terms of how this helps you to enjoy your experience as this was very much what I was hoping for as an end outcome. I'll be taking on
board your thoughts regarding the bench seat as I had not considered seating at all in my brief so this was a rather bad oversight on my
behalf. Thanks for bring that issue to light mate. lol I am also looking forward to open day and having you visit my friend.
Cheers Gaylene Reply Quote Mark as Unread
Week 10 Online Activity - Evidence of Discussion Engagement Online Continued
Thread:Week 10 Online ActivityPost:RE: Week 10 Online ActivityAuthor: Tanisha Burtnyk LECTURER MANAGERPosted Date:February 5,
2014 11:50 AMStatus:Published
Fantastic strategising Gaylene, I look forward to seeing this plan being put into action.
Reply Quote Mark as Unread

PMStatus:Published
Hi Tanisha thank you. I am finding myself going in circle with my plan. I wrote it out this way thinking it give me guidance, knowing Im not
taking things in so well with being so unwell but I seem to be stuck. I know I want my title to be Detournement: Signs of the times in
everyday life. I have a few artists in mind - David Wojnarowicz, Mark Flood, Ron English and a couple of others and this gives me my
contemporary side but I wanted to have historical artist to juxtapose. This is where I keep coming back to my circle as I am struggling to
find and artist that will sit with issues of health concern, civic war and brand imagery.
Im looking at dtournement as though it was a derailment, which seeks to find truths. Understanding dtournement to be a common
strategy to undermine visual language based on the Lettrist Internationals ideology in the 1950s with intent to alter the expression of
capitalist cultural against itself. Then taking on board the Situationists framework which looks at the economic status and expresses the
views reflective of a personal or cultural idea surrounding the everyday and weather its valid or not, by detouring and bending the
imagination through sarcasm and easily recognizable acts to mislead and convey literal meanings to translate honest truths from these
dishonest meanings. So the dtournement becomes a form of mediation working its way through the media to pass over or go beyond
the limits to disobey the fine art of conversion that overshadows our visual landscape, with intent to find new meanings and different
understandings to show leadership a bring a minority culture to the forefront. So using David Wojnarowicz Truth Myth (Domino Sugar),
Mark Flood Civil War and Ron English Innedible Edible Cathy Cowgirl as a natural response to the lies and intimidations the media and the
advertising companies feed us every day of our lives, making dtournement a form of protest and a place to take a stand to question the
realities of everyday life.

So I want to celebration of how dtournement come about by drawing attention to some of the artist who use these method to inspire
change in the human condition through their art work. To find solutions.

I know that I will be working based on the ideology of a gallery specifically a Contemporary art Institute. So focussing on art which show
the signs of the time in everyday life, steaming from a Lettrist Internationals ideology and taking on board the Situationists framework,
but bringing in line with contemporary views. It will be based on a local government gallery, so not for profit organization and ran for the
good of the public.
The gallery will be free and open to the public to browse within set of operational times. But having now done this further research I would
also like to add Historical Art to the collection as I feel the two go hand in hand. This I believe would only further enhance the experience the
general public would take away with them. To do this I would be looking at juxtaposing them side by side as a comparison and to add
contrast to the works.
My only problem is I dont seem to be able to sources my historical artist who uses dtournement in this manner.
I just seem to explain my idea better to you than myself so I best copy and paste this back to my work as it almost wrote itself. Ive been
trying to put this into words for the past five days.
Would you be able to advise me of any historical artist that I might be able to consider.
Cheers Gaylene

2014 6:18 PMStatus:Published
You seem to be perfectly on track Gaylene... so you are wanting to know about some more historical detournment artists? Or do they have
to be historical detournement artists who also deal with issues of health concern, civic war and brand imagery?
Tanisha

PMStatus:Published
Hi Tanisha preferred historical detournement artists who also deal with issues of health concern, civic war and brand imagery? if possible.
Cheers Gaylene

2014 6:26 PMStatus:Published
hmmm ok, I will have to get back to you on that one when I have some time tomorrow.

PMStatus:Published
Thanks Tanisha I appreciate you take the time for me to help me.
Cheers Gaylene

2014 10:44 AMStatus:Published
Dear Gaylene,
Key word searches online may help with your research.
We encourage students to conduct their own research; however Marzena, the unit coordinator has kindly offered some advice in
response to your question:
When I think of 'historical' detournement artists I think of Situationist International (SI), which was most active during 60s. The
Situationist International Archive probably provides the best guide to themes their members dealt
with http://www.cddc.vt.edu/sionline/si/situ.html
The major theme pursued by SI was to subvert Capitalism. Classic text by Guy Debord 'The Society of the Spectacle' recognised that
people needed to liberate themselves from becoming passive. People should not give in to the flow of imagery coming at them from the
tv screen. Capitalism was seen as bankrupt - it never delivered on the promise to enrich lives. On the contrary regardless of the apparent
riches/goods/technology it was believed to impoverish lives, continue people to feel alienated for their, work, environment and each
other. SI believed that lives could be enriched through directly experiencing the world and devised strategies that could be used to
reconnect with the world on one's own terms (derive and detournement). Capitalism could be toppled over if people took matters into
their own hands.
Civic War? Maybe an example would need to be sought amongst more contemporary artists who also deal in post colonial legacy - I'm
thinking Kara Walker because she uses imagery from fairy tales/children stories to deal with black/white American history.
detourned comics? Andre Bertrand ('Le Retour de la Colonne Durutti')
Brands? Again that's more of a 20th and 21 Century phenomena e.g. Danielle Buetti (Looking for Love series). Maybe Elmgreen and
Dragset's Prada sculpture could be considered a detournemt? Definitely Adbusters.
Health concerns? Again I think this is more of a current concern - try Adbusters https://www.adbusters.org/spoofads/tobacco

