Friday, October 30, 2009
10-30-09 Creative Quarterly Competition Entry
I just entered in the Creative Quarterly competition (Deadline=today). I only entered one image, and I'm hopeful. I'm always hopeful, but it's usually for nothing. Cross your fingers!
Thursday, October 29, 2009
10-29-09 Idea Post
Adornment
Adornment is something that traditionally adds attractiveness, ornamentation, or embellishment and is usually associated with jewelry or accessories. It can also be used to describe the act of decorating.
I realize that the meaning of the word 'adornment' depends heavily on the opinions of the viewer. The meaning of 'attractiveness' can change dramatically from one person to the other and sometimes I feel like I have a much different view than a majority of our society- not in my direct circle of acquaintances, but in a much broader range.
I believe death is beautiful. I am not at all disturbed by bones, guts, or blood- and I mean real life guts and blood, not movie or TV blood. I am not afraid to touch and 'get messy.' For me this was a HUGE part of my earlier work. It was mostly about my experience and communion with death. It was hard to translate that into physical art unless I brought a mouse in and dissected it in front of the class. I wanted to encourage people to try what I was doing! A part of me does want to go back to it, but I also feel like I need to discover other areas as well.
BACK TO THE SUBJECT OF ADORNMENT:
There is a Church in Sedlec, Czechoslovakia that I have admired for years and used to joke about getting married in it. It seems like too big of a dream.
In 1278 the Cistercian abbot Henry voyaged to Golgotha in Palestine and brought back 'holy soil' to be mixed with the earth around the Chapel in Sedlec. The cemetery quickly became one of the most popular burial grounds of central Europe as the people believed burial here would guarantee acceptance into heaven. Less than 100 years later there were already 30,000 bodies buried in the ossuary. In 1511 a monk was ordered to gather the bones from abolishes graves and store them in a crypt to make room for 'new customers.' The bones lay in storage until a woodcarver (Frantisek Rindt) was hired to decorate the church in 1870. With more than 40,000 sets of human bones at his disposal, he decorated the church with human remains.
The decoration of this church is in NO WAY sacrilegious or satanic. It is a celebration of life and faith. Being in the presence of so many people whose beliefs designated this single resting place is beyond mind blowing. It is absolutely unfathomable. I WILL visit this church someday and when I do you better believe I will have they best camera and lens money can buy at my side!
Adornment is something that traditionally adds attractiveness, ornamentation, or embellishment and is usually associated with jewelry or accessories. It can also be used to describe the act of decorating.
I realize that the meaning of the word 'adornment' depends heavily on the opinions of the viewer. The meaning of 'attractiveness' can change dramatically from one person to the other and sometimes I feel like I have a much different view than a majority of our society- not in my direct circle of acquaintances, but in a much broader range.
I believe death is beautiful. I am not at all disturbed by bones, guts, or blood- and I mean real life guts and blood, not movie or TV blood. I am not afraid to touch and 'get messy.' For me this was a HUGE part of my earlier work. It was mostly about my experience and communion with death. It was hard to translate that into physical art unless I brought a mouse in and dissected it in front of the class. I wanted to encourage people to try what I was doing! A part of me does want to go back to it, but I also feel like I need to discover other areas as well.
BACK TO THE SUBJECT OF ADORNMENT:
There is a Church in Sedlec, Czechoslovakia that I have admired for years and used to joke about getting married in it. It seems like too big of a dream.
In 1278 the Cistercian abbot Henry voyaged to Golgotha in Palestine and brought back 'holy soil' to be mixed with the earth around the Chapel in Sedlec. The cemetery quickly became one of the most popular burial grounds of central Europe as the people believed burial here would guarantee acceptance into heaven. Less than 100 years later there were already 30,000 bodies buried in the ossuary. In 1511 a monk was ordered to gather the bones from abolishes graves and store them in a crypt to make room for 'new customers.' The bones lay in storage until a woodcarver (Frantisek Rindt) was hired to decorate the church in 1870. With more than 40,000 sets of human bones at his disposal, he decorated the church with human remains.
The decoration of this church is in NO WAY sacrilegious or satanic. It is a celebration of life and faith. Being in the presence of so many people whose beliefs designated this single resting place is beyond mind blowing. It is absolutely unfathomable. I WILL visit this church someday and when I do you better believe I will have they best camera and lens money can buy at my side!
