Look at pieces of art ...
A. My Bed .. Tracey Emin
http://www.saatchigallery.com/artists/artpages/tracey_emin_my_bed.htm
I did actually see this bed art at the Tate some years ago, pre photography course, and I must say I didn't hang around for long. Maybe having two offspring I am faced with this vision most mornings and at the time didn't see it as art, just a mess. I can understand it as art and I think it could be the same piece of work without stains, but maybe it couldnt. This work actually makes me cringe a bit as I cant thin of anything worse than anyone let alone the world se my unmade bed, along with debris alongside. My own bed is debris free !
Whether it be art or not it has always been big news and made her famous, and is still a constant talking point. She obviously was planning to make an impact when she produced this work ( apparently it is her actual bed not a mock up ) but I'm not sure even she expected such an impact and for so many years. It always surprises me what and whom the public decide to make famous - if it had been someone else's bed would it have made the same impact, or was Tracey Emin part of the art. She did always fascinate me when she was interview, in an uncomfortable way - she would make me cringe just the way she spoke, her look etc. But I think she was the whole package, her and her bed go together as a piece of art !
Do I like it or not ... No, not really..
B. Convergence - Jackson Pollock
http://www.kaliweb.com/jacksonpollock/images/art/convergence.jpg
This painting is 93 inches by 155 inches - very large - Pollocks brushstrokes make use of colour, texture, lines and contrasting shapes. It was once made into a puzzle and said to be the most difficult puzzle ( one for my daughter - who lets say loves a puzzle challenge ) ..
Convergence was the embodiment of free speech and freedom of expression. Pollock rebelled against the constraints of societies oppressions. Pollocks abstract work was hard to decipher but his rebellious nature and expression of freedom were clearly evident.
As with Tracey Emin, I feel here Pollock was out to shock and prove his point. Saying to us all I can do exactly what I want, whether you like it or not.. and the same can be said for photography - perhaps we should take a leaf from their book and loosen up a bit and do anything that you want.. not stick to what is expected.
Im not sure how this is painted - whether there is much thought gone into this, or whether its thrown together with a fluid arm. I can hear my grandparents saying what a lot of rubbish a child could do better. etc etc..
It would help to speak to the artist for their thoughts to appreciate what he has produced. If you compare this to a beautiful portrait which is skilfully put together and is a thing of beauty, I would admire the portrait more.
I can understand the expression of the artist wanting to be rebellious and this all adds interest to the world. I would like the art in a modern room as a colour co ordinating piece to enhance a room, but Im not sure if I would admire the work - I may be with my grandparents with their thoughts.
Do I like it or not ? I'm undecided .. as I say would have in a room and then I would probably be intrigued to find out more about this type of art.
C. Hell - Jake and Dinos Chapman
http://jakeanddinoschapman.com/
http://www.theguardian.com/artanddesign/2015/jun/16/jake-and-dinos-chapman-how-we-made-hell
These designs are quite amazing the detail is unbelievable, meant to shock apparently and nominated for a Turner Prize. The detail is quite minute and intense, sometimes changing face and body parts. As much as I admire the intensity of this work I do find it a bit dark - I cant imaging what is going on in their minds. I wouldn't even have a starting point to produce such work. I made a lego car once, but lets say it was basic ... beyond this they then put their work into glass cases, and the cases in the shape of a swastika, I suppose this is where I would stop, if I had even produced such a work I wouldn't then move on to displaying in such a way.
Do I like it .. well no not really.. I am fascinated by the work and production but too dark for me.
D. Bram Stoker's Chair - Sam Taylor-Wood
http://www.chairblog.eu/2010/08/10/bram-stokers-chair-series-by-sam-taylor-wood/
I like these set of images, I find them intriguing. The models body make a large and definite shadow on the wall and the chair doesn't. Call Bram Stoker after the vampire who left no shadow, this knowledge makes viewing even more intersting. you look and question the images.
Do I like this images ? Yes, I think I do ..
E. CREMASTER - Matthew Barney
Well this is hilarious .. the cremaster is a muscle that makes the testes in the male spieces, rise and fall and the images represent this.
Reception of this ranges from it being considered a work of art, to self indulgent tedium !!
My view is, great, but I wont be taking it too seriously, Im not sure if the artist does, he has taken a lot of years to produce this so for that reason he has taken himself seriously.
Again here I can appreciate the efforts and wonder how these peoples imagination works, how they think of such things. Anyway made me titter, again here I would like to discuss it with Matthew Barney .. see where he is coming from.. and what is in his mind ...
Undecided as to whether I like of not :-)
http://www.cremaster.net/#
CREMASTER 1 (1995) is a musical revue performed on the blue Astroturf playing field of Bronco Stadium in Boise, Idaho - Barney's hometown. Two Goodyear Blimps float above the arena like the airships that often transmit live sporting events via television broadcast. Four air hostesses tend to each blimp. The only sound is soft ambient music, which suggests the hum of the engines. In the middle of each cabin interior sits a white-clothed table, its top decorated with an abstract centerpiece sculpted from Vaseline and surrounded by clusters of grapes. In one blimp the grapes are green, in the other they are purple. Under both of these otherwise identical tables resides Goodyear (played by Marti Domination). Inhabiting both blimps simultaneously, this doubled creature sets the narrative in motion. After prying an opening in the tablecloth(s) above her head, she plucks grapes from their stems and pulls them down into her cell. With these grapes, Goodyear produces diagrams that direct the choreographic patterns created by a troupe of dancing girls on the field below. The camera switches back and forth between Goodyear's drawings and aerial views of the chorus girls moving into formation: their designs shift from parallel lines to the figure of a barbell, from a large circle to an outline of splitting and multiplying cells, and from a horizontally divided field emblem (Barney's signature motif) to a rendering of an undifferentiated reproductive system (which marks the first six weeks of fetal development). Gliding in time to the musical score, the chorus girls delineate the contours of a still-androgynous gonadal structure, which echoes the shapes of the two blimps overhead, and symbolizes a state of pure potential.
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