PMStatus:Published
Hi Tanisha I do understand sorry.
I had looked into Guy Debord but kept understanding him to be contemporary. I will take a look at these ideas. Thank you both for your
help its much appreciated.
Cheers Gaylene

AMStatus:Published
Most welcome, I really enjoyed your presentation and ideas very much. Its always great going to a gallery where you feel comfortable and
welcome...such a nice experience. Its also great coming out of a gallery having learnt something new. Deb

AMStatus:Published
Hi Deb I would have to totally agree with you mate. Thanks again.
Cheers Gaylene
Select: All None

Week 10 - Creating Exhibitions Video Serious
Planning
Start with idea - Why?
Interest?
Pitch idea to colleagues
Consider date
Schedule for exhibition
Identify Key deadlines
Mission/Content/List
Creation
When is it needed
By when
Set time for creator
Relations
(Publication/Collection of
material/ Photographs
Meeting Dates (Agree on
things)
Aesthetic Elements
Content
Medium
Size
Colour
Subject Matter
Class of work
Isolation
Interpreting/Story across
Public Understanding
How much do they know?
Most important aspect of work
Headline story
Research
Get Works
Meet owners/curators/collectors/museums
Persuade to lend work
Stock Control
Practical Aspects
Lighting
Access
Condition of gallery
Space
Logistics of things
Travel
How to display
Problems that might arise for
curator
Balance between protection and
getting it out there to educate
Education Resources (Learning
Team)
Decide on kind of exhibition to run
Consult meetings
Discuss kind of work to display
How to use this with, schools,
colleges, universities or whatever
age we might be focusing on.
Project Team Meetings
Includes people from
Marketing
Press
Exhibition production who
organise transport from elsewhere
Learning team
Commercial managers who look at
things to stock in the shop
(N. P. Gallery 2011)
Handlers
Get involved at early
stage
Discussing particular
works
Consider issues
regarding handling,
movement, installation
They take directions
from the curator or
exhibition organizers
They unpack work
Lay out work in gallery
according to plans
Add fittings to the work
During installation they
work with curator,
exhibition manager,
director to decide what's
going where.
Moving things about
Discuss height or
particular requirements
involved in that work
Hang the work.
Implementation
Complex project like exhibition involves
lots of people. The curator begins the
process, but as it develops more
assistance , advice and support is
required. This process involves:
Design
Publication
Press
Fundraising
Exhibition managers
People to manage paper work and
administration.
Transport bringing pictures from all
over the world.
When the work first arrives it is condition checked by the
conservator or exhibition manager. This is to note the condition they
arrived in so that can be returned in the same condition.

Consideration is also given to the hanging arrangements to ensure
the viewing height is not to high and easy to see. But also to ensure
that people in wheelchairs or small children can see the work and
read the descriptions.

Once the exhibition is shaped captions need to be written. In doing
so the language needs to be simple and straightforward so its easy
to understand. Its also important to consider the type of font and
font size so its easy to read. What goes in the text is very important
and requires the most important elements to headline the story.
Evaluation
By number of
visitors that came.
Press response
Marketing
The catalogue and
how well it sold
Retail
Public Response
Curators thought
Did it meet their
objective.
Audience Reaction
Constructive
criticism