Monday, October 26, 2009
Sunday, October 25, 2009
10-25-09 Artist Post
Angela Singer
Angela Singer is another artist whose work involves the use of taxidermy. Though instead of creating taxidermy to fulfill a design, she uses recycled taxidermy in company with many different types of mixed media. Her work comments on the violation of animals and the struggle to 'repair' the wrongdoings by preserving the animals body.
Steven Connor wrote in Modern Painters of March, 2009:
"Some artists, like Angela Singer, deliberately use taxidermy to open up wounds and exhibit the damage done to animals in effecting their apparent rescue from time. Here, the visible wounding and careless repair of the animals is part of the effort to make restitution for a larger violation. But the 'questioning entities' that taxidermic art brings about my have questions to ask of that art as well as of the traditions from which that art may claim or feign to distance itself. In no other arena of art, perhaps, do violation and restitution lie so close to each other."
Her work questions the relationship between humans and animals and the long thought notion that people are superior to other species. She uses a process she calls "de-taxidermy" to communicate her animal activism in shocking and sometimes gruesome artwork.
Angela Singer is another artist whose work involves the use of taxidermy. Though instead of creating taxidermy to fulfill a design, she uses recycled taxidermy in company with many different types of mixed media. Her work comments on the violation of animals and the struggle to 'repair' the wrongdoings by preserving the animals body.
Steven Connor wrote in Modern Painters of March, 2009:
"Some artists, like Angela Singer, deliberately use taxidermy to open up wounds and exhibit the damage done to animals in effecting their apparent rescue from time. Here, the visible wounding and careless repair of the animals is part of the effort to make restitution for a larger violation. But the 'questioning entities' that taxidermic art brings about my have questions to ask of that art as well as of the traditions from which that art may claim or feign to distance itself. In no other arena of art, perhaps, do violation and restitution lie so close to each other."
Her work questions the relationship between humans and animals and the long thought notion that people are superior to other species. She uses a process she calls "de-taxidermy" to communicate her animal activism in shocking and sometimes gruesome artwork.
Friday, October 23, 2009
Visiting Artist Lecture: Fred Fenster 10-22-09
Fred Fenster is a metal worker who primarily uses pewter and sometimes other ferrous metals to make artistic household containers. He makes teapots, cups, salt/pepper shakers, etc and he does it in NO TIME! When he showed a slide of one of his teapots and said, "I did this in about two days" I was floored. Of course he has way more experience in metal working than me AND pewter is much softer than the non-ferrous metals we are using in the beginning jewelry class.
He was extremely interesting to listen to as he lectured mostly on technique. He explained how he made almost every piece. Ex: "I fused a cone to a cylinder and dropped a cup in for the shape... I used a scratcher to weaken these points so they collapse under pressure..." He also explained the different between soldering and fusing. Fusing one end of a sheet of pewter to another followed by a little hammering results in a seamless mixture of of pewter and THUS a hollow form is made!
Fenster also engaged us with his "heavy rim theory." His theory (which he instilled throughout the lecture) brings attention to the edges of a piece and frames the rest of your detail.
I was especially intrigued to learn about the properties of pewter. Unlike the metals we use in the beginning jewelry class, pewter has a melting point of 465 degrees. The metals we use have a melting point near 1200. Because of this low melting point, the torch used to fuse pewter is much smaller. Pewter is also a poor conductor of heat so you could be holding one side of your piece WHILE you are fusing the other side and not have to worry about getting burned. It is much more malleable than copper, brass, or silver. On the downside, pewter is a contaminant to other non-ferrous metals. The smallest fleck of pewter powder on your amazingly crafted copper or brass piece can eat a hole right through the metal when heated. The lower melting temperature causes a chain of chemical reactions that will continue to happen whenever heated unless the pewter is cut, filed, or scratched out!
Fred Fenster is conducting a two day pewter workshop at VCU today and tomorrow.
Tuesday, October 20, 2009
10-21-09 Idea Post
Taxidermy [wikipedia]
Taxidermy (from the Greek for classifying skins) is the act of mounting or reproducing dead animals for display (e.g. as hunting trophies) or for other sources of study.
