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KVB127 Visual Art Open Studio 2
Week 3: The Body
Robertson, J., & McDaniel, C. (2017). Themes of contemporary art:
Visual art after 1980 (4th ed.). Oxford University Press.
The Body
Beauty and Grotesque
Performance
Sexualised - The Gaze: (Lacan and Mulvey)
Posthuman
The Body
• Gender
• Class
• Race
• Culture
• Sexual orientation
• Generation/age
• Language
• Religion
• Political
• Ethics/Morality
• Social position
• Marital status
• Geography/country
• Suburb-City-State-Nation-Regio
AND..
• ..let’s remember that identifying as an artist
brings with it a complex
history/protocols/tropes…Adrian PIPER | Catalysis III, IV 1970
Antony GORMLEY (British b. 1950)
Still Standing 2011
Intervention, Hermitage Museum, St Petersburg
Venus of Willendorf; c. 28,000 BP
(the Gravettian period); limestone with ochre
coloring; Naturhistorisches Museum (Vienna,
Austria)
Tassel Gwion Gwion Figures; c.17,500 -5000 BP
Drysdale National Park, Photo: BAC & Mark Jones
Wangechi MUTU
(Kenyan-American, b.1972)
Lizard Love, 2010
Installation view, Museum of Contemporary Art, Sydney, 2013
Sarah LUCAS
Honey Pie
Exhibition view, Sadie Coles HQ, London, 2020
Jenny SAVILLE
Fulcrum, 1998–99
oil on canvas, 2.6×4.8 m
REBECCA HORN
(German b.1944)
left: Arm Extensions, 1970
right: Finger Gloves, 1972
Hannah BRONTE
(Wakka Wakka/Yaegal b. 1991)
Heala, 2018
Mixed media installation with video
Ah XIAN
(Chinese-Australian, b. 1960)
China China - Bust, 2002 and Serenity: Self portrait, Hamilton Gallery, Vic, 2016
James LUNA
(Payómkawichum, Ipi, and Mexican-American, 1950-2018)
The Artifact Piece, 1987
live performance
Hannah WILKE
(American 1940-1993)
Laundry Lint, C.O.’s 1974 Lint, various colors
Untitled from S.O.S. Starification Object Series, 1974 (17.1 x 11.4 cm)
Cheryl DONEGAN
(American b.1962)
Head 1993
Video | 3:00 | loop
MARINA ABRAMOVIC
(Yugoslavian b.1946)
Expanding in Space 1977
Ann HAMILTON
(American b.1956)
Event of a Thread 2012
Levi van VELUW
(Dutch, b.1985)
Family
3.54 min | loop | full HD
Megan ARCHER
(New Zealand, b.1988)
Digital Bodies, 2018
Oil on canvas | c.100x100cm
Moon RIBAS (Spanish b 1985)
and Neil HARBISSON (British-Irish b.1984)
Week 3 Reflection
Prepare for class by reviewing the resources in the
Week 3 folder and considering the following questions:
•What vision of the body is being proposed by each
work?
•How is the body being used as a point of reference?
•Are essentialist notions of bodily identity being
challenged or fostered by the work?
Make notes in your blog and bring your observations
and questions to class.Sarah LUCAS
Honey Pie
Exhibition view, Sadie Coles HQ, London,
2020
2.3 BODYWORK (Homework Task)
Produce a work (or works) derived from a
bodily action. The works should not depict
your body, but rather embody its physical
qualities of movement, proportion,
materiality, form.