(N. P. Gallery, Creating Exhibitions -
Implementation 2011)
(N. P. Gallery, Creating
Exhibitions -
Evaluation 2011)
Creating an exhibition takes on many forms and
sometimes galleries will work with a guest curator and
bring expertise in from outside to work with there team
of expertise. Each show has many steps to work
through in order for an exhibition to take place. This
tends to require many people working together starting
at the curator coming up with and idea and considering
what the show will address and how they will tell this
story. They also need to consider what works will be
included and how to choose these works. They then
need to do research to develop their thoughts about
what they show will be about and what art works
should be included to successfully tell their story to the
public. The idea is first developed by the curator and
then he pitches his idea to his colleague to see if the
idea is worth taking on. He/she must provide reasons to
express why the work is important and why this artist. It
should offer a balanced programme that considers the
period the gallery covers, covering both the historical
and contemporary. The mediums should include a cross
of paintings, photographs and multimedia at the same
time as considering the chosen theme. There needs to
be a balance over a period of three years as its
impossible to do it all in a year. It is important to ask if
the idea is interesting, captivating, different or if new
research has been conducted as it has to be able to
engage with the audience.
Research
Many Different Elements to putting a show together
Pulling material together - Why/why not choose this image
What will it explain to the public about your idea?
Sometimes its something less academic easier for people to understand.
For each exhibition we are likely to have to borrow from other people.
In this country or overseas.
Curator provides list of key loans as a first stage a longer list will follow.
Is the exhibition viable/ its cost/ where things are coming from.
Lending out
Get requests from all over the world
How to decide - asking why they want the work for the exhibition or display.
Is it promised to someone else? Or Is it being used here?
What state of conservation is it in?
Can it withstand a taxing journey in the course of three months?
History of the object
What the fabricator meant the object to be
What history its gone through before it comes to you to repair or clean.
Research before taking on any cleaning
Know what there is on the surface
When a painting is damaged its stabbed with a knife and resin collected and
analysed under a microscope to see layers of paint.
It helps you not to do the wrong thing and prevent mistakes.
When viewing other exhibitions consider
How that exhibition is communicated to its audience?
How they have installed it?
What the design is
Think creatively how that would work in your gallery.
What you like about it, challenging or whats interesting or different about it
also think about what you dont like about it and what you can learn from
that.
(N. P. Gallery, Creating Exhibitions -
Research 2011)
Doing a complex project like an
exhibition involves a lot of people.
Start with an idea is it captivating,
interesting, different or new research
What you dont want
Too many of the same size next to each
other
Too many black and white next to each
other.
Aesthetic Elements
Is there a cluster of works which relate
rather than looking at works in
isolations
Interpreting it and getting the stories
across.
Creating a story with the pictures
especially famous people as everyone
knows their stories.
Compiling it around one of their stories
First its research
What do I want my show to be about?
What are the right things that are going
to tell that story to the public.
You need to think about many
elements including all the practical
aspects
Access
Lighting
Conditions
Gallery space
Health and safety (kids in place)
Sometimes its like a giant puzzle and
you think its never going to work out.

Working with the pictures can be nerve-
racking as some of the frames are very
old as are the paintings and things are
fragile.

You have to make sure that everything
you receive is in the same condition
when it leaves.

When pictures are put up on the wall
its magical and they spring to life.

In the end you think to yourself thats
what we have done and we did it
properly.
Creating Exhibitions
Not many people know what you do to
curate a show how you put a show on.
(N. P. Gallery, Creating Exhibitions 2011)
Overview
In the early 1990s contemporary group exhibitions emerged capturing the spirit of the art. Angela Bulloch, Maurizio Cattelan, Liam
Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Hller, Pierre Huyghe, Jorge Pardo, Philippe Parreno, and Rirkrit Tiravanija
each share certain strategies and sensibilities and together they produced this presentation. Linked by mutual thinking of the early
modernist desire to fuse together art and life each of these artists are recognized for their own practice. Instead of spreading out and
forming representational strategies, they honor experiential, situation-based work over isolated aesthetic objects. For these artist the
exhibition model has in a sense become a space and period of existence for the creative medium it and of itself. This showcases the
aspect of their work by their individual, site-specific projects and installations that in several cases, captivates and spread out the
conventions of the museums practice. As the works have one or more points in common and overlap in the museums round building the
common nature of both the artist and their shared history comes into play. Over the past two decades they have fused together in
numerous assemblages to create joint-authored works that encompass the flexibility of their training at the same time as softening the
Week 10 Any Space Whatever Online Exhibition - Reading
authority of singular artist visions. Collective
projects range from codirecting films and organizing
exhibitions to franchising the use of a Japanese
manga character and initiating a land-reclamation
project in rural Thailand.

The title of the exhibition comes from the result of
French philosopher Gilles Deleuze as suggested by
Gillick as he used the term any-space-whatever to
define a moment relating to the cinema explained by
various viewpoints that are removed from time and
space. In connection to the exhibition, the idea view
being for ever updated echoes diversity,
changeableness, and potentiality that inform the
work of the participating artists. Their goal to trigger
the environment, steering clear of self-reflexive
critique in favour of engagement, entertainment and
seduction, so all become a foundation for provoking
new accounts.-Nancy Spector, Chief Curator
(Museum 2009 - 2009)
(Museum 2009 - 2009)
Week 10 Any Space Whatever Online Exhibition - Reading
Artist
Each artist is listed on the artist
page with a photo and
description of their work
followed up with their biography
Credit
Who it is sponsored by
Addition support
Acknowledgements