Rogue Taxidermy [wikipedia]
Rogue taxidermy is the creation of stuffed animals which do not have real, live counterparts. Many taxidermist do not consider this true taxidermy. They may represent unrealistic hybrids such as the jackalope and the skvader, extinct species, mythical creatures such as dragons, chimeras, griffins, unicorns or mermaids, or may be entirely of the maker's imagination. Some are made from parts of more than one kind of animal, or they may be artificially created. Rogue taxidermy is often seen in sideshows and dime museums among genuine freak animals.
The term "Rogue Taxidermy" was introduced by the Minneapolis, MN based group, The Minnesota Association of Rogue Taxidermists (or M.A.R.T.)[1] in October of 2004. It was first coined by M.A.R.T. founders Sarina Brewer, Scott Bibus, and Robert Marbury. The term first appeared in print in a New York Times article about the group's debut exhibition on January 3rd, 2005. [2] Since that time its definition has become more general, referring to many types of taxidermy that do not fall under the trade of it.
Art taxidermists such as David Blyth and Polly Morgan use taxidermy to create art either as its sole content or as part of an installation.
Anthropomorphic Taxidermy [wikipedia]
Anthropomorphic taxidermy is where stuffed animals are dressed as people or displayed as if engaged in human activities. This style was popular in Victorian and Edwardian times but can still be found today.
Another website that has quite a bit of information on taxidermy is ravishingbeasts.com.
"Ancient techniques for preserving entire or parts of animals and humans were secret arts, frequently associated with religious ceremonies and mystical rites. Protecting the dead from decay was variously understood as a means of easing the transition of the spirit between this world and the next, harnessing supernatural forces, or accessing knowledge of the natural and supernatural worlds. Preserved body parts were links to the after world and were appropriately revered as symbols of strength and worldly representations of unworldly powers."
For example, early Christian tradition revered relics of the deceased. Body fragments of saints were displayed in churches as relics and were believe to hold the power to heal and relieve suffering. They also frequently hung preserved 'exotic items' from the rafters of their churches to evoke awe at God's variety of creations. In 1260 a crocodile was hung in the Cathedral of Seville later called the Portal of the Lizard (the doorway to the cloister of the cathedral).
Cathedral of Seville >>>
Notice preserved crocodile and elephant tusk
Ancient Egyptians also practiced animal and human preservation through mummification. For more information see the earlier blog post concerning mummification.
The flourishing spice trade in early modernizing Europe also found uses for animal preservation. While accruing spices, merchants also returned home with exotic specimens which were then purchased by curious people and apothecaries. The dried animal parts (including mummies) were often used in their preparations. Pictured below is a 19th century preserved flying fish.
I am also interested in the modern use of taxidermy in modern home decor. It may not be pictured in the everyday Home and Gardens magazine, but its beginning to appear more frequently in the ultramodern trendy photographs of interior design. Why is this? Perhaps it is society's attempt to break away from the industrialization of home decor and the longing for individuality. It's something that has intrigued me for as long as I can remember anything.
Taxidermy (from the Greek for classifying skins) is the act of mounting or reproducing dead animals for display (e.g. as hunting trophies) or for other sources of study.
Rogue Taxidermy [wikipedia]
Rogue taxidermy is the creation of stuffed animals which do not have real, live counterparts. Many taxidermist do not consider this true taxidermy. They may represent unrealistic hybrids such as the jackalope and the skvader, extinct species, mythical creatures such as dragons, chimeras, griffins, unicorns or mermaids, or may be entirely of the maker's imagination. Some are made from parts of more than one kind of animal, or they may be artificially created. Rogue taxidermy is often seen in sideshows and dime museums among genuine freak animals.
The term "Rogue Taxidermy" was introduced by the Minneapolis, MN based group, The Minnesota Association of Rogue Taxidermists (or M.A.R.T.)[1] in October of 2004. It was first coined by M.A.R.T. founders Sarina Brewer, Scott Bibus, and Robert Marbury. The term first appeared in print in a New York Times article about the group's debut exhibition on January 3rd, 2005. [2] Since that time its definition has become more general, referring to many types of taxidermy that do not fall under the trade of it.
Art taxidermists such as David Blyth and Polly Morgan use taxidermy to create art either as its sole content or as part of an installation.
