= | swe conreveonany Artwise Contemporary provides teachers and students of Visual Arts with a diverse selection of Australian and international artist case studies, focusing specifically on current themes/issues and contem- porary forms. Like the other books in the Arfwise and Senior Artwise series, these case studies are suitable for use in all states and particu- larly cover the New South Wales syllabus requirements in terms of: = practice (artmaking and art criticism) f= the conceptual framework (relationships between artist, artwork, world, audience, and their changing roles) 1 the frames (subjective, cultural, structural and postmodern). Detailed descriptions of selected artworks are included, as well as, reviews by art critics, artists’ statements and interviews with several of the artists to offer a deeper understanding of the artists’ intentions and artmaking practice. Ideas for students’ own artmaking are inter- spersed, and each case study concludes with a set of short response questions and essay topics. Some sample essays written by students are also included in the Appendix. Current trends in art media Painting Today’s new technologies allow artists to involve the audience through a variety of senses and interactive experiences. Yet painters seem to be going back to the love of the medium of painting itself, the tradition of working with the surface, the possibilities of layering of colour and texture, delighting the eye with the tactile qualities and suggestions of depth. Painting has always allowed artists to express their emotions in immediate ways. With the advent of Modernism, painters also used the canvas’s surface to make intuitive marks and to extend their body gestures onto the painting surface (consider, for example, Jackson Pollock and Cy Twombly). The fluidity of paint and the various ways it can be applied — particularly with new developments in media, such as gel structure, flow control, impasto — allows artists to explore the surface, make decisions and take risks during their artmaking. ‘There will always be a place for the traditional skills of painting as no other art medium offers such possibilities for visual communi- cation. Paintings not only delight the eye in an immediate way but also allow for subtlety and richness of surface that intrigue and excite viewers over time. Photography Photography has the power to represent realistically, to document and record. Contemporary artists often build on the possibilities that photography offers, creating a type of narrative or dialogue within a series of works. The larger scale now possible through technological advances draws the audience into the photograph, challenging themto come on a journey to interpret their own meaning. Devices such as focus, viewpoint, tonal adjustment and colour create mood and com- municate the artist’s intention. ‘Advances in digital photography have allowed artists to add sur- prise, humour and a certain ‘cleverness’ to their artmaking. Through unexpected manipulations, combinations or layering of images, art ists are able to make strong, thought-provoking statements. Photographic artists generally choose traditional or digital as their preferred working method, mainly for the possibilities and effects that each provides. Some artists employ traditional photographic methods but use digital methods for a particular effect, for example, Alex Kershaw (page 51) and Rosemary Laing (page 45). With the blurring of the boundaries between traditional photography and digital photography, the viewer is often uncertain about what is real, what is staged and what is ‘virtual’ Sculpture ‘Asa medium that has its own reality and mass, sculpture has always related to the viewer as being part of the real world rather than an illusion. Sculptures are objects that take up space. Contemporary sculptors show an awareness of the traditions yet find ways to relate their ‘objects’ to contemporary situations and issues. Some sculptors, such as Ricky Swallow (page 2), are concerned with traditional sculpture skills, relating their work to art history yet adding, another level of meaning. Others are more concerned with selection and ideas. They might use the ‘found object’ (albeit manipulated or somehow changed) in unusual ways or place them in unusual spaces to challenge our perceptions and begin a ‘dialogue’ with the viewer, for example, Mark Handforth (page 77) or James Angus (page 7). Mixed media In our multi-sensory, postmodern world where traditions, facts and realities are constantly challenged and uniqueness has given way to the global, artists are free to work across various methods and choose aspects of different media to suit their purpose and meaning. Art- works and art forms have gained increased exposure in magazines and on television and artists are able to take risks, explore their ideas and communicate in new ways — see, for example, Murray Hilton (page 57) and Jane Simpson (page 74). Video Video, as an art medium, has been embraced by contemporary artists. Ie allows the artist to involve the aucience using a variety of senses. ‘Video is often used as a way to explore the artist's immediate world to reflect their intuitions and more astute perceptions of their experi- ences, Urban culture is a common theme — see, for example, Shaun Gladwell (page 35) and TV Moore (page 40). Artists such as Yael Bar- tana (page 95) and Anti Sala (page 89) use the medium for political statements and to raise identity issues. ‘Video artists slow down or speed up time, adjust focus and use illu- sion and sound to alter the audience's ways of seeing and experiencing. Some use the video's ability to react in a very personal sense, drawing the viewer into the artwork ina meditative way. Others use it to reassess human actions, sometimes acting almost as a documentary device. INTRODUCTION5 | Aewsecontaronany Video art makes new demands on the audience in a variety of ways. It might involve a controlled and darkened viewing area, mul- tiple screens, large scale, sound, interactive features and manipula- tion of movement. These affect the senses, often creating a sense of disorientation, The most obvious demand is that the viewer must be attentive for a set period of time to experience the video's full cycle. ‘The viewer of a video is under the artist's control to a much greater degree. Postmodernism: an explanation Definition Postmodernism is an experimental contemporary art movement. Postmodemists generally break down the boundaries of art, chal- lenging the audience's perceptions. Postmodern works often draw from several art traditions and refer to contemporary culture. Historical causes In the mid 1960s, changes started to occur in the way people approached creativity, history, literature, architecture, science, values and society in general. Postmodernism grew as an art style in the late 1970s and 1980s, the period that extends approximately from the end of the Vietnam War in 1975 to the