Frieze Magazine | Archive | Archive | Gregor Schneider

Frieze Magazine | Archive | Archive | Gregor Schneider

I know...it's got nothing to do with holes...still looking

Gregor Schneider

Gregor Schneider's live installation, Die Familie Schneider | Culture | The Guardian


I love/hate this artist. I have been to one of his installations and I'm not sure I could stomach another one on my own. (visitors were only allowed to enter one at a time). I know he digs holes though and I'm looking for pictures of the holes because I'm trying to cast holes in my kitchen as you do. Anyway, didn't find what I was looking for but found this old article which was quite interesting.

It's not just me then

Sue Miller: The great British data free-for-all | Comment is free | guardian.co.uk

Re: Ads by Google

STEVE BOGGAN: Are we mad to allow Big Brother Google to take over the world? | Mail Online

Terisita Fernandez

NEW MATH by Craig Damrauer

ALL - NEW MATH by Craig Damrauer

Later in the studio

I like this one. The soft lard oozing out of the plastic. I think I like it because the colours are similar so it could seem like the one thing, but it's not.




Lard stuffed tights. I think I might try net too as a more open weave might make the lard look furry?

Studio experiments

A good friend kindly offered to lend me her 'openings' for the sake of my art, however I'm thinking that perhaps it could be a metaphorical orifice instead. I have started to play with the materials from the great locker clearout so here are some of today's images. I quite like the oozing lard.














Lardy hair, sticking to the wall.

Experiments

Nose and ears



Ears



Nostrils



My dentist offered to give me the material they use to take impressions of teeth. It's non-toxic and can be used 'anywhere on the body'....I politely declined but it got me thinking about Helen Chadwick Piss Flowers and Freud's view of women signified as a room in dreams. (Empty with holes). So I began to think about making orifices...as you do.

Ads by Google

I didn't ask for this. Just a couple of prompts and two easy clicks and there we are. However, I am a little wary of the methods employed by the 'people who watch the machines' They're allegedly not people but spiders who crawl the site. Well I like spiders, but real life spiders don't 'crawl' anywhere. I have met a few creeps though...some in I.T.

It was all made a little too easy.....I do realise that this sounds completely paranoid and a little bit provocative considering I'm using the very medium I'm questioning, to question. I'm just wondering what ads will turn up next. Do the ads question my integrity? What do they say about me?...Can I use key words to alter the ad flow? If so, how much fun could that be?...or not? Do I have any power? There might be a project in the relationship between the blogger and the 'spider'...maybe. Or not.

In the end I took the ads off as they became reaaallly irritating.

Cindy Sherman Article

Cindy Sherman: I'm every woman - Times Online



"To me, these sound like soppy afternoon-TV storylines. Hearing her admit to them surprises me. If you read feminist critical theory on the subject of Cindy Sherman, you will encounter examinations of gender so convoluted they can tie a man’s cortex into sailor’s knots. But Cindy herself seems to operate on basic instincts."

“I don’t even bother reading that stuff. And I don’t even understand it when I do try to read it. It’s been happening for so long now that it just has a life of its own. I’m never thinking in theoretical terms. I’m not that kind of person.”

Very interested to read this on a lazy Easter Sunday...Sometimes wish I didn't bother reading 'that stuff' either, although I suppose I'm glad to know which stuff they're referring to...progress indeed.

Simon Fenoulhet

Moored, 1994

wood, rope, stone
110cm x 45cm x 750cm

"Site specific sculpture where the conventional stability of the chair is altered by the weight of the rope and the stones so that it balances on two legs".

Donald Judd

I like this.. because it is and it isn't... that's my profound comment for the day.

Tony Cragg

Tony Cragg | Portfolio | 2 | 21ST CENTURY BRITISH SCULPTURE

The fluidity implied by this static object intrigues me... and the balancing act is good too between the top heavy head and the base. I also really like the massive teeth which are on the link. Got me thinking about my shaved teeth again.

Cathy de Monchaux

Cathy de Monchaux | Biography | 21ST CENTURY BRITISH SCULPTURE

Quite different from more recent work, but I like the idea that it surrounds you.

Rachel Whiteread - Drill

Rachel Whiteread | Maquette for Monument | 21ST CENTURY BRITISH SCULPTURE

I'm interested in the idea of casting negative space and what that space could represent, and thinking of ways that I can incorporate this, or a variation, in my next project..

Jesus Rafael Soto

"Jesús Rafael Soto is one of the most original, profound, and enduring of the kineticist artists. By the time of the Venezuelan artist's arrival in Paris in 1950, the dynamics of space and form had migrated inexorably and permanently from the domain of aesthetic and scientific theory into everyday life. Motion had become the symbol-resistant zeitgeist in ways that no steam-trailing Futurist locomotive could embody or outrace.

Soto brought an existential dimension to the kinetic art that developed from the kineticism of Duchamp, Vasarely, and Calder. Soto's work infuses public or corporate spaces, which might otherwise be thought of as empty, with visual energies that conjure the flash dance of subatomic. Nonetheless, there is a reflection on human presence in Soto's art that is absent from the work of some other early Op and kinetic artists. Jean Tinguely, for example, takes us no further than a parody of spiritless industrialization and vulgar consumerism. In Soto's work, movement is always linked to presence, in most instances to the body itself. Rows of metal arcs dangling before a lined surface coalesce their actual, almost aquatic, movements with the optical kinesis generated by the observer's motion in relation to the work. When shifts in point of view create optical illusions in Soto's works, these illusions are a natural effect of the pursuit of a higher goal. This primary goal consists of forging an ambiguous sense of aesthetic space. On the one hand, there is the space defined "within" the work; on the other, the space defined by the viewer's position vis-á-vis the work. Soto's appropriation of this second manifestation of aesthetic space predates, by at least a decade, Conceptual artists' view of the context which gallery and museums provide as an inextricable element of the act of apprehending works of art."