Anthropomorphic Taxidermy [wikipedia]
Anthropomorphic taxidermy is where stuffed animals are dressed as people or displayed as if engaged in human activities. This style was popular in Victorian and Edwardian times but can still be found today.
Another website that has quite a bit of information on taxidermy is ravishingbeasts.com.
"Ancient techniques for preserving entire or parts of animals and humans were secret arts, frequently associated with religious ceremonies and mystical rites. Protecting the dead from decay was variously understood as a means of easing the transition of the spirit between this world and the next, harnessing supernatural forces, or accessing knowledge of the natural and supernatural worlds. Preserved body parts were links to the after world and were appropriately revered as symbols of strength and worldly representations of unworldly powers."
For example, early Christian tradition revered relics of the deceased. Body fragments of saints were displayed in churches as relics and were believe to hold the power to heal and relieve suffering. They also frequently hung preserved 'exotic items' from the rafters of their churches to evoke awe at God's variety of creations. In 1260 a crocodile was hung in the Cathedral of Seville later called the Portal of the Lizard (the doorway to the cloister of the cathedral).
Cathedral of Seville >>>
Notice preserved crocodile and elephant tusk
Ancient Egyptians also practiced animal and human preservation through mummification. For more information see the earlier blog post concerning mummification.
The flourishing spice trade in early modernizing Europe also found uses for animal preservation. While accruing spices, merchants also returned home with exotic specimens which were then purchased by curious people and apothecaries. The dried animal parts (including mummies) were often used in their preparations. Pictured below is a 19th century preserved flying fish.
I am also interested in the modern use of taxidermy in modern home decor. It may not be pictured in the everyday Home and Gardens magazine, but its beginning to appear more frequently in the ultramodern trendy photographs of interior design. Why is this? Perhaps it is society's attempt to break away from the industrialization of home decor and the longing for individuality. It's something that has intrigued me for as long as I can remember anything.
Sunday, October 18, 2009
10-18-09 Artist Post
I do believe I have stumbled upon this artist several semesters ago, but I have found her website once again. It interests me in several new ways particularly that a lot of her work is jewelry. I am currently taking a beginner jewelry class this semester and I'm planning on taking surface design next semester. Her name is Julia DeVille.
http://www.discemori.com/
Also a taxidermist, much of her jewelry incorporates animal parts. I would describe her work as steampunk taxidermy/Victorian goth jewelry. Quite interesting.
Fascinated by death at an early age, she enrolled in an Advanced Diploma in Gold and Silversmithing at NMIT in 2003 where she knew jewelry was the perfect medium to express her mortal concerns and views of death. Jewelry has always played in important roll in the adornment of the dead. They have been found in tombs and resurfaced graves throughout the world! Certain cultures and peoples (pirates for instance) wore jewelry so that after they died the jewelry could provide gold for an acceptable burial.
Julia's quote concerning death is absolutely what concerns me and my art.
"Death is a taboo subject. We're so obsessed with looking young [and] finding ways to prolong life. We need to remember that every day is important. Life is important. I want to inspire people to contemplate their own mortality in a positive way. I'm not a morbid person, but I'm not afraid of acknowledging that I'm mortal."
She says her jewelry is inspired by "the Memento Morie jewelry of the fifteenth to eighteenth centuries of Victorian Mourning jewelry." She is interested in the acceptance of death of these periods.
It is strange to think death was more readily accepted those days than today. Today medicine and technology prolong life. Everything is ANTIDEATH. People live longer than they used to and science is constantly pushing the limit. Our culture is so concerned with the future and is literally run by time. Our connection and interaction with the natural world and its order is fading. This transition has increased rapidly with more recent inventions of cameras, advancements in TV and movies, the internet, medicine, and instant communication. Communion with nature is far and few in between though I think one natural question lingers in the back of everyone's mind. Death?
WOW... I think I may have just written part of my artist statement in that last paragraph. It's so relieving I almost feel like crying! Take a look at Julia's other work:
http://www.discemori.com/
Also a taxidermist, much of her jewelry incorporates animal parts. I would describe her work as steampunk taxidermy/Victorian goth jewelry. Quite interesting.
