Thomas Schutte – 1954
Taught by Gerhard Richter, moved away from painting towards sculpture, he manipulates scale.
One Man House number 5
Adrian Searle – Thomas Schutte
Big Buildings, Models and Views 2010, Exhibition
Huge space, with buildings within the space
Talks about the 4th Plinth Searle talks about the Model for a Hotel, he states that within this space it looks glorious inside building.
Ferienhaus fur Terroristen 2007 Searle states it is a groovy modernistic place, chipboard inside, scrim outside, variety of colours, looking through this scrim dimly perceive other people and sculptures.
Talks about the ‘Angels’ kitchen implements, Origami of metal.
Schutte’s work the models are fantasy architecture.
Places of imagination, buildings with purpose, that you won’t understand, sinister.
Grosse Geister 1996 - 98
Searle suggests that the models Schutte creates models that are fabrication of what is really real.
What is real???
Schutte’s Watercolours – When I researched the work of Thomas Schutte, what I have found of real interest was the watercolours, the delicateness is very articulate, the use of colours, gentle abstract imagery.
Timeout Magazine – mocked the ‘Model for a Hotel’ 4th plinth 2007. It is only a model, transparent effigy – proposal of a proposal.
Telegraph – Abstract assemblage, light as air, movement, works as a juxtaposition, the colours change with the light.
Louise Bourgeois 1911 – 2010
Work based on childhood, family, domestic, relationships, life as a mother and as a woman.
Varying opinions on Bourgeois work, some felt she was the forerunner of Tracey Emin – Bourgeois work was biographical.
Dormant stated without the biography her work meant nothing. She was a celebrity.
Bobby Baker 1953
Domestic life and work, comedic fashion, wears white uniform and props.
1993 – kitchen show, routine tasks, contemplation.
Personal/political, influenced by world affairs.
Mental illness 2009 Diary Drawings – Wellcome Website
Kiki Smith – 1954
Father Tony Smith
Sculpture of the body, visceral, expressive sculpture, work does not conform.
Mary Ryan states that Kiki Smith’s work is body art and undermines the eroticism of male artists.
Mary Magdalene 1994
Kiki Smith does discuss collaboration with paper, craft materials, Asian art, her body drives her work.
Turner Prize 2010
Susan Philips – Lowlands
Sound Piece – Is the Turner Prize still cutting edge.
Dormant holds a negative response
Tomma Abts won the Stockist protests 2010
She states she does no research, works directly onto canvas, makes shapes works inside out. Image and piece 2001 – 2006
Illusion and the real, the sequence and distance of the work is very considered. She states that she knows when a painting is finished it becomes alive.
Does the lack of research reflect in the work? Personally I believe that research whether this is visual or written has influenced and improved my practice.
Stuckists did open up how the Tate worked
Andrew Marr has suggested that some of the points of view stated by the stuckists do have some value.
Research resources
Academic journal
Art and Design education
Jisc groups
Ted talks
Online seminars and talks
Moma
Tate – conferences, oral history 2010
Questions
In what way does artist’s biography inform or distract from the viewer’s experience of the work?
I believe that an artist’s biography can be very informative especially when I see an artist’s work and struggle to gain an understanding of the work and the reasoning behind the work.
What are the implications Ward’s assertion that ‘That all art is a form of proposition and anything is possible’
When looking at Thomas Schutte’s work I can appreciate what Ward states, within Schutte’s work there is an undercurrent of the impossible that could be made possible if that makes sense. The element of the absurd becoming sensible almost.
If you could only read or hear one view on a exhibition, would you chose to hear the artist or that of a critic or reviewer and why?
I would prefer to hear the artist’s viewpoint as an artist myself I look so hard to reflect on the work, what does the work mean to me? Why has it created that reaction? I hope that artists are good at not being judgemental but would try to look at an exhibition at all angles. I worry that a critic or reviewer would be more judgemental only using their own personal opinion only.
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