1).
Dyer, R. (2003, February 13). Sean Dawson. Contemporary Visual Arts, 58, 46-49.
The article-based
essay is about the artist Sean Dawson, featured in the magazine “Contemporary
Visual Arts”, written by the art critic Richard Dyer.
Dyer investigates
one of Dawson’s earlier paintings 'Destroyed
Rooms series'. Describing Dawsons painting as “maelstrom of a dedifferentiated meta-spatial matrix where the
conventional laws of physics have been warped, inverted or completely
suspended” (Richard Dyer, 2003, pp. 47-49). Creating an abstracted illusionistic effect like
kaleidoscope, working from found images based on the edges of society.
Dawson’s works
are strongly connected to a movement that developed directly from Abstract
Expressionism, known as ‘Abstract Illusionism’ in the late 1960’s.
Key ideas evolve
around exploration of painting and breaking away from the conventional
principles of Renaissance painting. And key issues of separation “those areas of culture that
demarcate the edges of acceptance” (Richard Dyer, 2003, pp. 48-49) for example,
the tattooed body etc.
Dawson’s illusionistic
style painting is very intriguing, manipulating his use of found images with paint in
relation to the ideas of separation of cultures within a society.I think the process is very delicate,his paintings gives insight to preconceived ideas of acceptance of cultures. Which the images are abstracted and warped, giving the work a new meaning.
2).
Galbraith,
H. Psychic In H. Galbraith (Ed). , Francis
Upritchard: Save Yourself (pp. 31-33). New Plymouth: Govett-Brewester Art
Gallery & Francis Upritchard: Save
Yourself Project Team. (Exhibition catalogue.) (Plus images of Upritchard’s
work from pp. 94-96 & p. 6.)
The text is
a form of Art writing, Art critic Galbraith gives details and ideas
surrounding Francis Upritchard Art work. A New Zealand female artist based in
London, she draws from the rich sources of history investigating ritual
traditions. Upritchard also explores trafficking of Mokomokai (preserved heads)
of the 19th century between New Zealand and Europe.
Upritchard
incorporates found materials old fur coats, vessels gloves etc, into her
sculptures. The representation of Upritchards heads (mokomokai) are not that of
Maori, which was a customary practice, “but
rather they depicted hapless Pakeha (European descendents)” (Gallbraith, H
pp. 31) heads.
In my
opinion Upritchard makes a statement, how would it feel if it were your people shipped
away to foreign lands, kept in private collections or displayed in museums for
your own curiosity and entertainment? By exchanging the heads ethnicity to “European” she creates
a dialogue and a mirror letting her work visually bring to light what the
“Maori” people feel, in other words trading places.
I found
Upritchards approach very interesting by changing the Mokomokai (originally
Maori) into Pakeha (European) effective. Makes me think and question myself,
what if I was to trade places with someone, from a different culture? I feel it
does relate to the society I live in, quick to fulfill our own desires entertainment and
curiosity, yet slow to understand the ripple effect it might have on others.
3).
Seung Yul Oh
Wood, A.P. (2009). Seung Yul Oh. In F. Campbell (Ed.), The Big Book of Essays: New Zealand Contemporary Art from the Real
Art Roadshow: Black Collection (p. 44). Wanaka: Real Art Charitable Trust.
An Art writing by the art critic Andrew Paul Wood explores
Korean born artist Seung Yul Oh paintings. Although he was born in Korea he
studied and trained in New Zealand as an artist.
Wood describes Oh’s painting as “ heavily textured, quasi-abstract expressionists drips and blobs” (Andrew P, Wood, p. 44) that are cartoony,
bright coloured and his works exercise the free act of doodling.
In my opinion I see connections to abstract expressionism
and surrealism in Oh’s paintings. “Tapping
into the subconscious mind to see what forms might appear” (Andrew P, Wood,
p.44) which was evident in these two art movements, they explored the
unconscious also, delivering expressive gestural marks, portraying emotions through
colour and abstracted figures in a time of war and depression conveyed through
their paintings.
Wood also states that “younger
East Asian artists asserting their identities in Europe and the United States” (Andrew
P, Wood, pp. 44). I believe Oh
engages and combines themes of East Asian pop culture and Western culture. In
order to implement synthesis, for example; bright compelling colours and
adorable aesthetic, referencing Korean pop culture. On the other hand adopts
abstract expressionism mark makings in the process of exploring Western culture.
As one acceptable culture instead of two separate nations/cultures.
That constructs a dialect between two cultures and the
understanding of individual (identity) expression, through the vision of
art.
I find painting in this manner extremely unrestricted and
free to express, like the art movement I am interested in abstract
expressionism. I enjoy the ideas of connecting two cultures through painting
especially in Seung Yul Oh’s work; it takes away the seriousness and deploys a
side rarely seen (humour) which I believe is a breath of fresh air.
4).
Thomas, M., Wystan, C., & Barabara, K., G.,(2004).Max Gimblett: The Brush of all Things.
In Thomas, M.,(Eds.),The Transition from
Three to Four, (pp.10-11) New
Zealand,(NZ),Auckland Art Gallery.
An essay formatted text by
art critic Thomas Mcevilley featured in ‘Max Gimblett THE BRUSH
OF ALL THINGS’.
The essay is constructed
around the New Zealand born artist Max Gimblett.But now lives in the United
States of America.
Mcevilley enlightens us
with Gimbletts associations and many influences from Abstract Expressionism and
Zen. And the context of Eastern and Western cultures represented within his
paintings as an establishment of his position.
According to
Mcevilley “New Zealand, in terms of the map of the world, is roughly
halfway between Japan and the United states.”(Mcevilley, T. 2004, pp.10-11)
indicating, I believe why Gimblett reaches out to these two distant cultures,
which are prominent characters in his paintings. He finds himself in the
middle.
By merging these cultures
together for example, his Ghosts, Demons and Dragons painting. Gimblett Incorporates
the gestural technique of Abstract Expressionism (America) and the light
hearted method of ink drawing of Zen (Japan).
Mcevilley I believe points
out the possibilities luxuries of being connected to numerous associations like
in Gimbletts case, Gimblett has intricately unified cultures in his paintings.
And has become a medium in some sense between cultures. I question myself? What
would be the best way too unite people and what comes up is art.
5).
Wallis, S. (2003, February 13). Beatriz
Milhazles. Contemporary Visual Arts, 58, 88-89.
An article
in the Contemporary Visual Arts magazine about
Beatriz
Milhazes a Brazilian female artist. Critiqued by art critic Simon Wallis.
The
article talks about Milhazes paintings that is intensely decorative of
figurative abstractions. Striking imagery of tropical flora and folk art
associated with Brazil.
Evoking
intimate thoughts, exploring contingent states of mind and the influencing of
mood and character. Through her large scaled exotic coloured paintings.
According
to Wallis Beatriz “paintings has an
almost hypnotic effect” (Wallis, S. 2003, p.88) for example her painting ‘O
Quadrado’, 1997. Circles overlap one another, a green backdrop, golden brown and
red; white forming the bases black and purple, blue dots locked in like a
ferris wheel.
Milhazes painting in my opinion
engages with ideas of creating a reaction within her viewers “allowing a new
set of relationships to occur” (Wallis, S. 2003, p.89) which sets a purposeful
engagement, either it be emotional or the freedom of self-questioning.