Fascinated by death at an early age, she enrolled in an Advanced Diploma in Gold and Silversmithing at NMIT in 2003 where she knew jewelry was the perfect medium to express her mortal concerns and views of death. Jewelry has always played in important roll in the adornment of the dead. They have been found in tombs and resurfaced graves throughout the world! Certain cultures and peoples (pirates for instance) wore jewelry so that after they died the jewelry could provide gold for an acceptable burial.
Julia's quote concerning death is absolutely what concerns me and my art.
"Death is a taboo subject. We're so obsessed with looking young [and] finding ways to prolong life. We need to remember that every day is important. Life is important. I want to inspire people to contemplate their own mortality in a positive way. I'm not a morbid person, but I'm not afraid of acknowledging that I'm mortal."
She says her jewelry is inspired by "the Memento Morie jewelry of the fifteenth to eighteenth centuries of Victorian Mourning jewelry." She is interested in the acceptance of death of these periods.
It is strange to think death was more readily accepted those days than today. Today medicine and technology prolong life. Everything is ANTIDEATH. People live longer than they used to and science is constantly pushing the limit. Our culture is so concerned with the future and is literally run by time. Our connection and interaction with the natural world and its order is fading. This transition has increased rapidly with more recent inventions of cameras, advancements in TV and movies, the internet, medicine, and instant communication. Communion with nature is far and few in between though I think one natural question lingers in the back of everyone's mind. Death?
WOW... I think I may have just written part of my artist statement in that last paragraph. It's so relieving I almost feel like crying! Take a look at Julia's other work:
Wednesday, October 14, 2009
Work Update 10-14-09
I feel like I haven't shown anybody any work in a long time. It's been two weeks since I had a meeting with either Jeff or Paul and the midterm critique is this Monday! I'm disappointed because I feel like every week my work seems to change. The photos I will be printing out have little to do with each other except for the materials I have been using. I guess you could say they relate to my confusion with art, life, and the future, but it's not necessarily what they are about... I think. I will only get to see a few people at the midterm critique, so any feedback anyone could give me on any image would be helpful.
What do you think they are about? Do they provoke certain thoughts or feelings? Are they just uninteresting?
Also, the last two photos are a dyptich (which is also something I don't normally do).
What do you think they are about? Do they provoke certain thoughts or feelings? Are they just uninteresting?
Also, the last two photos are a dyptich (which is also something I don't normally do).
Visiting Artist Lecture: Brian Ulrich 10-14-09
I enjoyed how much Brian Ulrich's work really got my brain ticking. Here it is 3 hours later and I'm still thinking about his work. I can relate with his scientific approach to document while creating art. I particularly connected with his Ghost Box and Dead Mall series because they were particularly beautiful landscapes and (so far) fairly free of inhabitants. I also believe this series is stronger than both the Retail and Thrift chapters because these two really bolster each other and are not as conceptually strong without the other. The Dark Store, Ghost Box, and Dead Mall chapter speaks to the panic concerning our economy and doesn't rely on either other chapter to strengthen its concept.
I appreciated the process and the evolution of picture/camera quality that evolved with every chapter of his work. He examines first the outer layer and works inward to finally explore the inhabitants of every environment. I also felt like he took an overkill topic (our economy, consumerism, etc) and made it new and thought provoking. It was great that he cited websites as one of his main vehicles of research. The internet has changed every aspect of our lives, and he taps into our need to connect with society through widespread similarities and the concern of paranoia- particularly in our economy.
I thought of a question after the lecture that I would have really liked to ask. How does the dwindling economy effect children today? I particularly remember visiting a mall near my grandparents house in Staunton, Va when I was a kid (we must be talking elementary school and maybe even before). The mall was always SO empty, especially compared the our busy malls up in Northern Virginia. On a level I understood that the age group and income level of people living in Staunton compared to Nova was not the same. It was never something I verbally acknowledged or even asked my parents about. Now I find myself wondering why. I never would have thought it was part of what is happening now. Even the malls in Northern Virginia have empty stores now. Working at Ritz Camera, I too have experience three store closings within the last year alone. This issue has been on my mind a lot more lately and Ulrich's presentation leaves me asking more questions. Do children today know what is happening? Is it something parents don't want to explain for fear of spreading their stress or worries to their children? Are kids asking questions? DO WE REALLY HAVE THAT MUCH TO WORRY ABOUT OR IS THIS ALL BEING BLOWN OUT OF PROPORTION?! At first I thought most of the worry was created by the media, but after a firsthand experience I'm not sure what to believe.