Order Catalogue
Is a link going to the online store.
Satellite Project
The Wrong Gallery
M/M (Paris)
Anna Sanders Films
Each has a brief description of the type of building and
also history of its origins or program.
Programs
(Museum 2009 - 2009)
(Museum 2009 - 2009)
Week 10 Exercise 1: Proposed Exhibition Theme and Artist Selection
How to discover my keyword as
the bases which I will develop
my theme for my exhibition
Consider Dictionary Terms
Appropriation
1. anything appropriated for a special purpose, as
money.
2. the act of appropriating.
3. an act of a legislature authorising money to be
paid from the treasury. (Dictionary, Macquarie
Dictionary - Appropriation n.d.)
The Everyday
1. of or relating to every day; daily: an everyday
occurrence.
2. of or for ordinary days, as contrasted with
Sundays or special occasions: everyday clothes.
3. such as is met with every day; ordinary;
commonplace: an everyday scene.
Pleasure
1. the state or feeling of being pleased.
2. enjoyment or satisfaction derived from what is
to one's liking; gratification; delight.
3. worldly or frivolous enjoyment: the pursuit of
(Dictionary, Macquarie Dictionary - Everyday n.d.)
Pleasure.
4. sensual gratification.
5. a cause or source of enjoyment or delight: it
was a pleasure to see you.
6. pleasurable quality.
7. one's will, desire, or choice: to make known
one's pleasure. (Dictionary, Macquarie Dictionary -
Pleasure n.d.)
My own understanding of these
keywords
The Everyday
Everyday occurrence Schooling, Work, House keeping, Bills, Daily Patters,
Driving, Walking, People.
Ordinary - Food, People, Characters, Objects, animals, lifestyle
Special occasions - Birthdays, Anniversaries, Weddings, Christenings,
Housewarmings, Outings
Commonplace Shops, Stations, Parks, Sporting events, Bars, Car Parks
State of feeling Happy, pleased, smiling, grinning
Satisfaction achievement, amusement, comfort, contentment, delight,
enjoyment, fulfilment, gratification, happiness
Worldly - Earthly, Earthy, Mundane, Practical, Secular, Temporal, Human,
natural, physical, spiritual
Pleasure
Sensual Gratification - senses or appetites, carnal, Fleshly,
lacking in moral restraints, lewd or unchaste,
arousing or exciting the senses or appetites., worldly, materialistic, irreligious,
physical sensation, sensory.
Enjoyments - Fun, Indulgence, Luxury, pleasure, satisfaction, fruition
Desire - Ambition, Aspiration, Lust, motive, need, passion, thirst, will, wish,
attraction, urge, liking
Week 10 Exercise 1: Proposed Exhibition Theme and Artist Selection Continued
How to discover my keyword as
the bases which I will develop
my theme for my exhibition
Consider Dictionary Terms
Appropriation
1. anything appropriated for a
special purpose, as money.
2. the act of appropriating.
3. an act of a legislature
authorising money to be paid
from the treasury. (Dictionary,
Macquarie Dictionary -
Appropriation n.d.)
My own understanding of these
keywords
Appropriation
Special Purpose Goal, Dream, Principle, Reason, wish, hope,
Mission, Big Idea
Appropriating Allot, Apportion
Devote, Disburse, Earmark, Allow, Appoint, Assign, Budget,
Reserve, Set Apart, Hold, Keep, Retain, Refuse, Reject, Return,
Bestow
Legislature - Body, Chamber, House, Parliament, Assembly,
Congress, Council, Lawmakers, Senate, House of Representatives
Based on my research and my now understanding of these three key word I have decided to go ahead with the everyday as I feel this
will allow me a much greater scope in terms of pulling together works of art that will be meaningful and engaging to my audience. That
will allow me to use the work to educate my audience through taking them on a live journey where they are able to personally engage
with the work from a personal level.

To further my understanding though I will need to consider what the difference is between Contemporary and historical Art works;
through further research.
What is the difference between Contemporary and historical Art works?
Contemporary just means "art that has been and
continues to be created during our lifetimes." In other
words, contemporary to us.
Now, of course, you can expect a certain amount of
overlapping between "Contemporary" and "Modern"
art in your lifetime. A good rule of thumb is:
Modern Art: Art from the Impressionists (say, around
1880) up until the 1960s or '70s.
Contemporary Art: Art from the 1960s or '70s up until
this very minute. (Esaak n.d.)
Art history is the study of objects of art in their historical development
and stylistic contexts, i.e. genre, design, format, and style.
[1]
This includes
the "major" arts of painting, sculpture, and architecture as well as the
"minor" arts of ceramics, furniture, and other decorative objects.
As a term, art history (also history of art) encompasses several methods
of studying the visual arts; in common usage referring to works of art
and architecture. Aspects of the discipline overlap. As the art
historian Ernst Gombrich once observed, "the field of art history [is]
much like Caesar'sGaul, divided in three parts inhabited by three
different, though not necessarily hostile tribes: (i) the connoisseurs, (ii)
the critics, and (iii) the academic art historians".
[2]

(Wikipedia, Art history n.d.)
contemporary art
Web definitions
Contemporary art is art produced at the present period in
time. Contemporary art includes, and develops from,
Postmodern art, which is itself a successor to Modern art. ...
(Wikipedia, Wikipedia, the free encyclopedia Contemporary
art n.d.)
art history, also called art historiography, historical study of the visual
arts, being concerned with identifying, classifying, describing, evaluating,
interpreting, and understanding the art products and historic
development of the fields of painting, sculpture, architecture, the
decorative arts, drawing,printmaking, photography, interior design, etc.
(Young n.d.)
Based on these definitions I have sourced, I believe the difference between Contemporary Art and Historical art is:
One to be the study of art (Historical Art)
Whilst the other is actually creating the work within our lifetime (Contemporary Art).

