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This project was in collaboration with Ashley, Brittany, and Kelsey. In this podcast I am Bengamina, the girl who has been with 50 different boyfriends in the past three years (she has a few committment issues).
Garage band was a great program once we got the hang of it. It was a fun project that took just over an hour to complete (from scriptwriting to posting on soundcloud).
Filed under: Uncategorized | Tags: a girl, Children, Father, Infant, installation, Installation art, Mackenzie Art Gallery, Regina Art, Ron Mueck, Saskatchewan, Sculpture
Ron Mueck’s larger than life installation of “A Girl” is more than just a realistic sculpture of a baby. Extending over 16 feet in length, this infant demands attention. It is also fresh from the womb, umbilical cord still taking the place of the yet-to-come belly button. Mueck’s formalistic, realistic approach brings the viewer to an immediate state of shock and awe, every gory detail magnified twentyfold. Ron Mueck’s “A Girl” demonstrates exquisite hyper-realism in the uncanny form of a newborn baby girl so that the viewer considers the true significance of birth in life.
“A Girl” is at the Mackenzie Art Gallery (Regina) from September 25th, 2010 to January 2nd, 2011. The cross-Canada exhibition is called Real Life. “A Girl” is in the first room of the exhibition, and its size makes it an obligatory starting piece to the show. It is 1.1 meters high by 1.3 meters wide by 5.0 meters long. If its mother were in the show, she would be 17.8 meters tall.
Producing this level of realism on such a scale is a painstaking process. From miniatures, to molds, to castings, it takes months to make such true to life figures. Each synthetic hair is put in place one at a time. From hair follicles and skin blemishes to wrinkles and natural discolorations, no detail is overlooked, and the result is a strikingly realistic three-dimensional portrait.
There is an odd sense of the uncanny as the viewer approaches the baby; it is as if she could come alive at any moment. The viewer is left with an anxious feeling of uncertainty because, although intimately familiar, it is not of this world. Mueck even includes the bloody mucus that would appear on an infant to further the grotesque, but accurate qualities of the baby, disqualifying any presumptions that the figure is idealized. The painted skin blotches and vein coloring furthers the tromp-loi effect, making it difficult for the viewer to restrain from touching the object. To touch, the sculpture would be smooth and hard, but the fiberglass and matte paint causes its appearance to be that of skin: supple, soft, and still slimy from afterbirth. Her fists are clenched, and her face strained as she rests naked upon a cold white platform, giving the viewer further discomfort. This presents an incongruence of emotion for the viewer: sadness and angst. It creates an uneasy feeling of wanting to flee from the creature, but one’s instincts make the viewer want to care for it. Ron Mueck has done nothing less than create a perfectly life-like replication in a much larger than life form and by doing so raises radically different emotions from the viewer than if one were to see the baby in a merely life-size re-creation. His creative decisions have great purpose, forcing the viewer to consider birth in a new, much more real sense.
The space is also interesting. The sculpture is placed in one of the largest rooms in Saskatchewan, so it is not the baby that is out of place; the large room fits the baby easily. Rather, it is the viewers that are the intruders, not the child. The large room adds to the sensation that the viewers are out of place and the baby should be looked at as a realistic form, not as a ‘freak of nature’, as many might feel without such a space surrounding her.
The baby should resonate as familiar for the viewer, but there is no denying the feeling of absurdity regarding the object. It results in many questions. Babies should be precious, gentle, little gifts, but none of those descriptions register here. With this gargantuan infant, the viewer can more accurately view the reality of birth, or at least consider the other elements of bringing life into the world. Humans come into the world kicking and screaming, covered in blood and mucus, demanding to be fed, nurtured and held; yet they are helpless. The weight of this sized object represents that a child puts a large burden on those who choose to raise it. Birth is not peaceful and quiet, but very painful and immensely intrusive, but even when we see birth for all it is, can we still not find the beauty in it? “A Girl” is more than just a realistic magnification of a newborn. It is posing a question: “What do you think of me: absurd, disgusting, helpless, even wrong?” Feelings and emotions are present when viewing the piece which appears to point out that humanity sugarcoats reality.