Ulrich's work:
Can you believe this Target has at least 33 checkout lanes?!
I actually came across this image at some point during my hyperlinking research over the past two weeks. Now I recognize it!
I appreciated the process and the evolution of picture/camera quality that evolved with every chapter of his work. He examines first the outer layer and works inward to finally explore the inhabitants of every environment. I also felt like he took an overkill topic (our economy, consumerism, etc) and made it new and thought provoking. It was great that he cited websites as one of his main vehicles of research. The internet has changed every aspect of our lives, and he taps into our need to connect with society through widespread similarities and the concern of paranoia- particularly in our economy.
I thought of a question after the lecture that I would have really liked to ask. How does the dwindling economy effect children today? I particularly remember visiting a mall near my grandparents house in Staunton, Va when I was a kid (we must be talking elementary school and maybe even before). The mall was always SO empty, especially compared the our busy malls up in Northern Virginia. On a level I understood that the age group and income level of people living in Staunton compared to Nova was not the same. It was never something I verbally acknowledged or even asked my parents about. Now I find myself wondering why. I never would have thought it was part of what is happening now. Even the malls in Northern Virginia have empty stores now. Working at Ritz Camera, I too have experience three store closings within the last year alone. This issue has been on my mind a lot more lately and Ulrich's presentation leaves me asking more questions. Do children today know what is happening? Is it something parents don't want to explain for fear of spreading their stress or worries to their children? Are kids asking questions? DO WE REALLY HAVE THAT MUCH TO WORRY ABOUT OR IS THIS ALL BEING BLOWN OUT OF PROPORTION?! At first I thought most of the worry was created by the media, but after a firsthand experience I'm not sure what to believe.
Ulrich's work:
Can you believe this Target has at least 33 checkout lanes?!
I actually came across this image at some point during my hyperlinking research over the past two weeks. Now I recognize it!
10-14-09 Idea Post
I wanted to go back to my work at the beginning of the semester and even something I was interested in when creating "After I Die" a year and a half ago. The idea of the relic.
Wikipedia Definition:
A relic is an object or a personal item of religious significance, carefully preserved with an air of veneration as a tangible memorial. Relics are an important aspect of some forms of Buddhism, Christianity, Hinduism, Shamanism, and many other religions. The word relic comes from the Latin reliquiae, meaning "remains." A reliquary is a shrine that houses one or more relics.
It came to the forefront of my attention at the beginning of the semester when I watched the tv series "Out of Egypt." An entire episode was dedicated to the hallowed dead that had been preserved and worshiped universally throughout history as relics. These objects have been attributed with such incredible power and meaning that they influence entire religions. Even the every day dead have a certain power within our culture that requires a wake, funeral, headstone, and even annual visitations.
*****
The photograph to the right is a relic containing the humerus of St. Francis Xavier (a missionary born in 1506) in St. Joseph's church in Macao, China. The right forearm of Xavier that was used to bless and baptize his converts was detached long after his original burial and the humerus was sent to to Macau in a silver reliquary.
This is a photograph of the Shroud of Turin, or the Turin Shroud. It is a linen cloth thought to be the burial shroud of Jesus Christ that bears his crucifixion image. The left half of the image is the actual shroud and the right half of the image is a contrast heavy b&w negative of the image for easier viewing. It is kept in the royal chapel of the Cathedral of Saint John the Baptist in Turin, Italy.
St. Bernadette Soubirous lies in a glass coffin at her convent in Nevers, France. She was exhumed 33 years after death and was found to be 'incorrupt' or preserved from decomposition. Two additional times she was exhumed and examined to be 'practically mummified' over a period of 49 years. A wax face and hands were molded from imprints and photos and Bernadette was placed in the Chapel of St. Bernadette in Nevers.
*****
I have also recently found out that VCU offers a death and burial class through their anthropology program. I want to take the class REALLY bad, but have only one already full semester left. I did find out you can continue to take classes at VCU after you graduate, but you are the last to register and have to pay part time tuition ($250 per credit hour). Graduate school is something that has crossed my mind, but can a photo student go to grad school for anthropology?
