week 5: treaty of Waitangi and pluralism

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

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

Pluralism is the recognition of other principle’s, ethnicities, belief systems and social networks and becoming open to the contemporary visual culture from those cultural and social groups.

( AlVC book, pg46, n.d)

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

“New Zealand is home to mainly English or European custom interwoven with the Maori and pacific c islanders tradition” (Wikipedia.com)

I think that it does depend where you are in New Zealand as areas not in Auckland are generally very agricultural and do not like the idea of living in a city but in saying this the majority of New Zealands population is within the Auckland region and the city life is growing hugely in New Zealand. I think a major dominant culture is really an American type society where we are getting to the stage to wearing there clothes lines watching there Tv and so on. Rugby has become more then a sport to the country and is popular throughout the country and being active is still quite a big thing to most of the kiwi population. I love for arts I don’t believe is a dominant culture in New Zealand but I do think it is growing although The Maori culture in New Zealand embrace their art history a lot and amongst the maori people it is very popular.

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

Before 1840 there were approximately 2000 Pakeha(European) in New Zealand that lived in the bay of islands. Maori Warfare and disease grew increasingly dangerous while the European settlers were there as they brought there diseases and contact with the maori for trading was occurring where the maori grew access to guns. Te Reo Maori was the language spoken by the maori people which was the dominant culture at the time before 1840. Maori men were dominant above women as they were the hunters the protectors and the leaders of tribes. They were very protective the maori to their mother earth and Tapu as they had very strong beliefs in their way of life and gods.

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

in New Zealand?

I think that as artists and designers we have to be aware of the different ethnical groups and beliefs in New Zealand and be respectful of those by doing your research and learning about them and their meanings. A good example of this is in the recent seminar seen of “New Zealand up for grabs” where game designers offended many Maori people by creating a game character who was based on a Maori but had a taiha which was stabbing the ground beneath which is definitely offensive as it is stabbing the mother earth as well as having a chin moko. A chin moko is for women only in maori culture and by placing it on a man offended many people. From this being New Zealanders we need to be very careful and research our art and how we present it in a appropriate manner as we are not a mono culture society and people are very critical to what you create.

Documentary ( New zealnd up for grabs)

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

I cannot think of really any other ways in which the regional diversity is negative by globalization apart from the video game I talked about above as it is not correctly showing the maori culture. It think globalization is quite positive for New Zealand and New Zealand is far ahead of the rest of the world in protecting what is cultural history and shown its important by preserving what we can. Our culture as a coutry has made a impact and slowly broadening overseas like avoiding nuclear power use. Also mass production of our cultural goods.

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

 

'Welcome' (2004) Shane Cotton 

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

  shane cotton’s work explores “issues of land, spirit and identity” (Shane cotton,1994) his work forked tongue has faded maps and records of ownership of land in European culture although for Mari they had different means for ownership. This aspect of cotton’s art I think is particularly important as it is a strong reference to the treaty itself as Maori treaty te tiriti o Waitangi which was translated by Hobson’s clerical staff stated the ownership of the land was still under maori sovereignty while the English version says that Maori sovereignty is cede to the queen. Cotton Shows that the treaty of Waitangi is very deceiving and even contradicting within two cultures showing how two cultures brought together do raise issue amongst civilisation within New Zealand.

Cotton’s work “Welcome” has images which are very symbolic within New Zealand. One image being Jesus refers to Christianity and to European settlers in New Zealand and the other face is one which is a Maori face referring to Maori ancestry. the entire combination of these images shows the beliefs and multi cultural New Zealand once again referring to the treaty itself as well as showing colonisation as it presents both cultures together

  

        

 

'Forked Tongue'(2011) Shane Cotton

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

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

Tony Albert’s work directly refers to the speech by Kevin Rudd in 2008 where he repeated the word sorry many times to the aboriginal people. This was a big moment in Australian history as the aboriginal people endured far too much suffering and were classed second class to the white man. The word sorry offered by the prime minister is s reminder of the speech and the fact it was only a speech nothing more. Albert’s has used items which are kitsche items that appear to be items of historical value but are manufactured in fact and formed then in the word sorry to represent everything what the aboriginal people have lost “black faces to fit a white society” (Youtube). The art work to me seems to be not only a reminder of that date but a reminder of the loss to the white man and that they are waiting for actions to be taken as a apology is really not enough.

