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KVB127 08 Belief Systems 2020
- 1. KVB127 Visual Art Open Studio 2 Week 8: Belief Systems
- 2. Robertson, J., & McDaniel, C. (2017). Themes of contemporary art: Visual art after 1980 (4th ed.). Oxford University Press. Belief Systems Historically, art and spirituality have had a strong bond and have frequently been mutually reinforcing. To some degree, all art expresses the values and views that of the artist – their belief systems. In light of the increased globalization of culture, non-European motifs, practices and cosmologies are now part of the language of contemporary art. • Experience • Materiality/Process • Iconography
- 3. Bill VIOLA (American b. 1951) The crossing, 1996 two-channel color video installation, four channels of sound, 10 min 57 sec We have to reclaim time itself, wrenching it from the "time is money" maximum efficiency, and make room for it to flow the other way – towards us. We must take time back into ourselves to let our consciousness breathe and our cluttered minds be still and silent. This is what art can do and what museums can be in today’s world. Bill Viola, as quoted in Buddha Mind in Contemporary Art, Jacquelynn Baas and Mary Jane Jacob, eds. (Berkeley: University of California Press, 2004), p. 254
- 4. Malevich’s Black Square, 1916 Rothko’s Chapel, Houston, Texas, 1971
- 5. Pipilotti RIST (Swiss b.1965) Pour Your Body Out (7563 cubic feet), 2009, MOMA New York
- 6. Kimsooja (South Korea b. 1957) | Lotus: Zone of Zero, 2008 Approx. 2000 lotus lanterns; Tibetan, Gregorian, and Islamic chants; Steel structure and cables.
- 7. HINDU TANTRIC PAINTING Rajasthan, India From Tantric Song by Franck Andre Jamme, 2011
- 8. Lindy LEE (Australian b.1954) The Tenderness of Rain, 2011-2012, burnt paper Unnameable, 2017, Mirror polished bronze
- 9. Timmy PAYUNGKA Tjapangarti (Pintupi people, c.1940–2000) Sandhill country west of Wilkinkarra, Lake Mackay, 1971 Timmy PAYUNGKA Tjapangarti (Pintupi people, c.1940–2000) Tingari cycle at Wilkinkarra, 1996
- 10. Shirazeh HOUSHIARY (Iranian b. 1955) with Pip Horne Studio Right of Spring, 2012 Pencil, pigment and black Aquacryl on canvas and aluminium 190 x 190 cm Commission for St Martin-in- the-Fields, London, 2008 Etched mouth blown clear glass and shot peened stainless steel frame
- 11. Gerhard RICHTER (German b. 1932) Window for Cologne Cathedral, 2007
- 12. Sigmar POLKE (German 1941 – 2010) Grossmünster Cathedral: Zurich, Switzerland, 2009 Sigmar POLKE (German 1941 – 2010) Higher Forces Commanded: Paint the Upper Right Corner Black!, 1967
- 13. Xenobia BAILEY (African American b. 1955) Mothership 1: Sistah Paradise’s Great Wall of Fire Revival Tent, 2002
- 14. Fred TOMASELLI (American b. 1956) Untitled (Expulsion), 2000 leaves, pills, mushrooms, photocollage, acrylic and resin on wood panel
- 15. Kiki SMITH (German American. b. 1954 Born, 2002 bronze
- 16. Michael RILEY (Wiradjuri/Gamilaroi 1960-2004) Untitled (Cloud series), 2000 Inkjet on banner paper, 86 x 125cm
- 17. Angelica MESITI (Australian, b. 1976) Rapture (Silent Anthem), 2009 single channel digital video, colour, silent (10:10)
Notas del editor
- This week we consider contemporary artists who are investigating political, social, cultural, philosophical, poetic, and psychological implications of place as a geographic location and as a concept.
- Bill Viola’s The Crossing is a room-sized video installation that comprises a large two-sided screen onto which a pair of video sequences is simultaneously projected. They each open in the same fashion: a male figure walks slowly towards the camera, his body dramatically lit from above so that it appears to glow against the video’s stark-black background. After several minutes he pauses near the foreground and stands still. He faces forward, staring directly into the lens, motionless. https://www.khanacademy.org/humanities/ap-art-history/global-contemporary-apah/20th-century-apah/a/viola-the-crossing
- https://www.bbc.com/culture/article/20180312-the-racist-message-hidden-in-a-masterpiece
- Although not all installations have a spiritual purpose, some intentionally open possibilities for people to achieve a state of meditation. Kimsooja has a spiritual background informed by Buddhism and Christianity as well as codes of moral conduct drawn from Confucianism and Tao philosophy. She has created installations that are intended to transform the exhibition space into a zone of contemplation.