reunification of Germany fifteen years later. Each of those events marked a defeat for one of the super- powers on each side of the Cold War. During Modernism, the relationship between art and politics was evident, with abstraction in art of the United States (an idealist art aimed at a learned audience) and the social realism (purposeful instruction) of the former Soviet Union, Postmodernism grew out of a time of historical and social change in value systems. Reasons for the change from Modernist ideals to Postmodern theory have included: 1 globalisation — the differences and distances between countries/ cultures are narrowing due to increased communication, ease of travel and technology. = feminism — in the early 1970s, feminist artists, critics and historians began to question why the female had been ‘forgotten’ in art, why there were so few female artists being exhibited, why curators were always male and why so few histories of female artists had been written. Instead, the female was present in the art world as a sub- ject, in particular the nude. '= technology — the digital world has had an impact on the way we see and understand reality. The notion of ‘reality’ has changed in the contemporary world. There no longer appears to be any dis- tinction between the original and the copy. Postmodernists thus question such concepts as ‘truth’, ‘originality’ and ‘reality’ Artists and writers began to challenge what Modernism was about — not the styles themselves but their place in society and society's reaction to them. Postmodernism can be seen as a split from Mod- ernism rather than a rejection of it, a break in the history of art. Post- modernism challenges the Modernist notion of creativity as self- expression and individualism and the notion of originality.Characteristics Postmodem art has many characteristics and by its nature it embraces diversity. The main characteristics are: w= It challenges the audience and ideas on what is art, often using shock tacties. = Postmodern artworks may be sweetly reminiscent of past art styles, may be derived from popular art styles ot may shockingly confront with the intent to disgust. = Postmodernists may employ multiple, even contradictory mean- ings simultaneously. = Postmodern artists believe truth only exists relative to time and place (the context). = Stereotypes, mass media, comic-style images and kitsch become acceptable. = Technology is embraced as a medium. = Postmodern works try to connect art with the meaningful everyday lives of people. 1m Postmodern art presents a sceptical way of viewing reality, cau tioning the viewer to be aware and consider issues from more than one perspective. Devices There are five main devices employed by Postmodern artists. 1 Appropriation: Postmodem artists challenge the notion of originality by borrowing or copying past artworks or imagery from popular culture. They change the context in order to create new meaning. ‘They expect the audience to recognise the origin of the imagery. The artwork can thus have layers of meaning. The audience reacts according to their personal experiences and art knowledge. 2. Parody: This presents an imitation of an artwork with a humorous, exaggerated slant or approach. The artist pays homage to the past yet wants the audience to question the values represented in the original. This is similar to the trend of ‘spoof’ movies, such as Charlie's Angels and Starsky and Hutch. 3. Pastiche: This refers to the borrowing and combining of aspects from different art styles and cultures. Works often comment on the globalisation of our contemporary world. Artists may employ mul- tiple or contradictory meanings simultaneously. 4. Irony: Irony is seen in the use of images and works in such a way as to convey the opposite meaning. This method often requires an informed audience. 5. Satire: Satire is the use of ridicule to challenge values. Key issues ‘Among the key issues that Postmodern art highlights are: f= individuality (as a Western concept, the self at the expense of the family or group, unlike traditional and indigenous cultures) = gender, roles and inequalities (particularly in the art world) «= political statements, for example, on identity or colonisation = land rights and power Zz g 2 8 gz z& 3 é g E 1 culture (high culture versus popular culture) = race and multiculturalism (equity and individual freedom) = poverty and world debt & mass migration and trends of anti-Western hatred (particularly following the September 11 World Trade Center attacks) = popular art and history. Postmodemists seek a more equitable world where the privileged status of independent artists is challenged — the views of dealers, patrons, exhibition organisers and magazine editors are taken into account: Artists are seen as part of society, not autonomous and apart. Summary of Postmodern approaches Postmodernists realise that while Western cultures celebrate free thinking and self-expression, there are many cultures in which indi- vidualism is not valued and where other values, such as collectivism, nationhood, community and religion, bind people together. Many cultures view self-expression negatively. To some cultures, Mod- emism may be seen as an assertion of white, Western and male supremacy. Consider how Western art history promoted the notion of the ‘artist genius’, such as Michelangelo, Picasso and Pollock. Postmodernists query how people in art have been represented — how they are positioned, the roles and stereotypes conveyed; for example, the muscular, male hero on a horse or with a sword and the passive, reclining, female nude. Postmoderists claim that Modernist art had little meaning for most people. They suggest art should contain signs of its origins and meanings. Postmodernists see meaning as more important than the Modem- ists’ focus on aesthetics. Artworks may have multiple meanings and are made for diverse purposes, for example, religion, designed items, costumes or political reasons. Artists may work collaboratively with other artists or specialists, particularly where technology is involved Diverse forms and approaches to art are now acceptable — there is no dominant style, movement or medium at any one time. Art values are linked to its culture and social context. There is no longer a strict division between fine art (such as religious paintings, Portraits and historical or heroic statues) and popular art (cartoons, commercial images and stereotypes from movies and advertising), Parody may be used to ‘make fun of’ conventions and past works to question values. Art previously seen as purely decorative or deriving from a minor or non-Westem culture has been raised in status, for example, indigenous art. General assumptions and values are challenged, such as the tra- ditional view that an art object should be beautiful, original and precious. Art knowledge and historical information are questioned. Moderists looked forward. Postmodernists look backwards and sideways.