Not My Choice, But My Voice; The Turner Prize 2010 – Angela de la Cruz…My Pick

Angela_delaCruz_SuperClutter_250_MED

If anyone remembers the Turner Prize in 2010, ze award was given to Susan Phillipsz. Now I am no art genius and my opinion does not have validity at this point in the art world. Having said that it, I would like to applaud Angela de la Cruz’s work (above) and make the point that her work is extremely daring and twists notions of painting-which is why art is progressive in its practice. I will make the case here that I believe the work of Angela de la Cruz should have won the Turner Prize in 2010. You do not need to take my opinion into consideration, but I urge you to look at these works and pretend that you are a judge. It is fun!

The Turner Prize is an award, or THE AWARD, given to an artist that has made the greatest contribution to the British Art World within the last year. It must be awarded to an artist that is under 50 years old, and has lived or worked in Britain for at least 12 months. In 2010, there had been four individuals that were selected to win the Turner prize; each with their own unique take on art.

The four nominees for the 2010 Turner Prize were The Otolith Group film
artists, Dexter Dalwood – a painter, Susan Phillipsz – a sound artist, and
Angela de la Cruz – a painter.

Angela de la Cruz is a Spanish born artist (1969), born in the city of La Coruna. In 1989, she moved to London to study art. Tragically, de la Cruz suffered a stroke in 2006, and was unable to work for a few years. With renewed energy and dedication she bounced back and began painting, again. However, the artwork that she was nominated for was created prior to her stroke.

Angela de la Cruz was nominated for her solo exhibition at the Camden Arts Centre. She had BROKEN the norms of painting physically and figuratively. Her paintings and sculptures have been destroyed and reconstructed in order to evoke a new sense of art. An example of this is her painting “Hung” which was a painted canvas. The frame of the canvas was later deconstructed and reconstructed in an unusual shape. This gave the painting a sense of awkwardness. She uses her art pieces as a language to convey feelings of rawness and humour.

Her playfulness in her artwork is what I admire most about her. There is a satirical humour that her art radiates. It is not merely paintings on a wall, but personalities that interact with the viewer. Each of her pieces of artwork has their own persona. I believe unlike the other artists, she has made new developments in the world of art, due to her unorthodox approach to it.

Angela de la Cruz does not accept art the way it is, but attempts to redefine it. And isn’t that what makes good art? She follows in the steps of Duchamp and Pollock as art innovators.  Her pieces have a sort of Duchamp/Robert Morris hybrid. She questions art. Her pieces force the audience think; what is art? Can this be art? How does one define what art is? Angela de la Cruz’s art is interactive. This is what an artist should do, question art and constantly be redefining what art should be.

Well this is what I think, but why not take a stab at it yourselves!

I give you the articles and videos of the Turner Prize 2010. Take a
look… think about it. Were the jurors right or wrong? Let us know
what you think.

Peace Out, K

Dots on Dots on Dots on Dots – Roy Lichtenstein Retrospective at Tate Modern

541660_4822035544380_1906696669_n

Expect to be blown away. WHAAAM. BAAAM. Not by one painting. But by 125 of his creations. From Lichtenstein’s earliest works, with his experimentation with Abstraction to his picturesque, larger than life benday-dot paintings – be prepared to be amazed. The show is breathtaking. Captivating.

It seems like it never ends, and you never want it to end. There are his nude females and beach scenes, his Chinese landscapes, his mirrors, Mickey Mouse, Donald Duck, and MORE – like his infamous comic book scenes. KAPOW. The paintings (and sculptures too) vary in size from A4 dimensions to paintings (and sculptures) that are over 6 feet tall and 10 feet long – if not bigger. OMG I just can’t get enough. And you wont be able to either.

I want YOU to GO and experience the magical-ness of his dots on dots on dots on dots. Oh, and primary colours. They just POP.

I seriously he(ART) this retrospective and am so lucky to have been in London to witness it. The show is on until 27 May 2013. For more information regarding tickets and such click here. (WE HIGHLY RECOMMEND TO BOOK IN ADVANCE.)

XX, DP

Dada – The Real Dada, NOT ze Dada Life

fountain

Dada, an “art” movement that was “anti-art.” In terms of Duchamp, (who are friend below will go into detail) a 20th century French artist, had a disdain for the convention of tradition – hence why he turned a urinal into what he titled “Fountain.” Duchamp became associated with the movement in Paris during the WWI, when many Europeans realized that their society was breaking down. So, with a breakdown in society brought about a breakaway from tradition.