- Although not all installations have a spiritual purpose, some intentionally open possibilities for people to achieve a state of meditation. Kimsooja has a spiritual background informed by Buddhism and Christianity as well as codes of moral conduct drawn from Confucianism and Tao philosophy. She has created installations that are intended to transform the exhibition space into a zone of contemplation.
- Inspired by Buddhist cosmology, Lee’s works are meditations on the transience of matter and life, which are bound together in an endless karmic cycle of death and rebirth. Burning the paper with a soldering iron, Lee has used fire to represent water – fusing elements within a single plane encompassing the terrestrial nature of rain and the celestial bodies of stars and meteor showers. Fire is a central motif in Buddhism and Lee’s most recent ‘weather paintings’ (as she calls them) harness natural elements in their creation. Their canvas or thick paper surfaces are pierced and burned by the artist and sometimes exposed to rain, creating a pocked, star-like effect. In these works the individual is symbolised as one of multiple tiny connecting points of light within the wider universe, or ‘net of Indra’. Over the last decade Lee’s previously representational imagery has increasingly given way to more fluid, abstract compositions with cosmic associations. Lee’s current work draws actively on Buddhist philosophy and particularly the writings of Zen masters such as Dōgen. She incorporates Zen Buddhism into her practice through meditation, sustained periods of contemplation from which her organic processes and responses to the work arise. The works are abstract and monochromatic, suggestive of a meditative state, a physical expression of Buddhist spiritual practices as well as symbolic of the mystery of burning stars and the universe, themes that have preoccupied the artist in recent years. https://www.mca.com.au/artists-works/works/2013.4/
- The use of fields of dots to mask sacred or secret designs was taken to its extreme early on in the Papunya painting movement. The dotting in acrylic paintings by desert artists has a number of sources. One is the often large ground mosaics made for ceremonies, which of themselves form one of the main templates for acrylic paintings. The ground paintings are constructed using a mixture of ochres and feather down or cotton-like pulped vegetable matter, known as wamulu, which is put down in small clumps, bit by bit, to form the lines of the designs. The translation of this technique onto flat portable painting surfaces has resulted in the use of painted dots. Similarly, the application of wamulu to the body of a ritual participant, and the use of dotting to decorate weapons and utensils such as wooden shields and carrying dishes, also influence modern paintings. In Sacred sandhills, Payungka has dispensed with any visible graphic icons or designs to create an image of a landscape that hums with the vibrancy of the ancestral forces that lie within the earth, and that vivify it. The horizontal lines that weave across the picture depict sandhills, while the lighter coloured areas represent spinifex. But this is no mundane landscape composed of sand, soil and grasses—rather, it is one that retains the powers of the ancestors who created it. Sacred sandhills is an early and extraordinary example of how desert artists can express these invisible forces in paint. Wally Caruana https://cs.nga.gov.au/detail.cfm?irn=16752 Marcia Langton goes so far as to argue that the magical content of a painting, its tjukkurpa in Western Desert terminology, is directly correlated to its aesthetic power, its qualities as high art. Jorgensen, D. (2011). Dreams and Magic in Surrealism and Aboriginal Australian Art. Third Text, 25(5), 553–562. https://doi.org/10.1080/09528822.2011.608963 Tjapangati was a highly individual painter among the Pintupi artists – figuration played a large part in his earlier works, with depictions of animals and people, their tracks and associated ceremonial detail. In the middle phase of his artistic development, while conforming to Pintupi conventions, his painting was characterised by compositional complexity and the use of unconventional chromatic and tonal arrangements. The latter phase of his work is an assertion of his undoubted ceremonial authority. In 'Tingari cycle at Wilkinkarra', 1996, Tjapangati fills the picture space with the intricate 'key' patterns that are characteristically incised onto wooden objects associated with secret ceremonies, and the palette is reduced to a red ochre undercoat covered by a maze of black and white dotted lines. 'Untitled', 1998, is a similarly reductive work. It employs squared concentric elements, of a kind of geometry that had been eschewed by Pintupi artists in the 1970s and 1980s because it referred too closely to the secret patterns of the men's realm. In this work the squared elements are arranged in an informal grid. At the upper left of the work, just one square is left unfilled, begging us to question whether this was deliberate: its effect is of total visual power. John Kean in 'Tradition today: Indigenous art in Australia', Art Gallery of New South Wales, Sydney, 2004 https://www.artgallery.nsw.gov.au/collection/works/318.2000/
- Shirazeh Houshiary makes abstract art with a transcendental purpose from a position of faith in a particular religious tradition. Houshiary practices Sufism, a mystical branch of Islam that began in the 8th century. “her commission for the East window of St Martin in the Fields, London, presents a cross, warped and spanning from a circular motif, as if reflected in water. “The universe is in a process of disintegration,” she says, “everything is in a state of erosion, and yet we try to stabilise it. This tension fascinates me and it’s at the core of my work” (2013).’ https://www.lissongallery.com/artists/shirazeh-houshiary Sufism – Islamic mystical practice involving meditation and deep inward reflection on the nature of humanity and God. Associated with Sunni Islam eerged in the 8th century. Associated with asceticism, transcendentalism and a general opposition to legalism https://en.wikipedia.org/wiki/Sufism
- Leading artists rarely make artworks for a place of religious worship today. Nevertheless, there are exceptions. To compose his design for a window of Cologne’s cathedral, Gerhard Richter selected 72 colors and then used a random number generator to select the specific sequence of colors.