Feedback Session: Week 5 Tutorial
Hannah BRONTE
(Wakka Wakka/Yaegal b. 1991)
Heala, 2018
Mixed media installation with video
2.2 BACKGROUNDING (Homework Task)
Consider your family and/or cultural
background. What kind of processes do you
connect with this background (eg. cultural
practices, traditions, habits, routines, rituals,
mannerisms, language, etc) Identify a single
PROCESS from your background and use this
as the basis of an artwork (4hrs)
Feedback Session: Week 3 Tutorial
Kara WALKER
Fons Americanus, 2019
Turbine Hall Commission, Tate Modern, UK,

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KVB127 03 The Body

  • 1. KVB127 Visual Art Open Studio 2 Week 3: The Body
  • 2. Robertson, J., & McDaniel, C. (2017). Themes of contemporary art: Visual art after 1980 (4th ed.). Oxford University Press. The Body Beauty and Grotesque Performance Sexualised - The Gaze: (Lacan and Mulvey) Posthuman
  • 3. The Body • Gender • Class • Race • Culture • Sexual orientation • Generation/age • Language • Religion • Political • Ethics/Morality • Social position • Marital status • Geography/country • Suburb-City-State-Nation-Regio AND.. • ..let’s remember that identifying as an artist brings with it a complex history/protocols/tropes…Adrian PIPER | Catalysis III, IV 1970
  • 4. Antony GORMLEY (British b. 1950) Still Standing 2011 Intervention, Hermitage Museum, St Petersburg
  • 5. Venus of Willendorf; c. 28,000 BP (the Gravettian period); limestone with ochre coloring; Naturhistorisches Museum (Vienna, Austria) Tassel Gwion Gwion Figures; c.17,500 -5000 BP Drysdale National Park, Photo: BAC & Mark Jones
  • 6. Wangechi MUTU (Kenyan-American, b.1972) Lizard Love, 2010 Installation view, Museum of Contemporary Art, Sydney, 2013
  • 7. Sarah LUCAS Honey Pie Exhibition view, Sadie Coles HQ, London, 2020 Jenny SAVILLE Fulcrum, 1998–99 oil on canvas, 2.6×4.8 m
  • 8. REBECCA HORN (German b.1944) left: Arm Extensions, 1970 right: Finger Gloves, 1972
  • 9. Hannah BRONTE (Wakka Wakka/Yaegal b. 1991) Heala, 2018 Mixed media installation with video
  • 10. Ah XIAN (Chinese-Australian, b. 1960) China China - Bust, 2002 and Serenity: Self portrait, Hamilton Gallery, Vic, 2016
  • 11. James LUNA (Payómkawichum, Ipi, and Mexican-American, 1950-2018) The Artifact Piece, 1987 live performance
  • 12. Hannah WILKE (American 1940-1993) Laundry Lint, C.O.’s 1974 Lint, various colors Untitled from S.O.S. Starification Object Series, 1974 (17.1 x 11.4 cm)
  • 13. Cheryl DONEGAN (American b.1962) Head 1993 Video | 3:00 | loop
  • 16. Levi van VELUW (Dutch, b.1985) Family 3.54 min | loop | full HD
  • 17. Megan ARCHER (New Zealand, b.1988) Digital Bodies, 2018 Oil on canvas | c.100x100cm Moon RIBAS (Spanish b 1985) and Neil HARBISSON (British-Irish b.1984)
  • 18. Week 3 Reflection Prepare for class by reviewing the resources in the Week 3 folder and considering the following questions: •What vision of the body is being proposed by each work? •How is the body being used as a point of reference? •Are essentialist notions of bodily identity being challenged or fostered by the work? Make notes in your blog and bring your observations and questions to class.Sarah LUCAS Honey Pie Exhibition view, Sadie Coles HQ, London, 2020
  • 19. 2.3 BODYWORK (Homework Task) Produce a work (or works) derived from a bodily action. The works should not depict your body, but rather embody its physical qualities of movement, proportion, materiality, form. Feedback Session: Week 5 Tutorial Hannah BRONTE (Wakka Wakka/Yaegal b. 1991) Heala, 2018 Mixed media installation with video
  • 20. 2.2 BACKGROUNDING (Homework Task) Consider your family and/or cultural background. What kind of processes do you connect with this background (eg. cultural practices, traditions, habits, routines, rituals, mannerisms, language, etc) Identify a single PROCESS from your background and use this as the basis of an artwork (4hrs) Feedback Session: Week 3 Tutorial Kara WALKER Fons Americanus, 2019 Turbine Hall Commission, Tate Modern, UK,