The Power of Purge
The image walks the line of silence and noise - of stillness and chaos. There are stilled actions of purging emotion: a cathartic ritual between him and fan. Palpable energy, musky feel. The lyrics have taken the stage, reminiscent of the Pixies in 1989. Just an ego and moderate talent. In a lo-fi aesthetic, influenced by CHarles Peterson, his hands move rapidly. His body is hunched in concentration, while his mates support him. They are working in unison, making something frenetic. In sharp focus, his gaze is on his hands, his intent is clear. The energy around them spurs them on. In thick blacks and grainy whites, their excitement is depicted. Tattoos blurred, a moment of the relationship between them is depicted.
Wednesday, 8 December 2010
Assignment 1: choose three pieces of text and three words to describe one image
Fonts: Rolling Stone, the middle is hand-written, and the last is the Sex Pistols Font
Geoffrey Farmer Gallery Visit
Every Letter in the Alphabet
Geoffrey Farmer spoke to our class about his Olympic Public Art Program-funded space, a work that functioned as a gallery space at 1875 Powell Street for one year from November 15 2009 through November 15 2010. The piece operated with the intention of commissioning, collecting and producing text-based works. These works are meant to function as a dialogue about the work, and about the city of Vancouver.
Beyond that, Geoffrey explained that he was not sure what kind of work would be accepted into the space for show, and was not exactly sure what the outcome would be. He described the work as an idea in progress, something that would work itself out over the course of the twelve months.
The interior of the space was lined with a white-washed light coloured wood, and architecturally designed to function as a more soothing take on the white cube gallery space. In this way, Farmer is making a comment on the way a white cube space functions, and how it creates a formal language around the work, whereas the white-wash over the wood in his space created a much more casual feel. This was reinforced by parts of the architecture being cubes and blocks that could be pulled away from the wall to create an interactive seating area. To my cold reading, the space had a low-brow feel in terms of what kind of art it could host, but also in terms of how it would affect the reading of the art hung on the walls. It is possible that high-brow art could be read much more casually in the context of the space, and it is this aspect of his project that intrigued me as it is often not the case for an artist (who has shown in the likes of the Tate Modern in London) of his credentials to want to alter, or lower, the perceived value of his work and that of the exhibiting artists in the space.
Geoffrey pulled the blocks away and created a seating area for our class, and began to discuss what it meant for him to be an artist. His talk was so based in reality and emotion, that I could not help but be inspired by him. His words were from the heart, and so necessary to hear while being a student within the confines of the academic system.
Thank you for setting up this talk. His words will stay with me for a long, long time as they were deeply influential. Future students would be lucky to have the same experience with him, if you are so inclined to set up meetings for them as well.
Geoffrey Farmer spoke to our class about his Olympic Public Art Program-funded space, a work that functioned as a gallery space at 1875 Powell Street for one year from November 15 2009 through November 15 2010. The piece operated with the intention of commissioning, collecting and producing text-based works. These works are meant to function as a dialogue about the work, and about the city of Vancouver.
Beyond that, Geoffrey explained that he was not sure what kind of work would be accepted into the space for show, and was not exactly sure what the outcome would be. He described the work as an idea in progress, something that would work itself out over the course of the twelve months.
The interior of the space was lined with a white-washed light coloured wood, and architecturally designed to function as a more soothing take on the white cube gallery space. In this way, Farmer is making a comment on the way a white cube space functions, and how it creates a formal language around the work, whereas the white-wash over the wood in his space created a much more casual feel. This was reinforced by parts of the architecture being cubes and blocks that could be pulled away from the wall to create an interactive seating area. To my cold reading, the space had a low-brow feel in terms of what kind of art it could host, but also in terms of how it would affect the reading of the art hung on the walls. It is possible that high-brow art could be read much more casually in the context of the space, and it is this aspect of his project that intrigued me as it is often not the case for an artist (who has shown in the likes of the Tate Modern in London) of his credentials to want to alter, or lower, the perceived value of his work and that of the exhibiting artists in the space.
Geoffrey pulled the blocks away and created a seating area for our class, and began to discuss what it meant for him to be an artist. His talk was so based in reality and emotion, that I could not help but be inspired by him. His words were from the heart, and so necessary to hear while being a student within the confines of the academic system.
Thank you for setting up this talk. His words will stay with me for a long, long time as they were deeply influential. Future students would be lucky to have the same experience with him, if you are so inclined to set up meetings for them as well.
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