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Stoya Bio Real Name:- Jessica Stoyadinovich Nick Name:- Stoya Professional:- Pornographic Actress & Model, Writer Years active:- 2007–present Zodiac sign:- Gemini Date of Birth:-  June 15, 1986Age:- 32 Years Old Place of Birth:- Wilmington, North Carolina, United States Nationality Side:- American Height:-  5 ft 7 in (1.70 m) Weight:-  115 lbs (52.2…

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James Deen Celebrated Name: James Deen Real Name/Full Name: Bryan Matthew Sevilla Gender: Male Age: 35 years old Birth Date: 7 February 1986 Birth Place: Los Angeles County, California, United States Nationality: American Height: 1.73m Weight: 68 kg Sexual Orientation: Straight Marital Status: Divorced Wife/Spouse (Name): Joanna Angel(2005 – 2011), Stoya(2012 – 2014) Children/Kids…

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Presenting Image  (Term 2) Week 8: Workshop

Focusing on the following artists: Luke Willis Thompson/Thomas Ruff.

Looking at different installation strategies they employ when exhibiting work.  

Luke Willis Thompson (NZ/FJ)

Thompson, works across a range of mediums, including performance, sculpture and film, all of which allow him to push the limitations of object and space.

Luke of Fijian and European descent, frequently deals with the social implications of the ready-made – drawing from the biographical to inform his curatorial decision-making.  His work summons racial and class based discourse and is provocative in its physicality yet there is an elusive reasoning behind his choices and an ambiguity regarding the role of the audience and the artist.  Luke’s work is not only challenging for the viewer but it also sets a precedent for the institution of art – questioning agency of the artist and responsibility of the audience to create context within a work. http://www.tautai.org/artist/luke-willis-thompson/

(1) Luke Willis Thompson - Sucu Mate/Born Dead (2016)

Extracting sacred artifact from natural environment/re-installing in a controlled environment.

Isolating the object to amplify power and meaning.

Minimalistic.  Repetition. Diagonal formation.     

Luke Willis Thompson - “Inthisholeonthisislandwhereiam” Winner of the Walters Prize (2014)

Thompson’s winning piece takes the form of a journey beginning in the exhibition spaces at the Auckland Art Gallery. It is an unusual and remarkable work that was described by Walters judge Charles Esche as an ‘extraordinary intrusion of art into daily life that cuts through the protocols of the exhibition system like a knife.’(ocula.com/magazine/conversations/luke-willis-thompson)

The work has a kind of tri-fold structure. It consists of the ferrying of audience members in a prepaid taxi from an emptied gallery or museum, through a choreographed route of the city, and arriving at a villa, that is lived in, but temporarily shared as an artwork. The work allows for an indeterminate amount of time to look through the house and its contents and the taxi will take you back to the gallery when you decide its ready to leave.

Exists in both tangible and intangible forms.

Exhibition as an immersive/Interactive experience.

Visceral/Emotive.

Viewer invited to engage.

Filtered view of reality.

Ambiguous as to the construction/Installation method/poses questions. Has it been deconstructed/reconstructed to create a fictional space of narrative and mythology?

Autoportrait (2017) - Luke Willis Thompson

(Turner Prize nomination for this particular work). 

Shot in 35mm, the black-and-white film shows the face of a silent Diamond Reynolds, who broadcast live on Facebook in the moments after her boyfriend, Philando Castile, was fatally shot by police in Minnesota in 2016.

Thompson has transformed the long corridors and towering ceilings of the gallery’s space into a lightless, almost airless vacuum. Partly necessitated by the artist’s cinematic medium, this blackness causes a sharp alteration of the senses. It makes us physically aware of invisibility and silence, which carry immense thematic weight in Thompson’s work.

His exhibition is comprised of three silent and visually understated films. While the scenes are staged as photographic portraits, they are captured as moving images, a technique referred to by the exhibition’s curator, Stephen Cleland, as “durational” portraiture.

The probing camera risks intrusion, yet manages intimacy.  It is unwavering and foregrounds slight involuntary movements of habit and impulse; subtle flickers of restlessness, defiance, melancholy, suspicion, serenity, sobriety and self-awareness reveal a full spectrum of emotion in the subjects, despite the simple compositions.

Mute, without context and leisurely in pace, the work invites contemplation from its audience. It is unexpected then, when reading the short descriptions provided by Thompson, to have the work’s subjects placed within the lineage and legacy of war and police brutality.

Subjects Jone Lebanon, Rosi Lebanon, Rupeni Iraq and Inia Sinai of How Long? (2018), Brandon and Graeme of Cemetery of Uniforms and Liveries (2016) and Diamond Reynolds of Autoportrait (2017) are all in some way—whether directly witnessed or inherited— affected by violence.

In this way, Thompson transforms the ways in which we might usually encounter violence and brutality in art and media. The usual carnage, chaos and symbolic blemishes of red are a distant notion, here supplanted by a haunting sense of lasting trauma that is material, personal, immediate and embodied.

(2) Thomas Ruff

Thomas Ruff is a German photographer who lives and works in Düsseldorf, Germany. He has been described as “a master of edited and reimagined image.

m.a.r.s Exhibition

Alteration and manipulation. 3 D effect software. Reproduces large scale prints from satellite photographs.

Collages and renders.

Becomes an abstraction through partial isolation of the image.

Uses linear rows of square prints - different ratios/sizes.

Framed.

Hung low to the ground allowing viewer to engage and move into the work.

Use of large images to further engage the audience.

Portrait (Stoya)  1986 

Portrait 1986 (Stoya) is a large colour photograph by the German artist Thomas Ruff depicting a young man, shown from the front and gazing out towards the viewer. The man’s head and shoulders fill most of the frame, and his features are set in a neutral arrangement. Although his hair is styled and he wears a deep yellow shirt and striped set of braces, the pale background, the blank expression and the even, flat tones in the image reveal little about the personality of the sitter. Tate’s version of Portrait 1986 (Stoya) is numbered two in an edition of four.

The works in the Portraits series are each identical in size and feature a young male or female sitter presented against a white background and staring out towards the viewer with a blank expression. Each was made using a standardised technique: the sitters, who were all friends and colleagues of Ruff, were positioned before a large format camera that was mounted on a tripod and covered in a black cloth. Ruff composed each scene using the inverted image that appeared on the camera’s focusing screen, after which he inserted a film holder containing the photographic plate, closed the camera, set the shutter, re-covered the camera with the black cloth and took the photograph.

Ruff was among a generation of artists including Thomas Struth and Andreas Gursky who studied under the German photographers Bernd and Hilla Becher at the Düsseldorf Kunstakademie in the 1970s and 1980s. The work made by artists of this generation reflected the documentary objectivity – the use of even lighting, frontal presentation and the repetitive, serial format for exploring a subject – that characterised the Bechers’ photography, a style that was itself influenced by the 1920s German realist tradition of Neue Sachlichkeit or ‘New Objectivity’ painting and photography. Ruff stated in 1997 that ‘I have an idea of an image, but I can’t find the image because it doesn’t exist yet. So I have to make it myself’, and his Portraits, which act as both representations of individuals and standardised records of faces and bodies, could therefore be considered a reflection on the truth value of the photographic portrait (Ruff in Centre national de la photographie 1997, p.19). As Ruff explained in 1989: I don’t believe we can still make portraits in the conventional sense of ‘representing a personality’ today. At least I don’t claim to do that. Which is why I imitate portraits. Nonetheless, there is still a great deal of reality in my portraits. (Quoted in Thomas Ruff: Works 1979–2011, exhibition catalogue, Haus der Kunst, Munich 2012, p.26.)