Contemporary art derived from Postmodern art and for me is art produced now although it is also art dating back to 1960/70s.
Historical art seeks to identify, describe, evaluate, interpret with the intent to understand the artefact.
So I now know the difference between Contemporary and Historical Art works. The question still remains in what direction I should
take with the key word EVERYDAY and strangely I keep coming back to the Lettriste internationals ideology in the 1950s and the
Situationists framework .
(HOOLBOOM n.d.)
So what was the Litterist Internationals ideology in the 1950s and how does this connect to my Situationists framework?
The Litterist Internationals were a
group of radical artist and theorists
based in Paris who were around during
the period of 1952 and 1957 and where
brought together by Guy Debord.
(Wikipedia, Letterist International n.d.)
Lettrism is an avant-garde movement,
brought about by the French and
established in Paris in the mid-1940s by
Isidore Isou. (Wikipedia, Lettrism n.d.)
The Situationist International (SI) was a
group of avant-garde artists, intellectuals
and political theorist who pulled together
a social revolutionaries to form the
international organization in 1957 and
remained until 1972. (Wikipedia,
Situationist International n.d.)
Their ambition was:
Psycho-geography - to label the things they seen as
pattern of emotional force-fields that would invade a city.
Map these forces and use as a foundation to shape a
system for unitary urbanism.
Created a variety of suggestions
Abolition of museums
Placing art in bars
Metro open all night
Putting in escalators for better access
They developed the technique of dtournement (utilising
plagiarised material) for new and usually radical
purpose.(Wikipedia, Letterist International n.d.)
So what was the Litterist Internationals ideology in the 1950s and how does this connect to my Situationists framework?
Situational International A International
organization of social
revolutionaries
(Wikipedia, Situationist
International n.d.)
Made up of
Avant-garde artist,
Intellectuals and
Political Theorists (Wikipedia,
Active from
1957 till 1972
International n.d.) The intellectual foundations of
the Situationist International
began from
anti-authoritarian Marxism
avant-garde
art movements of the early
20th century,
particularly Dada and Surreal
ism
International n.d.)

They Attempted to:
Combine diverse theoretical disciplines into a modern and comprehensive critique of mid-20th
century advanced capitalism.
The recognized that capitalism had changed since Marx's formative writings but still felt his
analysis of the capitalist mode of production remained fundamentally correct
They expanded on classical Marxist concepts, such as his theory of alienation (Wikipedia,
This led them to believe Marxist theory, that the social alienation and commodity
fetishism were no longer limited to the fundamental components of capitalist society, but
advanced capitalism spread themselves to every aspect of life and culture. They rejected the
notion that advanced capitalism's apparent successes
Theory was a idea of the vision, a united critique of advanced capitalism which concerned itself
with the progression of expression and mediation of social relation through objects.
They believed the move from individual expression through life experiences to individual
expression by exchange or consumption of commodities, or second hand alienation, inflected
damage to both the individual and society.
Intentionally constructed for the reawakening and pursuing authentic desires, experiencing the
feeling of life and adventure, and the liberation of everyday life
At first there artistic focus emphasised concepts such as unitary urbanism and physio-geography
but shifted toward revolutionary and political theory (Wikipedia, Situationist International n.d.)
With this greater understanding
of the Litterist and Situationist
I began to think about
dtournements and how
dtournements might help me
with my keyword EVERDAY.
But first I should revisit
Dtournements to highlight
how this might be useful.
So what is Detournement?
A dtournement is a technique developed by the Litterist International during the 1950s and later modified by the Situationist
International. So dtournement is the method of propaganda, which reveals the wearing out and loss of importance of those spheres.
Another words it turns the expressions of the capitalist system and its media culture against itself. Its generally used to set up
subversive political pranks, an influential tactic called situational prank, raised by prank movement in the late 1970s and inspired by
culture jamming movement in the late 1980s.It twist radical ideas to absorb more socially acceptable context. (Wikipedia,
Dtournement n.d.)
All this research lead me back to my original thoughts during week 10. When writing my brief for the week 10 Online Activity, I stated
that I will be working based on the ideology of a gallery specifically a Contemporary art Institute. This I intend to keep the same.
However I also stated that I would be focussing on art created at the present period in time, steaming from a Post-modern art the heir
to Modern art. This I have now altered a little as a result of my understanding of the work evolving over time. It will now be focussing
on art which show the signs of the time in everyday life, steaming from a Lettrist Internationals ideology and taking on board the
Situationists framework, but bringing it in line with contemporary views. It will be based on a local government gallery, so not for profit
organization and ran for the good of the public. The gallery will be free and open to the public to browse within set of operational
times. But having now done this further research I would also like to add Historical Art to the collection as I feel the two go hand in
hand. This I believe would only further enhance the experience the general public would take away with them. To do this I would be
looking at juxtaposing them side by side as a comparison and to add contrast to the works. But first I need to consider what artist
would be best to consider adding to my short list.
Artist for consideration
Contemporary Artist Historical Artist
David Wojnarowicz,
Mark Flood,
Ron English
Andy Warhol
John Clem Clarke
I know I want my title to be Detournement: Signs of the times in everyday life. I have a few artists in mind - David Wojnarowicz, Mark
Flood, Ron English and a couple of others and this gives me my contemporary side but I wanted to have historical artist to juxtapose.
This is where I keep coming back to my circle as I am struggling to find and artist that will sit with issues of health concern, civic war
and brand imagery.