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

Shane cotton in his work repeatedly refers to the ideology of pluralism as in many of his artworks he refers to both the Maori culture and the European culture. Much of his art work explores the contrast between them. Tony Alberts work also really has a strong relation to pluralism his work “sorry” makes a statement saying the aboriginal people are just as equal and it reminds everyone in Australia of the date where the prime minister in 2008 apologised for the country believing they were anything less. Both artists explore multi culture societies and how we must be fair and equal.

www.youtube.com (sorry)

www.wikipedia.com

book Shane Cotton published 2004

http://qag.qld.gov.au/collection/indigenous_australian_art/tony_albert

 AlVC book page 46 -67

Documentary up for grabs

                                       Tony Albert | Australia b.1981 | Girramay people | Sorry 2008 |
                                               Found kitsch objects applied  to vinyl letters | 99 objects :    
                                               200 x 510 x 10cm (installed) | The James C Sourris Collection.
                                               Purchased 2008 with funds from James C Sourris through the
                                               Queensland Art Gallery Foundation | Collection: Queensland Art Gallery
                              

www.youtube.com/watch?v=6afMy0rlqq8

http://qag.qld.gov.au/collection/indigenous_australian_art/tony_albert

Kahinde Wiley

Week 4 - Kehinde Wiley

3. Kehinde Wiley Count Potocki, 2008 oil on canvas, 274.3 x 274.3cm

4. Kehinde Wiley Support Army and Look after People, 2007 oil on canvas, 258.4 x 227.3cm

Kahinde Wiley is a Gay American based painter born in Los Angeles, who has an international reputation. Wiley lives and practices between Beijing and Brooklyn.


This weeks ALVC class focuses on the Postmodern theme "INTERTEXTUALITY", re-read Extract 1 The death of the author on page 39 of your ALVC books and respond to the oil paintings of Kehinde Wiley. 

1. Find a clear definition of Intertextuality and quote it accurately on your blog using the APA referencing system. Use your own words to explain the definition more thoroughly. 
“Intertextuality is the shaping of texts' meanings by other texts”

Wikipedia ,n.d

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

 Intertextuality is when you have artwork or it can be writing and find aspects of it that can be found in common with others work in order to familiarise it and relate to it so it is understandable. This concept is used throughout art today as people reference their work to past artists and in some cases try to duplicate what they have created like that of the picture in the ALVC book of Marcel Duchamps Mona lisa compared to the original Leonardo Di Vinci’s.

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

Wiley’s work is photography of young black men and painting the image into to European portraiture to create different ideas of the automatic stereotypes people place on these men due to their dress code and there appearance. Wiley’s models from the street assume poses which he can paint them into a position of power which refers to moments in history of irony as it was not the case in history and slavery of the black man was occurring. Intertextuality can be found through his work in the idea of the European portraiture type background which can be called “Old Master painting” (Wikipedia.com,n.d) from artists like Edwin Lanseer with reference to colour use and background ane representation of the men. Many other references can be found from different time periods. “creates a fusion of period styles, ranging from French Rococo, Islamic architecture and West African textile design to urban hip hop and the "Sea Foam Green" of a Martha Stewart Interiors color swatch “(Wikipedia.com,n.d)

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

According to Caldwell (1999 AlVC Handbook)”Pluralism honours differences within and between equitable groups while seeing their commonalities” Wiley’s work shows this aspect but honouring the equality of a different ethnicity as generally the white man was dominant and was generally portrayed in art through the Western society. Because Wiley’s art references times that are historic in Europe with the style and portrays modern black males he shows there importance and how they are equally as important as the white man. Pluralism is a strong theme through Wiley’s work.

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

Wileys work raises a lot of question and makes a lot of statements about social and cultural hierarchies. It makes a statement that the white men are what is commonly seen in the pass in portraits and in the past as the powerful people in western civilisations. Wiley shows that this concept is slowly being abolished and equality within social/cultural hierarchies is becoming greater. He is enforcing this idea by showing that equality is the way. Question can also be seen being raised within stereotypical views from the public. Wiley portrays black men in a dress code which could be described as a gangster but presents them in a position of power which raises a question do we see these men in the same manner as what we have positioned white men in similar portraits of a heroic manner. Concepts in his art are becoming far more recognised throughout different cultures and people are beginning to replicate work with similar ideas to this showing how his work relates to colonisation.