Duchamp’s readymades (i.e. “Fountain” and his “Bicycle Wheel”) were in a sense a conscious effort to break every rule of traditional art, in order to create a new type of art – a type of art that engages the mind and provokes the viewer to participate and think. Duchamp came up with the idea to discard art’s most fundamental values of artisanship and beauty. The readymades were the final solution of how Duchamp created a work of art that is not “art.”

Duchamp’s readymades were composed of assemblages, altered images, and prefabricated objects. The manufactured items were normally brought right off a shelf or salvaged, and often unaltered. Duchamp then would put all the pieces he wished together, and gave them abstruse titles, or even inscribed them with a phrase that was absolutely utter non-sense. It was the idea of putting all these random objects together that later artists were inspired from. Duchamp’s use of everyday objects, to create “art” in a sense gave influence to later artists such as Rauschenberg, Johns, and even Warhol. It was Duchamp’s idea that the artist declares what the art is that can be seen throughout all three of the artist’s works mentioned above.

ART IS ART BECAUSE THE ARTIST SAID SO. GENIUS.

XX, DP

Naked Paintbrushes – Yves Klein’s Lasting Impression

18
Ever want to go back and be a part of history? Well, the Tate website has posted a video that briefly explains and exhibits Yves Klein’s (bio hyperlinked) “Anthropometries (video hyperlinked).” Through this series, Klein reconfigured the way art could be produced and examined by using the female nude NOT as the subject of painting (like Manet’s “Olympia” – below); RATHER Klein used the female body/bodies as paintbrushes to create works that appear almost primitive in form.

Edouard_Manet_-_Olympia_-_Google_Art_Project_3
Maybe you were too young to be there, so you haven’t really heard much about this… Maybe you weren’t in the right “artsy” circle (because most likely, no offense, they were only a SELECT few that were and that was WAYYY back in the late 50s)… Or maybe you are just new to the “art world.” But now, you can get an inside look into how these paintings were developed. And keep in mind he had a LIVE symphony playing for his guests (who are dressed to a T) as these nude females were brushing up onto canvases and were being directed by Klein, who acted kind of like an orchestra maestro. What an interesting experience that would be to witness.

Is it kind of like finger painting when you’re a child? Maybe, but not really (and we do not suggest dipping your child into paint by any means). Could it be an incredibly extended simile – without a doubt. But that is a stretch. A MASSIVE one. Maybe we should just admire his works from these series, in his signature colour IKB, and appreciate his break from tradition.
Props to you Yves, you made a lasting impression – literally.
Peace Out, K

More East End Adventures – Beauty in “Vandalism”

Although I must admit, I was not a fan of the “East End” in London at first, I have come to find some true, rare, street art treasures that make me want to go back more and more! Not only did I come across a CLASSIC example of a  Space Invader (above) but I too came across a new artist that I find truly inspiring: C215.

C215 is Christian Guémy, a French stencil graffiti artist that creates such intricate works, in this particular case, on such a small scale. The detail, colour, shading, everything – is just so magnificent. I hope to be seeing more of his art pop up around Europe.

Below is C215’s work – both happened to be found on random doors on the main street (in East London). This is incredibly atypical. When you think of graffiti, you think of it being found in discrete locations, or in alley ways, on top of buildings, or even on designated mural walls (which sometimes have even been pre-arranged LEGALLY with the city council), etc… but this dude has HUTZPAH to create such detail oriented works in incredibly public places where he could be stopped at any second for “vandalizing.” Blah blah blah. Vandalism? Really?

It might be vandalism. But it is beautiful nonetheless. See the beauty in art. Find the beauty in your he(ART). And FYI, he is not only a street artist, his work too can be found in commercial galleries (apparently these works are created in various sizes, and by various I mean up to heights of 81″ – perhaps even more). How MAJOR!

Keep your eyes open! You never know what you’ll come across. It’s those little things in life that we find that make our days that much more exciting!

XX, DP

A Bone to Pick with Mr. Hirst; My Spiel

Image
Ever since the Tate’s exhibit of Damien Hirst (which ran from April 4-
9 September 2012), I have had a bone to pick with this so-called
“artist”. Maybe I am romanticizing the notion of what art should
be, but I believe whole-heartedly that art should be done for the sake
of art! Hirst has twisted this and has created art for the sake of
profit – YES, I SAID IT. Don’t get me wrong. He is an
amazing marketer and perhaps, if stretching it, you could call his marketing “skills” a type of
artform… BUT to call his shocking pieces “art” would discredit the
practice altogether. To shock the public with “Mother and Child” or
his 65 ft. Pregnant Women (which created controversy – picture above) is an easy thing to do.
Why not come up with something admirable, beautiful,
conceptual…Oh wait, you had a Butterfly Room at Tate Modern, and then you were called the “Butterfly Killer.” Your work has become too commercialized. GO AWAY!!!

Peace Out, K.