Im looking at dtournement as though it was a derailment, which seeks to find truths. Understanding dtournement to be a common
strategy to undermine visual language based on the Lettrist Internationals ideology in the 1950s with intent to alter the expression of
capitalist cultural against itself. Then taking on board the Situationists framework which looks at the economic status and expresses the
views reflective of a personal or cultural idea surrounding the everyday and weather its valid or not. Detourning and bending the
imagination, through sarcasm and easily recognizable acts, to mislead and convey literal meanings to translate honest truths, from
these dishonest meanings. So the dtournement becomes a form of mediation, working its way through the media to pass over or go
beyond the limits to disobey the fine art of conversion that overshadows our visual landscape, with intent to find new meanings and
different understandings to show leadership a bring a minority culture to the forefront. So using David Wojnarowicz Truth Myth
(Domino Sugar), Mark Flood Civil War and Ron English Innedible Edible Cathy Cowgirl as a natural response to the lies and intimidations
the media and the advertising companies feed us every day of our lives, making dtournement a form of protest and a place to take a
stand to question the realities of everyday life.

So I want to celebration of how dtournement come about by drawing attention to some of the artist who use these method to inspire
change in the human condition through their art work. To find solutions.

Now that my idea is sorted
I know the direction I wish to take, I will be needing to pitch my idea to my colleagues. If at this time my colleagues are happy with the
idea and happy to go ahead, than a date or dates will need to be considered. These dates will need to take into account:
Now that my idea is sorted continued
Opening Date
When the work is needed by
When to ask for the goods by
Time for the curator
Determine deadlines for the press and marketing
Meeting Dates to agree on things
When and where its taking place
Organising to borrow the works
Stock Control
Travel time
(fedex n.d.)
Before I can answer some of these question I first need to
find out how much time it will take to have the work
shipped to my location. As the works I am looking into are
from America, I will need to be looking at International
Services. Having done some research into the best way to
have the works shipped I have come to understand that
Federal Express would be a suitable company to use.
Now that I have decided on Federal Express as my shipping company I need to consider how long it will take on average for the works
to be shipped. This will depend on the type of service I chose to use. For example International First, International Priority,
International Priority Freight, International Economy, International Economy Freight or International Priority Direct Distribution. As
time is not an issue due to working things out well ahead of time, I will be using the FedEx International Economy Freight as it offers
me the same reliable shipping, at a cheaper cost, with no weight limits. So I will need to allow between 3-6 business days for
transportation. However I will be allowing a further 14 days to account for any unanticipated problems that may arise. This way I
should ensure a smooth transition of the curating process.

Once I have had the stock shipped to our location, time will need to be provided for each artefact to be carefully examined, so that
any damage that may have occurred during the process of shipping can be accounted for. This will allow me to take stock and check
the condition of the artefacts to ensure they are returned in the same manner they were received. As there are five piece of work I
will allow two-an-a-half days to allow half a day for each work to be carefully examined.
(fedex n.d.)
A vital aspect of this exhibition is acquiring the artefacts. So I will need to allow time for organizing to borrow the works. This is not
a simple process and will require a fair bit of time to get it right. Not all works will be able to be lent due to other commitments they
may be attached to. So the first thing I need to do is revisit my short list to establish which works I will be requiring. I will then need
to contact and meet with owners, curators, collectors or museums, in order to persuade them to lend work to my contemporary
Art Institute.
Who will need to be contacted
Christies
Jonathan Levine Gallery
All Posters.com
Gallery: John Clem Clarke
Intended date for exhibition

I would like the exhibition to take place during the September spring break before the
lead up to Christmas. This is because to the advertising industry this is like the main
meal, their time to shine, their seafood platter of all platters, a banquet just waiting to
be exposed and manipulated by incredibly deceitful artistic play on words and imagery. It
is their way to take advantage of the individual and social culture as a whole. So having
this exhibition during the lead up to Christmas, particularly during the spring break, will
allow greater opportunity for those that wish to attend in time, for them to take a stand
and not fall victim to the giants of commercial advertising.

The question is how long should this exhibition be ran for? As the exhibition is limited to
only five works, I have a great fear that it will not be able to hold its own for to long.
However I would like the exhibition to run long enough for as many as possible to attend.
Taking these two things into account I believe a month would be a suitable amount of
time to run the exhibition.

So my proposed dates would be:
Sep 1 - 30 Sep, 2014
Now I have my dates

With the dates sorted out I need to
contact each of those in my contact
list.

If all agree to lend the work for these
date, then I can proceed to my next
step.
Where to now?

I need to ask myself how long, I as
the curator will need to work with
the handlers complete the
instillation. This will need to take into
account:
The lay out of the gallery
Adding fitting
Placement (including height and
ease of reading)
Captions (Language kept simple,
font size)
Where to now? Continued

Lighting
Falls Walls

Now that I have considered all these things I need to allow a time for:
Unpacking the previous exhibition.
To clean up and fit falls walls or repaint.
1 2 days to unpack the selection of works and arrange them along the wall
1 2 days for hanging the art and adjusting lighting and also posting ID signs.

