hallebwcacs102-blog

[hallebwcacs102-blog]

References:

Sebastian Guerrini, Identity, <https://www.saatchiart.com/art/Drawing-Identity/744668/2274050/view>

Viewed 22 March 2017, <http://www.univie.ac.at/sittax/htm/social-ident.html>

Robert Kelty, 2014, Fractured Identity, image, Shepparton Art Museum, viewed 19 March 2017, <http://sheppartonartmuseum.com.au/icaa-gallery-item/!/303/item/11>

Viewed 22 March 2017, <http://www.thoughtsonlifeandlove.com/fractured-identities/>

Shawn Van Daele, Surreal Stories in Self Portraits, viewed 22 March 2017, <http://mymodernmet.com/surreal-stories-in/> 

Jeffrey Scott, <https://scottjeffrey.com/your-creative-identity/>

Vincent Van Gogh, The Starry Night, 1889, <https://www.moma.org/learn/moma_learning/vincent-van-gogh-the-starry-night-1889>

Venus Oak, Venus Van Gogh, <https://www.saatchiart.com/art/New-Media-Venus-Van-Gogh/516717/1863144/view>

Julian Murphy, 16 November 2016, viewed 22 March 2017, <https://overland.org.au/2016/11/authenticity-and-the-market-the-existential-threat-of-art-fraud/>

Hari and Deepti, <http://www.blackbookgallery.com/artists/hari-deepti/>

Tanner Christensen , 2012, <http://creativesomething.net/post/25923994529/what-influences-your-creativity> 

Directed by F. Radovic, <http://representationandreality.gu.se/research/sections/philosophical-interpretation-sense-perception-and-sensory-knowledge>

March 17, 2017, viewed 22 March 2017, <https://thesilentwaveblog.wordpress.com/2017/03/17/the-intense-world-probably-not-just-a-theory/>

<http://tedsider.org/papers/overdetermination.pdf>

2010, viewed on 22 March 2017 <http://apublicnessofartpractice.blogspot.com.au/2010/12/overdetermination-site-specific.html>

André Masson,1924, Automatic Drawing, image, MoMA, viewed 16 March 2017, <https://www.moma.org/collection/works/38201>

McLeod, S. A, 2015, Unconscious Mind, viewed on 21 March <www.simplypsychology.org/unconscious-mind.html> 

viewed on 21 March, <https://surrealismfall2012.wordpress.com/2012/11/16/andre-masson-and-the-automatic-drawing/>

viewed 21 March, <https://surrealismfall2012.wordpress.com/2012/11/16/andre-masson-and-the-automatic-drawing/>

Elżbieta Jabłońska , Supermather, image,  Ingyine Photography, viewed 21 March 2017, <http://ingyinephotography.weebly.com/blog/theme-gender-rolesgender-equality>

viewed 22 March 2017, <http://richardtwine.com/ecofem/essentialism.html>

Susan A. Gelman, May 2005, viewed 22 March 2017, <http://www.apa.org/science/about/psa/2005/05/gelman.aspx>

viewed 22 March 2017, <http://culture.pl/en/artist/elzbieta-jablonska>

Lorna Simpson, 1994, Wigs (Portfolio), image, MoMA, viewed 18 March 2017 <https://www.moma.org/collection/works/73745>

Barker, C 2007, ‘Issues of subjectivity and identity’, in Cultural studies: theory and practice, 3rd edn, Sage Publications, London, pp. 218- 223. 

[hallebwcacs102-blog]

Sebastian Guerrini, Identity, <https://www.saatchiart.com/art/Drawing-Identity/744668/2274050/view>

Social Identity

Our social identity is categorised by the groups in which we are associated to, this includes our social class, all the way to who we enjoy hanging with. Our social identity influences how we personally identify. There are three levels of inclusiveness as stated by (Turner et al., 1987): (a) the subordinate level of self-categorisation as an individual (personal identity); (b) the intermediate level of ingroup-outgroup categorisations based on social similarities and differences that define one as a member of certain social groups and a non-member of other social groups (social identity); (c) the superordinate level of the self as a human being.