“Dead Dad”, another work of Mueck, gives a similar opportunity to look at life. Both “Dead Dad” and “A Girl” were treated with the same care to detail, but “Dead Dad” is fragile and diminutive, lying just over a foot in length. He appears quite emotionless, but peaceful. Both of these pieces are precise depictions of Mueck’s family members, suggesting that the scale represents his response to both the death of his father and the birth of his child. Death is quiet, lonesome and insignificant, while birth is the beginning of so very much. Birth is the beginning of opportunity, burden, achievement, revulsion and beauty. Birth is large and loud. However, there is a clear connection between the two pieces and what they represent. Both are naked and exposed to the world, allowing the world to make judgments upon them — and the world does judge. The world judges what someone has done and what they will do. The world judges what they are, what they have left behind and what they might become.
The question remains; can people truly see something simply for what it is, or are we destined to always add our own ideas of how things ought to be, and thereby become closed-minded? One might be inclined to say that Ron Mueck merely enlarged an element of real life, but this overlooks the fact that those who view “A Girl” will be compelled to consider the deeper truths of reality in birth.
(an art review; ART100)
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I already mentioned that I was assigned to do a project on Lyndal Osborne for my Art100 class, so here is the final product of the video introduction I made for our presentation (there are 4 more online).
Program used, Pinnacle studios.
I’ve recently been thinking about this “club” I was part of in highschool. The name: My Life Is In Shambles Club. I don’t remember really how it started, how such a diverse group of us got together to be completely open with each other, but we did.
About 8 of us met at Moxies once a month-ish (at the table in the glass room), and every member had to vow to tell nothing but the truth, give completely honesty, and not let anything leave the Moxies table . We all signed a treaty of confidence, vowing to secrecy. We were all from the same highschool, but not many of us had really hung out together before. But we all had something in common; teenage drama.
The gather consisted of spilling stories about our lives and troubles, one at a time. Our Parents, cancer, fights. We would listen, but then we would have question asking time, where anyone could ask any question of anyone else and they must tell the truth. It was really like an older version of truth without the dare. First kiss, crushes, the ‘dirt’. There was a desire to get all the stories and gossip straight, but there was also to just get to know each other. Of course, everyone puts on a reluctant act, but behind every facade was a story that wanted to be told, a person who wanted to just be asked, forced to tell, so they could be the interesting one for a little bit. It was almost equally about the helping and encouraging of one another, as it was about the gossip, which is saying a lot for teenagers living in highschool drama, but both showed that ever-present need for being noticed and affecting others.
Most of these friends I have lost this kind of bond with. Which makes me sad, but I also wonder about what how our underlying desires translate into adulthood. Truth or dare, clubs and groups, do we ever really grow out of that?Maybe we just learn to hide our motives better with formal, educated vocabulary. We always want to know and be known.. so how does that evolve throughout our lives?
I suppose, personally, I’ve never really been good with opening up. But living away from home and seeing the larger picture of life has made me realize some things: if you invest in people, you will be invested in. And now that I am out of the highschool bubble I’ve had more real vibrant relationships than ever. I think now that I’ve learned who I am a little better, in relation to a bigger picture of what life is about, I’ve gained a confidence that is part of discovering who I am as a grown-up. With confidence, I’ve become more honest and real with people. Good friendships can take time, or you can dive in create and something worth-while now. Share your story, ask about people’s shambles. You don’t need to have a great big dramatic story to be interesting to people. I guess that’s been the biggest difference for me, I’ve semi-grown out of this fear of other people not caring about me, or judging me, and realized that this is how people care for each other, they share. Investing in people is what brings you the most joy.
My question remains, how does this need to know about people and be known evolve throughout life.. but maybe this is just something to be experienced individually, every ‘grown-up’ for themselves. I wonder if those 8 people would go to a reunion MLISC meeting…
Filed under: Uncategorized | Tags: Art, Australia, calgary, Canada Art, Canadian Arist, Canadian Art, Installation art, Lyndal Osborne, Osborne, University of Regina, Visual Arts
Lyndal Osborne is coming Regina, and it is such an amazing coincidence, I had no choice but to blog about it.