- For Higher Beings Commanded, Polke painted a triangle of black lacquer in the upper right-hand corner of a canvas. His rationale for doing so is explained by a typewritten message that runs across the bottom of the canvas which reads (in German), "Higher beings commanded: painted the upper right corner black!" This is part of a series of works Polke produced in which the composition is supposedly determined by the commands of 'higher beings.' These beings might be identified as any of a number of people or factors that held sway over Polke's career at this point. The phrase hints at divine authority or intervention, but could equally apply in a tongue-in-cheek way to governmental powers or, on a level closer to home, the administration and teachers at the Düsseldorf Arts Academy where he was a student for many years. The phrase also evokes creatures from outer space, a major preoccupation of the 1960s; Polke was certainly deeply interested in the paranormal. German artist Sigmar Polke (b.1941 – d.2010) completed 12 modern stained-glass windows for this Zurich cathedral in 2009, just before he died. Although the windows look conventional, seven of them were created with thin slices of agate. Polke was nicknamed "the Alchemist" for his interest in working with and combining unconventional materials. When he was a teenager, he worked at a stained glass works in Germany so this work, ostensibly his last, establishes stained glass as bookends to his irreverent, complex practice.
- Xenobia Bailey (born 1955) is an African-American fine artist, designer, Supernaturalist, cultural activist and fiber artist best known for her eclectic crochet African-inspired hats[1] and her large scale crochet pieces and mandalas. Distilling a wide range of influences – including African, Native American, and African-American cultures, art historical precedents, female handicraft, and her own elaborate cosmologies – Xenobia Bailey’s vibrantly colored crocheted tondos and goddess figures present a holistic view of what art can embody. Following Phase I which took place last fall at The Studio Museum in Harlem, Phase II features more of the folk tales and creation myths, archetypal earth mothers and muses that have been given life through her unique brand of fiber art, incorporating abstraction, embellishment, costume, and sculpture. Bailey’s handmade wall and floor installations are composed of numerous concentric circles of multicolored yarn, occasionally festooned with beads and cowry shells; spiraling out into optical whorls, they simultaneously offer the formal qualities of pattern and design as well as the boundless energies that spawned our universe. Presiding over the exhibit with her own oracular Revival Tent is Sistah Paradise, a crocheted sculpture standing 9 feet tall, whose mystical, hieratic presence epitomizes a matriarchal cosmic deity. Additional photographs share the artist’s homespun, domesticated interpretations of ceremonial uniforms. By rejoicing in the multiple aesthetics of her cultures, Bailey colorfully unites object and symbol, abstract with the specific, foreign and familiar. http://www.stuxgallery.com/exhibitions/xenobia-bailey
- In the Western world, while not pervasive, there has been a revival of recognisable religious symbols, icons, and stories in art, often involving ones that borrow from the Christian tradition. Take Tomasell’s “Untitled (Expulsion)” from 2000 (seen above). The image is an expulsion from Eden, the banishment of Adam and Eve, and shows the clear influence of a Masaccio fresco in Brancacci Chapel. The appropriated pose of the figures and belies the surreal nature of the rest of the work, but yet the classical and the bizarre are together subsumed into a greater whole. The angel of Masaccio’s depiction is replaced by an epic, swirling representation of something both divine and horrible. A central eye (another fixation of Tomaselli’s) tops an amorphous body of resin-encased leaves, radiating outwards in a dazzling of insects, flowers, body parts: the natural world. Wouldn’t you imagine the force casting you out of Paradise to be terrible and terrifying? https://hyperallergic.com/10827/fred-tomasellis-non-chemical-influences/
- Today a sense of enchantment has made a comeback in popular culture. Enchantment has a presence in the world of fine art as well. Kiki Smith’s sculpture Born treats a theme of wondrous human connections with wild animals, showing a fully-grown transmogrifying woman emerging from the side of a small deer.