Conceptual


Final Piece – Envelopes contain 1 name. So there are 10 names..10 people i am most influenced by today.  This piece is not final — it could be outgoing, for as long or short a period i want. 

The envelopes are sealed with red sealing wax, with my fingerprints acting like the family crest or family seal.

 

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Moved on from the personality development.  When i was younger my grandad grew chrysanthemums so his greenhouse and the flowers are something i always remember and provoke a strong emotional response.

 

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Printing my fingerprint – a visual representation of my identity – onto the chrysanhemum petals.

 

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One month after printing onto the petals. Constantly changing, but the fingerprints will stay consant.  Just like people will age and change – their fingerprints will always be the same.

Who makes us who we are is the title for my next project.  Been looking at personaliy and identity.  Got too much into personality development so trying to branch off a bit into something more personal to me.

Took these prints from my family. Mines and my dads are very similar and my sisters and mums are quite alike 

 

Final Pieces

 

Initial ideas for site/sight

Impairing the use of an object or impairing a page of a book

—-inability to read the words

 

Vito Acconci is an American artist born on the 24th of January 1940. Acconci is a Bronx, New York born; Brooklyn based architect, landscape architect and installation artist. His work is highly conceptual.

He received a BA in literature from Holy Cross College in 1962 and a MFA in literature and poetry from the University of Iowa.

Began his artistic career as a poet in the mid 60’s.
 Poetry, performance, photography, film and video, installations, models and architecture
 Used his own body as a subject
 Work has been shown internationally
 Wanted to involve the viewer

He has taught a many institutions including the Nova Scotia College of Art and Design, California Institute of the Arts, Cooper Union, School of the Art Institute of Chicago, Yale University and The Parsons School of Design.

“Acconci was proposing a new definition of the material object and a space for common experiences between spectator and artist by erasing the traditional boundaries between an artist and his public, an object and an event in time, a work of art and its existence in a spatial and/or social context”.

Acconci’s career-long exploration of the self has been articulated through many mediums. What began as an investigation of the artist’s own body in space-how it interacts with a given environment and how, in turn, that location affects it-has evolved into the construction of space itself. The relationship of the private to the public-and how the self participates in the surrounding world-has been a constant theme in Acconci’s art.

In 1969, already a published poet, Acconci made his first visual artworks, moving from the static domain of the printed page to the dynamic space of the empirical world. Combining photographs with texts, the artist documented task-oriented activities-jumping, stretching, bending, etc.-that he performed specifically for the lens.

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Acconci’s recent TELE-FURNI-SYSTEM, an installation designed for watching video (his own and those of other artists), invites each visitor to interact with the environment by choosing his or her own viewing positions from a menu of different architectural options. Each monitor serves as a separate video channel and a building block in the network of stairs, benches, and lounges that constitute the piece. Here it is the viewer who activates the space by physically engaging with it and contemplating the panoply of moving images on display.

Mary Kelly is an American conceptual artist born in 1941 in Albert Lea, Minnesota.

She studied fine art and music at the College of Saint Teresa, and fine art and aesthetics at the Pius XII Institute Florence, Italy. She later received a postgraduate certificate in painting at St. Martin’s School of Art, London.

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From 1968 Kelly worked in London as artist, teacher, curator, editor and writer. Her first solo exhibition was in 1976 at the Institute of Contemporary Arts, London, where she showed three of the six ‘Documents’ from her extended project Post-Partum Document (1973-7).  This large-scale installation work both visualizes and analyses the mother-child relationship of Kelly and her son over a period of four years, and includes drawings, graphs and charts objects and sound recordings. Post-Partum Document was later published in book form (London 1983) and was exhibited in its entirety at the Yale Center for British Art.

Kelly’s work is renowned for its inquiry into cultural identity, particularly the construction of femininity and power in Western capitalist society.

Flashing Nipple Remix, a series of black and white transparencies in light boxes, records choreographic improvisations based on a snapshot of street theater performers a the 1971 Miss World protest outside the Albert Hall in London.

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Sisterhood is POW, a 72-foot narrative illuminated by strip light, replays he artist’s irreverent recollections of participation in the Miss World demonstration and a shorter piece, Seemed Right, highlights phrases most often repeated in interviews with women about the impact of these events on their lives.

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