L i s a L u k y a n o v a
Nothing you can’t turn into art. Artists were proving it over and over again, without seeing the end of their experiments. In our article “BEING ON LOCKDOWN. How to find inspiration in everyday objects?” were shown the examples of implementing simple and unremarkable things into a piece of art.
Today we are ready to inspire you again and present a little tutorial on how to create a contemporary art. This is a process of combining the mental, physical and essentially emotional effort of creating something that brings artists together over time and across media.
What Is It Made Of?
It could be anything!
Sheila Hicks, Pillar of Inquiry/Supple Column, 2013–14
Hicks has long been concerned with the intricacies of interfacing design of fibre objects with the environment that contains them, in this case in a museum building.
For Hicks, color, form, and texture are inextricably linked. She wants her work to ignite our urge to touch. “I think that is important, the wanting: the desire to hold it in your hands, to befriend it, to see if it bites, or if it’s compatible to your existence, and in what way,” she said.
Color, shape and grain are intrinsically linked for Hicks. She wishes her artwork to ignite our desire to touch.
Liz Deschenes on Tilt/Swing (360º field of vision, version 1), 2009
Deshene’s work broadens photographic ideas by exploring the links between the mechanics of vision, image creation processes and modes of display.
The idea of her work is to make the viewer to look everywhere not only straight ahead as they usually observe masterpieces in the gallery. “The viewer takes on what would be the movements of the view camera, and the goal is to liberate the viewer so the viewer can make decisions about how they navigate the piece.”
Kerry Tribe, H.M., 2009
Tribe provides physical mechanisms of image movement in the content of its works. H.M. is a reconstructed portrait of Henry Molison, known in scientific literature as Patient H.M., who’s had a bad memory loss since his lobotomy. As with memory, the tape is unstable and decomposes over time.
How Is It Made?
Just be inspired!
Lynette Yiadom-Boakye, The Myriad Motives of Men, 2014
Lynette Yiadom-Boakye paints rapidly, normally finishing his canvases in a single day. She brings them back from her memories and remarks, and draws her inspiration from art history, by developing her thoughts in books, pictures and, in the final, on the canvas itself.
She doesn’t say much about who and where these figures are, preferring to keep her compositions open to any plot that the audience may bring to them.
Luther Price, Sorry, 2005–12
Luther Price once described the value of process: “It’s not always about what you are working on…..but how it gets there.” It took him seven years and 80 handmade slides to get to his collage-film, Sorry. Like large portions of his work—encompassing performance, films, and slides—Sorry includes scenes of suburban family life melded, in this case, with a 1940s film about Jesus and the Crucifixion.
Who Makes It?
Anne Teresa De Keersmaeker, Work/Travail/Arbeid, 2017
Work/Travail/Arbeid features seven dancers and seven musicians performing continuously during museum hours, which coincide, as De Keersmaeker has noted, with her company’s regular workday. The dancers twirl, run, skip, sway, guided by chalk patterns they have drawn on the floor (which they must redraw every hour) and by the unrestricted circulation of museumgoers.
Revital Cohen & Tuur Van Balen on 75 Watt, 2013
In 2013, the artists Revital Cohen and Tuur Van Balen traveled to Zhongshan, China to create an artwork at the White Horse Electric Factory. There, they made a film in which workers at an assembly line perform choreographed movements while assembling an enigmatic object.
Contemporary Art is a freedom!
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