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

I find his work extremely appealing and the fact he raises these questions to viewers he does this in huge manners in one of his exhibitions “down” he displayed eight large painting where he even portrayed one of his artist models as the fallen Christ to show that black men are equal and even though jesus is generally painted as a white man it does not make black man any less of a man.i really appreciate his work as i find he is doing something courageous and expressing many are afraid to stand out and say. I find his style of presenting his models in this heroic manner the same way in which positions of power would have been painted in the past is very appropriate and iconic. Many black men are influential in todays world like sports players or rappers who would have similar dress codes to his models possibly and have positions of power today.

http://www.cretique.com/archives/4012
http://www.deitch.com/artists/sub.php?artistId=11

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

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

www.artnet.com/awc/kehinde-wiley.htm

www.skny.com

hussein chayalan

Week 3- Hussein Chalayan

Chalayan is an artist and designer, working in film, dress and installation art. Research Chalayan’s work, and then consider these questions in some thoughtful reflective writing.

Chalayan’s works in clothing, like Afterwords (2000) and Burka (1996) , are often challenging to both the viewer and the wearer. What are your personal responses to these works? Are Afterwords and Burka fashion, or are they art? What is the difference?

Not all clothing is fashion, so what makes fashion fashion?

Firstly i find that the work ‘Birka’ challenges viewers and the models with different concepts through the evolution of a long burka and fully covered women to where a women is nearly completely nude. The concepts which i find to be presented through this art work are Feminism, ones identity. These ideologies provoke thinking amongst viewers as they are not items which are customised to compliment a womens figure but the simplicity of the garments really shows that its not a cat walk type garment but more something that develops thinking which is why i see this more as art. I see fashion garments more something to be purchased and something in which enhances a persons figure or clothing that is very abstract and appealing and I see these garments as art because i think a lot more artist’s address issues and provoke thought amongst there work like this work of ‘Burka’

 Chalayan, Burka, 19

9I thin

I think the  work afterwords can be seen as both fashion and also maybe a spatial design piece. I think it is extremely appealing and has the appearance of a skirt but uses materials which are more so related to sculpture,  the piece does enhance her appearance by complimenting her figure but is not likely to be a purchased item as it is not practical. The item directly addresses functionalism as a primary ideology as it involves an exploration of other ideas like architecture and really explores these ideas which is something Hussein really has a passion for doing.

“Even from your graduate collection at Central Saint Martins, you began using unconventional methods to construct your work. Why did you first decide to work in that way?”
“It wasn’t a decision. As I am a curious person and an ideas person, everything I do is imbued with my curiosity and my love of exploring ideas.”

http://www.anothermag.com/current/view/1200/Interview_with_Hussein_Chalayan

                                                                 Hussein Chalayan, Afterwords, 2000

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

 I don’t think there is a huge impact on the nature of Chalayans work in this case “the level tunnel” being funded by the new “absolt vodka” makes no change people are still intrigued in this work being able to walk through and interact with the piece being amongst it. “the concept was to give the visitor a full body experience of the LEVEL vodka brand”

I think this intrigueing piece draws in consumers and is a good way of advertising as it incorporates art as well as advertising but does not affect this piece. I think that if it was a not so well known artist it may not be the same case and not seen so much as art but more so just an advertisement.

 http://www.behance.net/gallery/The-LEVEL-Tunnel-(Absolut-Vodka-Hussein-Chalayan)/701114

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

i think the major art movement that influenced this film is that of post modernism because the film relates to a new concepts that is modern in society and explores the idea of cell extraction from clothing garments i think this post modern concept could of been one influence to continue the work he has done.
by m

Hussein Chalayan, still from Absent Presence, 2005 (motion picture)

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

 A lot of artists get such a big name that they can personally not have to make their own work and there art becomes more of a brand rather than their own personal work like artist Damien Hirst who is one of the most powerful artists today he does not make a lot of his art work but it is still labelled a Damien Hirst. I think that it is important to have work that is personally produced by the artist in some areas but for work like that of Chalayan’s in the fashion industrie i think that secondary producers is okay otherwise no work could get done as it is time consuming as long as the design was to be the artists. I think with work which is painting should be the artists work as it is there own perspective and ideas painted to that canvas and cannot be expressed by someone else. I think having personally produced works have a far greater deal of value as you know it is something in which has not been made for the marketing and brand name but is art created for a purpose.

http://www.husseinchalayan.com/#/home/
http://www.designboom.com/eng/interview/chalayan.html 
http://www.husseinchalayan.com/blog/ 

http://www.behance.net/gallery/The-LEVEL-Tunnel-(Absolut-Vodka-Hussein-Chalayan)/701114

http://www.anothermag.com/current/view/1200/Interview_with_Hussein_Chalayan

www.style.com/fashionshows/review/S2011RTW-HCHALAYA