So looking at this at least six days are required for the instillation however I will allow ten days to allow room for any complications that
may arise. So I will need to make a request for these works no later than August 1
st
, 2014.
Making a request

Before making a request I need to do my preliminary
research. I will also need to include the title of my
exhibition, venue, open and closing date, details of
main exhibition theme, full details of items requested,
how they fit into the proposed exhibition and the
names and contact details of person(s) responsible at
each venue. I will also need to send a formal letter one
year in advance.
Title of Exhibition:- Detournement: Signs of the time
and the effects of everyday advertising on everyday
life
Venue: - Gaylenes Contemporary Art Institute, 973
Nepean HWY, Moorabbin, Vic 3189
Open and closing date: - September 1 30, 2015
Details of main exhibition theme:- Everyday Life
(See details next slide)
Details of main exhibition theme:- Everyday Life
The exhibition will focussing on art which show the signs of the time in everyday life, steaming from a Lettrist Internationals
ideology and taking on board the Situationists framework, but bringing it in line with contemporary views. It will comprise of
both contemporary and historical artist juxtaposing them side by side as a comparison and to add contrast to the works.
Including art works from David Wojnarowicz, Mark Flood, Ron English, Andy Warhol and John Clem Clarke.

The theme will view dtournement as though it was a derailment, which seeks to find truths. A common strategy to undermine
visual language based on the Lettrist Internationals ideology in the 1950s with intent to alter the expression of capitalist cultural
against itself. Using a Situationists framework which looks at the economic status and expresses the views reflective of a personal
or cultural idea surrounding the everyday and weather its valid or not. By expressing how detourning and bending the
imagination, through sarcasm and easily recognizable acts, to mislead and convey literal meanings to translate honest truths,
from these dishonest meanings. Dtournement becomes a form of mediation, working its way through the media to pass over or
go beyond the limits to disobey the fine art of conversion that overshadows our visual landscape, with intent to find new
meanings and different understandings to show leadership and bring a minority culture to the forefront.

Featuring David Wojnarowicz Truth Myth (Domino Sugar), Mark Flood Civil War, Ron English Innedible Edible Cathy Cowgirl, Andy
Warhol A La Recherche du Shoe Perdu and John Clem Clarke Cola Billboard, as a natural response to the lies and intimidations the
media and the advertising companies feed us every day of our lives, making dtournement a form of protest and a place to take a
stand to question the realities of everyday life.

A celebration of how dtournement comes about by drawing attention to some of the artist who use these method to inspire
change in the human condition through their art work To find solutions.
Full details of items requested:-
DAVID WOJNAROWICZ (1954-1992) True Myth [Domino Sugar]
screen-print in colours, 1983, on thin wove paper, L. 30 3/8 x 23 in. (772 x 591 mm.) S. 34 x 25 in. (864 x 635 mm.) Christies
(WOJNAROWICZ 2012)
Mark Flood Civil War spray-paint on found coroplast
24.5 x 24.5 inches (62.23 x 62.23 cm) Jonathan Levine Gallery
Ron English Incredible Edible Cathy Cowgirl oil, synthetic polymer paint and collage on canvas 64 x 52 inches (162.56 x 132 cm)
Andy Warhol A La Recherche du Shoe Perdu, 1955 (Blue & Pink Shoe) Art Print - 36 x 28 cm Allposters
John Clem Clarke Cola Billboard, 1995 Size Unknown Coca-Cola Pop Art Gallery: John Clem Clarke
How requested items fit into the proposed exhibition:- They are a natural response to the lies and intimidations the media and the
advertising companies feed us every day of our lives, making dtournement a form of protest and a place to take a stand to question
the realities of everyday life.
Names and contact details of person(S)
responsible at each venue:-
New York
Allison Whiting
Senior Vice President
Director of Museum Services
awhiting@christies.com
Tel: + 1 212 636 2618
Jonathan LeVine Gallery
529 West 20th Street, 9th floor
and 557C West 23rd Street
New York, NY 10011
212-243-3822
Alix Frey, Director
Malna Seldin, Associate Director
Anna Ortt, Sales Director
General inquiries:info@jonathanlevinegallery.com
AllPosters.com +1(919)277-2172 Business
Development: Business@allposters.com
Formal letter:- one year in advance
Once I have sent my formal letter requesting items for loan, it is this case of waiting for a response. This response will be determined
by on a few key considerations. This consideration will take into account the relevance of the requested objects in regard to my
exhibition, the objects availability, how suitable these objects are for travel and the administrative and technical work regarding the
museums existing programme. As the prospective borrower I should anticipate about a two month delay in this response. With this in
mind it would be a wise idea to have a loan request in place for my long list in case these works are not granted permission.

The other thing I will need to consider is that security and facilities measures are in place to ensure thee safety of the borrowed
artefacts.

The cost to both the loner and the borrower, taking into account the transportation and couriers, creating and packing materials,
insurance and condition photos.