Identity by Sebastian Guerrini highlights the exclusiveness of social identity, although the idea of social identity is to be inclusive, the work considers the way in which we envision ourselves within particular categories.

References:

<http://www.univie.ac.at/sittax/htm/social-ident.html>

[hallebwcacs102-blog]

Robert Kelty, 2014, Fractured Identity, image, Shepparton Art Museum, viewed 19 March 2017, <http://sheppartonartmuseum.com.au/icaa-gallery-item/!/303/item/11>

Fractured Identity

“We stagger and stumble into each other in confusion when our identity is contested and thus allow ourselves to be moulded by others.”

Dr Charles Nelson Perkins

Our identities are fragile but also easily moulded by our surroundings, each identity for each changing situation, overlapping to create ourselves. A fractured identity is one that doesn’t feel the idea of belonging within any of the identities they take on, this fracture usually occuring due to trauma in ones life. 

The work ‘Fractured Identity’ by Robert Kelty discusses the issues with belonging due to his knowledge and failure to accept his heritage as an aboriginal. This was due to his families shame in the culture due to societies judgement.

References:

<http://www.thoughtsonlifeandlove.com/fractured-identities/>

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Shawn Van Daele, Surreal Stories in Self Portraits, viewed 22 March 2017, <http://mymodernmet.com/surreal-stories-in/>

Creative Identity

Our creative identity is made up of our ideas, and ability to be resourceful within ourselves, through imagination and genius.

Shawn Van Daele’s ‘Surreal Stories in Self Portraits’ series identifies his creative identity. Exploring his imagination through the works, 

“(Surreal self portrait) feels the most ‘real’ to me. It’s much easier for me to recreate my imagination’s image of what I’m feeling than to find it in the world around me. I like that the surrealism triggers something different in each person, while it’s still meaningful to me specifically…sort of a choose your own adventure.”  - Shawn Van Daele’s

References:

Jeffrey Scott, <https://scottjeffrey.com/your-creative-identity/>

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Vincent Van Gogh, The Starry Night, 1889, <https://www.moma.org/learn/moma_learning/vincent-van-gogh-the-starry-night-1889>

Venus Oak, Venus Van Gogh, <https://www.saatchiart.com/art/New-Media-Venus-Van-Gogh/516717/1863144/view>

Authenticity

Authenticity discusses the originality of an object, unaltered from its original form. Authenticity plays off of the idea of what is original, such as the works above, ‘The Starry Night’ by Vincent Van Gogh is an original artwork from 1889, whereas ‘Venus Van Gogh’ by Venus Oak plays off the colours and style of ‘The Starry Night’ with a self portrait, though still technically an original work unaltered, but because of its creative influence and similarities to Van Gogh’s, it can be seen as unauthentic and unoriginal. What makes a work original and authentic if everything is now influenced by those that have come before.

References:

Julian Murphy, 16 November 2016, viewed 22 March 2017, <https://overland.org.au/2016/11/authenticity-and-the-market-the-existential-threat-of-art-fraud/>

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<http://www.blackbookgallery.com/artists/hari-deepti/>

Creative Influence

Creative influence is those that inspire you in your discipline, that influence your art and creating, whether than be your favourite artist, musician or writer. Influences may also stem from the environment or even world issues.

Hari and Deepti, Indian artists based in LA, influence my artistic style through their use of paper shadow boxes. The works each tell an individual story through the subjects, as well as their overall technical style and patients. I took the artistic style of paper layering which heavily influenced my art.

References:

Tanner Christensen , 2012, <http://creativesomething.net/post/25923994529/what-influences-your-creativity>

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March 17, 2017, viewed 22 March 2017, <https://thesilentwaveblog.wordpress.com/2017/03/17/the-intense-world-probably-not-just-a-theory/>

Sensory Knowledge

Sensory knowledge is the ability to perform processes in the brain which are the senses; touch, smell, taste, hearing and sight. These processes allow our body to perceive and interact with out environment. 