Art 100 is one of those large first-year classes where existing to the prof would be an accomplishment. Everyone was split into groups that were to present on an artist for 20 minutes. Most of the groups have already gone, but we are presenting this upcoming Tuesday. Lyndal Osborne was our assigned artist.
Lyndal Osborne, in her youth, collected articles from nature from where she lived in Australia, by the sea. Now she lives on an acreage outside Calgary, and has a 4 acre domain to roam. She collects materials and interesting objects that she can use for her art. She is now exclusively an installation artist, assembling the organic items into beautiful works of art. Using nature itself as a medium really speaks the importance of her cause. She is an environmentalist, and will not use any products that harm the environment, especially in her art.
She really has a great sense of how she personally connects with nature, and how universally we need to recognise our responsibility to the natural world we are all tied to. Her own memories of the sea, combined with her more current experiences with the plains, inspire her and are directly evident in her work. She takes note of the small gifts nature has for us, and tries to understand what meaning these small bit’s of life can have for us on a grander scale. With such unique beauty that evokes a spiritual connection, how can their not be some universal order? Through her art, she wishes people to get a sense of the wonder and awe he has experienced, and desires viewers to celebrate life with her. In her more recent works, she focuses on raising awareness for the things we are doing that are destroying this relationship. The destroying of seed banks; polluting the environment; and the altering and experimentation of plants, leading the government to pattern life itself, and leaving third world countries unable to harvest their own vegetation.
In her most recent exhibition, “Darwin and the Ark of Time” (image above), she brings together past and present to show both the beauty that can be discovered and explored, while humanity is destroying the environment at the same time. She created a cabinet that seems to resemble an 18th century botanist’s collection of plants, like that of Darwin’s when he was exploring and categorising the . But this cabinet also resembles a modern laboratory with its metal grating and tubes connecting to plans, possibly chemically altering and manipulating them. It is a beautiful work, but also shows a darker side of what this generation is doing to nature.
Our presentation is on Tuesday, and Lyndal Osborne herself is coming to town and talking at the University of Regina THIS FRIDAY! We emailed her and requested an interview with her after, and she was more than happy to comply. She seems like such a lovely lady, and I feel honoured to meet her and interview her. It’s hard to believe that the woman I have been researching, and have come to respect, will be face to face with me in a day. There must be some order in this world full of particulars.
Well, wich me luck. Hopefully I won’t be dumbstruck, and can really convey my respect and appreciation for her work. And maybe this can give our project the edge we need to get noticed, and give us a great mark.
Till next time,
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Do you ever wonder when we will run out of songs? When we have used up every combination of notes in every possible key? I used to wonder if one day we would find the end, or new genres would come out that really didn`t make any musical sense. But culture and creativity can`t always be predicted…
Remixing is a genius new way to create music in the 21st century. I haven`t heard much of “girl talk“, but I have heard my share of remixes. I find it hard to believe that these artists might become music `martyrs` if they continue this innovative method of composing.
Companies all over the world seem to be losing the heart that first started their dynasties, and are now only looking to control and make the big bucks. And Disney, although they will always be a part of my childhood, they went too far. 70 years is too long for anything to be `protected`, by then, `Babie`will only be remembered by the children it traumatized (maybe that is a strong word).. the children it vegetarianised. It`s too long. Remixers and editors are reliving elements of all old media into beautiful callauges to bring us new art. I use pop-culture all the time to create beauty and statements in art, why not musicians? We aren`t harming, we are contributing to the progression of culture. What is it going to take to make this acceptable? How can we show them when they`re getting paid to stifle. The money is just too good for them to see the light. They would rather make martyrs out of them.
We are glorifying the past, honoring the artists, not calling them our own but building on recognizable musical masterworks. Mash-ups should not be wrong if the original artists are made reference to. Companies who are getting hundreds of thousands of dollars from moms, teens, and students pockets are out for nothing more than the money itself. Any good intention that was behind criminalizing the remixing of music, was lost within the witch-hunt it became.
Whether I like it or not, I`m in the generation of culture-changers, company defying criminals. But I am glad. I`m not going to starting using limewire, I`ll stick to my itunes, but I hope to be one of the people who help make this a LEGAL remixing world in Canada.