ART-ARCHITECTURE: Object-Context Research Proposal. [Interesting...]

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From: heath bunting <heath@xxxxxxxxxxxxxxxx>
Subject: Research Project
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Research project
===============

m_dunlop@xxxxxxxxxxx

Mac Dunlop at cybercafe BBs

During the 20th century, the form and content of the art "object" has
largely precluded considerations of place and context. Not by coincidence,
during the same period, the presentational structures of museum and
galleries developed the context of "wide, white, open spaces" for the
benefit of the viewing of art. Spaces which provided isolated environs
which attmempted to neutralize the space around the object, and placed
significance on its existance within its own frame. The space of the
museum/gallery around it being an attempt at absenting the rest of the
world from the viewer's consideration. This itself provided speculation
during the 60's and 70's which suggested that rather than neutral space,
the almost empty white space of the gallery might be itself placed in
future histories as the single most powerful visual image of art in the
20th century. (ref. B. O'Doherty "Inside the White cube".)
Attention to context and placement arose through the "possibility of an art
beyond the physical confines of the museum, an art not necessarily placed,
but of place". (ref. "Space Invaders, issues of presentation, context, and
meaning in contemporary art.)
This investigation of the site and context as not only a consideration for
the artist, but one which is a dynamic medium with which the artist
develops and forms the development of an art work may appear reactionary to
the history of western museum culture and its codifying structures. But it
is a reinvestigation of the historical imperative of visual art forms to
have dialogue with their surroundings and through that communication with,
and meaning for, the observer.
This proposed research therefore has its foundation in studying the
communication and transformation in aesthetics and values empowered by the
art object and its context. This will be achieved through the following
proposed practical and theoretic study:

Objectives:

a) investigate the involvement of site/location as material with which the
artist forms/shapes the artwork or object.

b) Development of objects in contexts through the production of artifacts
and research of associated theoretic discourse.

c)Investigate the availability of sites for the placement of objects and
document the the processes involved in site aquisition, while considering
the readings of intention and meanings of the artist and artefacts for the
observer.

Materials:

The practical work involved in this research project will begin with the
use of three materials:

a) Bronze casts, a material associated with the history of art,
representative of an unbroken tradition.

b) Clear glass, a mediating material which offers at once visual contact,
and physical barrier not only with objects but with the world generally (
windows, windscreens, lenses, monitors, etc.)

c) Video, a contemporary material for sculptural use but which it can be
argued is not physical, nor entirely conceptual which offers the
representation of objects, and contexts, through image, without physical
space.

d) site/location, the use of which will be investigated as a material in
the shaping and formation of the work in conjunction with these above three
elements.

Methodology:

This investigation would concern itself with the production of artefacts
and the effects of placement using the following criteria:

1)map the effect of siting on the artwork,
on the physical environment,
on the social environment,
on the administrative structures of the site,
on historical, or contemporary meanings of the
site/location.

2)document the effect of the object's own history
e.g. its place in a "collection", public site,
gallery site, history of ownership.
the significance of placements within selective
environments, ranging from "public" to "private".
relationships between the historical uses of the
material, and the contemporary use/meaning of the
art object.
effects of the transformation of materials.

3)to work and experiment with a selective range of
materials and processes, (beginning with bronze,
clear glass, and video) which will develop over
the period of research in conjunction with the
selection and arrangements for placements within
selective contexts and locations (e.g home space,
office space, work space, gallery space, etc.)
potential significance of the material
properties of the object:
effects of the transformation of materials
historical meanings in materials used.
relationships between the historical uses of the
materials, and the contemporary use/meanings of
the art object.


outline plan of study and thesis:

Practical study to take place over 3 year period.
To conclude in an exhibition involving documentation of presentations and
artefacts developed during the period of research, accompanied by a thesis
investigating readings in related discourse.

outline plan of thesis:

ch 1) intro. to the concept of "objects in contexts"

ch 2) a study of historical and contemporary artists use of placement and
artefacts.

ch 3) investigation of theory and contemporary understanding of the
relationships arising between object location and obvserver.

ch 4) documentation and discussion of the practical concerns involved in
production and presentation research.

ch 5) conclusions.

timescale:

February-Sept. 1994 Preliminary production of artefacts for
potential use in placements. Preliminary investigationinto site aquisition
for the placement of artefacts.

Sept - December 1994 Site aquisitions and post productionof artefacts for
placements during next phase.

Jan - April 1995 presentations of artefacts in locations, documentation of
presentations.

April - Sept. 1995 Collation of impressions and impact of
these presentations.

Sept. - April 1996 Consideration of first year ofpreliminary research and
the planning of more suitable or ambitious
projects of production and presentation based on these preliminary findings.

April - Sept. 1996 Collation of all research in related discourse and
documentation of projects undertaken during research toward preliminary
draft of thesis.

Sept - April 1997 Production and implementation stage of culminating
exhibition of work and research and completion of thesis.

Bibliography:
Texts and discourse-

Benjamin. W. The Author as Producer.
The Work of Art in the age of Mechanical Reproduction.
Baudrillard J.Fatal Strategies.

Bergson, H.Matter and Memory.

Butterfield, J. The Art of Light and Space.

Crimp, D. On the Museums Ruin.

Debord G. The Society of the Spectacle.

de Ville, N. and Foster S. (eds) Space Invaders, issues of presentation,
context and meaning in contemporary art.
Duncan,J. and Ley D. (eds) Place/Culture/representation

Foster H. Recodings, art, spectacle, cultural politics.
Hang W.F.Critique of Commodity Aesthetics.

Gablik S. The Re-enchantment of Art.

Gupta, S.(ed.) Disrupted borders - an intervention into definitions of
boundaries.
Kristeva J. Desire in Language - a semiotic approach to
Literature and Art.
O'DohertyB.Inside the White Cube.

Pearce S. (ed.)Objects of Knowledge.

Plant S. The Most Radical Gesture.

Virilio, P.The Aesthetics of Disappearance.

Artists and exhibitons:

James TurrellAir Mass, 1993.

Marcel DuchampEarly works.

Rachael Whitread House 1994.

Alistair McLennan Is No, 1975 - 1988.

Gary Hill In Light of the Other, M.O.M.A., Oxford.

Vong Phaophanit

Yves Klein


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