The artwork above explores the effect Asperger's syndrome has on ones senses. The overcrowded work encompasses the busyness of life to someone with autism, how their senses are hightened due to their disability meaning that normal sights become overwhelming. The artwork attempts to present the views and anxieties that overwhelm someone with autism to people without this hightened sense. Not only do they see things differently, but their hearing is effected too, they may feel overwhelmed and anxious by loud noises or just noises of a room depending on severity. 

References:

Directed by F. Radovic, <http://representationandreality.gu.se/research/sections/philosophical-interpretation-sense-perception-and-sensory-knowledge>

[hallebwcacs102-blog]

2010, viewed on 22 March 2017 <http://apublicnessofartpractice.blogspot.com.au/2010/12/overdetermination-site-specific.html>

Overdetermination

Overdetermination is the concept that all events occurs due to multiple causes, they may be unconscious or conscious but all play a role in effecting the events. 

The work above encompasses the concept of overdetermination through the writing on the wall as well as an accompanying audio. Not only do all factors of the artwork determine your reaction to the work but the words are the factors of the unconscious mind, and how it reacts to situations.

References:

<http://tedsider.org/papers/overdetermination.pdf>

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André Masson,1924, Automatic Drawing, image, MoMA, viewed 16 March 2017, <https://www.moma.org/collection/works/38201>

Unconscious

As stated by Sigmund Freud, there are three structures of the mind, the conscious, the preconscious and the unconscious. The conscious mind consisting of processes we are aware of, the preconscious, where processes are stored that are not yet brought to the conscious, and the unconscious, a bank of memories and other thoughts outside our conscious awareness.

Automatic Drawing by André Masson explores the idea of conscious and unconscious thought. As a veteran of war, the anxiety and paranoia consumed him. The automatic drawings were a serious of drawings from the unconscious mind, his hand in fluid motion, working through speed to capture the unconscious thought.

References:

McLeod, S. A, 2015, Unconscious Mind, viewed on 21 March <www.simplypsychology.org/unconscious-mind.html>

viewed on 21 March, <https://surrealismfall2012.wordpress.com/2012/11/16/andre-masson-and-the-automatic-drawing/>

viewed 21 March, <https://surrealismfall2012.wordpress.com/2012/11/16/andre-masson-and-the-automatic-drawing/>

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Elżbieta Jabłońska , Supermather, image,  Ingyine Photography, viewed 21 March 2017, <http://ingyinephotography.weebly.com/blog/theme-gender-rolesgender-equality>

Essentialism

The concept of essentialism is that all things have a group of set characteristics which make up their being; whether that be the stereotypes placed on oneself by societal pressures or the categorisation of people based on age, race, gender, etc.

‘Supermather’ by Elżbieta Jabłońska  highlights the social constructs within society and the characteristics placed on gender roles within a family, with a nuclear family seen as a mother, father and one or more children. The depiction of herself dressed as superwoman, and her son Antos present on her lap. The artwork challenges the stereotypes of a mother, with her son looking up to her as his hero rather than a male father figure.

References:

viewed 22 March 2017, <http://richardtwine.com/ecofem/essentialism.html>

Susan A. Gelman, May 2005, viewed 22 March 2017, <http://www.apa.org/science/about/psa/2005/05/gelman.aspx>

viewed 22 March 2017, <http://culture.pl/en/artist/elzbieta-jablonska>

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Lorna Simpson, 1994, Wigs (Portfolio), image, MoMA, viewed 18 March 2017 <https://www.moma.org/collection/works/73745>

Subjectivity

Subjectivity is the way in which the subject experiences and reacts to the situation. We as subjects conform to each experience through our identity and opinion.

Wigs by Lorna Simpson expresses the wigs potential as the catalyst for a change in identity; each wig representing a potential reaction to an experience, taking on the new identity due to a changing situation. Each wig a different shape, colour and size, to represent the changing perspectives and opinions the subject endured. The wigs are accompanied with small hand written cards exploring the wigs subject (who they were), and the situation the wig was worn in.

References:

Barker, C 2007, ‘Issues of subjectivity and identity’, in Cultural studies: theory and practice, 3rd edn, Sage Publications, London, pp. 218- 223.