And finally I need to speak to the Education Resources (Learning Team) to discuss how to use this exhibition with, schools, colleges,
universities or whatever age we might be focusing on.
Agenda - Important Dates

May 1
st
2014 - Meeting Dates to agree on things (To pitch idea and organise who is required to do each task listed above and
organize for these works to start taking place)
June 1
st
2014 - Meeting Dates to agree on things ( To come together to catch up and discuss where everyone is at and what needs
to take place before making a request for works.
July 1
st
2014 - Meeting Dates to agree on things (To discuss any last minute issues that may arise in regard to making a request for
loans.
August 1
st
, 2014 - Make Loan request
September 1
st
, 2014 - Education Resources (Learning Team) to discuss how to use this exhibition with, schools, colleges,
universities
October 1
st
2014 - Meeting to discuss outcome of Loan arrangements ( If granted discuss practical aspects. If not granted consider
if large list.) (For the purpose of this assessment the work was all granted)
Agenda - Important Dates continued

November 1
st
2014 - Meeting about Practical
aspects (Discuss lighting, Access, condition of
gallery, Space)
December 1
st
2014 - Meeting about travel (To sort
out shipping and dates)
January 1
st
2015 - Meeting to discuss media, how
and when we want to use the media
February 1
st
2015 Marketing what type of
marketing we wish to use in terms of strategies.
March 1
st
2015 To revisit lighting, access,
conditions of gallery, space to see how its coming
together.
April 1
st
2015 To revisit shipping discuss the
companies sourced, pricing and determine which is
best to use.
May 1
st
2015 To revisit media to go over findings,
make decisions and set up times
June 1
st
2015 - To revisit marketing to go over
findings, make decisions and set up times
July 1
st
2015 For all involved to come together one
last time to tie up any lose ends.
Travel Time 28
th
July 17
th
August 2014
Examine Artefacts 18
th
- 21
st
August 2014
Set up time for Instillation 22
nd
31
st
August
Exhibition September 1
st
30th
With important dates organised my next
step is to do an in depth assessment of
each artist.

In order for me to be able to juxtaposing
them side by side as a comparison and to
add contrast to the works, I will first need to
research each of these artist in-depth to first
assess if they meet my theme of everyday
life and second to consider if these artist
works have common interest or talk to each
other as this will help to make the exhibition
more informative and engaging with the
general public. Whilst undertaking this
research I will also need to consider, how I
can use their work to captivate my audience
and make it interesting for them. This would
also require me to consider why I am
choosing this particular art work and what
this image would explain to the public.
These questions will play an important role
in critically considering their context and
intention as well as their relationships when
presented together. But will also help me to
define my ideas around what it is I wish
these works to say to the public.
Researching the Contemporary Artist
Does it meet my theme of everyday life
David Wojnarowicz, was born
September 14, 1954 in Red Bank, New
Jersey, United States and passed away
on July 22 1992 in New York City, New
York, United States. He attended the
High School of Performing Arts and
was a painter, photographer, writer,
filmmaker, performance artist. He was
also know as an AIDS activist
prominent in the New York City art
world. He was also awarded the
Lambda Literary Award for Small Press
Book Award for his book Memories
That smell Like Gasoline in 1992.
(Wikipedia, David Wojnarowicz n.d.)
DAVID WOJNAROWICZ (1954-1992)
True Myth [Domino Sugar]
screen-print in colours, 1983, on thin
wove paper,
L. 30 3/8 x 23 in. (772 x 591 mm.)
S. 34 x 25 in. (864 x 635 mm.)
Christies
(WOJNAROWICZ 2012)
(Wikipedia, David Wojnarowicz n.d.)
(WOJNAROWICZ 2012)
This image demonstrates the clash of juxtaposing the commercial world of mass production
and unimaginative images such as everyday things like sugar and capitalistic monetary
systems such as grocery shopping as opposed to cartoonish images in this case two babies
holding hands to express homosexuality, queer sex and outside values along with burning
houses showing the destruction and breaking down of institutions and a diseased dog to
express violence and restoring of loyalty. So the image meets the theme of everyday life.
How can I use David Wojnarowicz work to captivate my audience
and make it interesting for them?
Why I am choosing this particular art work
What this image would explain to the public.
The image highly demonstrate s the signs of the time through its
need to expresses the views reflective of a personal or cultural idea
surrounding the everyday be it valid or not, by detouring and
bending the imagination through use of sarcasm and easily
recognizable acts to mislead and convey literal meanings to
translate honest truths from these dishonest meanings. So it acts
as a mediator working its way through the media going beyond the
limits to disobey the fine art of conversion that overshadows our
visual landscape, and aims to find new meanings and different
understandings to show leadership and bring a minority culture to
the forefront.
The image can be used to show the power behind dtournement
and how dtournements when done correctly can by used as a
form of protest to inspire change in the human condition.
The image would explain to the public how a natural response to
the lies and intimidations the media and the advertising companies
feed us every day of our lives can be overturned using simple
measures such as dtournements to bring them in line with todays
views.
(WOJNAROWICZ 2012)

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Week 9: Project Three: Remix and Juxtaposition (Continued)

Week 9 Exercise 3: Novel Combinations

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