I feel like my work over the past two weeks (exploring materials in a 'real space' rather than 'non-space') has traveled in an opposite direction of the above research I have been doing lately and I am as confused as ever. I plan on showing four photos at the midterm critique (only 5 days away) that are so completely different. The only way I can relate them to each other is to explain my confusion and the new avenues of searching I have developed within my work.
Wikipedia Definition:
A relic is an object or a personal item of religious significance, carefully preserved with an air of veneration as a tangible memorial. Relics are an important aspect of some forms of Buddhism, Christianity, Hinduism, Shamanism, and many other religions. The word relic comes from the Latin reliquiae, meaning "remains." A reliquary is a shrine that houses one or more relics.
It came to the forefront of my attention at the beginning of the semester when I watched the tv series "Out of Egypt." An entire episode was dedicated to the hallowed dead that had been preserved and worshiped universally throughout history as relics. These objects have been attributed with such incredible power and meaning that they influence entire religions. Even the every day dead have a certain power within our culture that requires a wake, funeral, headstone, and even annual visitations.
*****The photograph to the right is a relic containing the humerus of St. Francis Xavier (a missionary born in 1506) in St. Joseph's church in Macao, China. The right forearm of Xavier that was used to bless and baptize his converts was detached long after his original burial and the humerus was sent to to Macau in a silver reliquary.
This is a photograph of the Shroud of Turin, or the Turin Shroud. It is a linen cloth thought to be the burial shroud of Jesus Christ that bears his crucifixion image. The left half of the image is the actual shroud and the right half of the image is a contrast heavy b&w negative of the image for easier viewing. It is kept in the royal chapel of the Cathedral of Saint John the Baptist in Turin, Italy.
St. Bernadette Soubirous lies in a glass coffin at her convent in Nevers, France. She was exhumed 33 years after death and was found to be 'incorrupt' or preserved from decomposition. Two additional times she was exhumed and examined to be 'practically mummified' over a period of 49 years. A wax face and hands were molded from imprints and photos and Bernadette was placed in the Chapel of St. Bernadette in Nevers.*****
I have also recently found out that VCU offers a death and burial class through their anthropology program. I want to take the class REALLY bad, but have only one already full semester left. I did find out you can continue to take classes at VCU after you graduate, but you are the last to register and have to pay part time tuition ($250 per credit hour). Graduate school is something that has crossed my mind, but can a photo student go to grad school for anthropology?
I feel like my work over the past two weeks (exploring materials in a 'real space' rather than 'non-space') has traveled in an opposite direction of the above research I have been doing lately and I am as confused as ever. I plan on showing four photos at the midterm critique (only 5 days away) that are so completely different. The only way I can relate them to each other is to explain my confusion and the new avenues of searching I have developed within my work.
Sunday, October 11, 2009
10-11-09 Artist Post
Alex Randall is a sculptural artist who focuses primarily in creating work with light (chandeliers, lamps, etc). She is interested in the memory of every day objects and their compulsive use within our culture. Some of her work involves taxidermy and I would consider this work more 'fashionable' (if lights can be that) than conceptual. Her other work involves serious metal working, of which I am growing ever fonder. This is where her concept seems stronger. Perhaps it is the way she photographs her taxidermy lights that I feel they have less conceptual strength.
While she doesn't chemically preserve the animals herself, she works closely with a taxidermist to produce her final sculpture. "Most of the animals we use are shot as vermin and their bodies either used as food for other animals or left to rot. By giving them a purpose, they become quite beautiful." -Randall
Her pigeon pendants and pigeon desk lamp(below) are based on society's view of the pigeon as a vermin and the abuse they endure (being fed gum, shot, and kicked). Each pigeon carries its own light to represent their remarkable adaptation from their Egyptian background to cities around the world.
She also expresses the need for society to reintroduce character back into their homes. After shopping for cookie cutter furniture at Ikea or in Better Homes magazines, living spaces are begging for individuality and personality. A re-emergence of taxidermy in society today is a direct reaction to the sameness established from industrialization.
Grey squirrels were introduced to the parks of England in the 19th century by wealthy Victorians for personal enjoyment. Since then, the grey squirrel has devastated the native red squirrel and other woodland bird populations with diseases and American parasites. They are bigger, faster, and braver than the red squirrel and have adapted to both city and countryside life. Their population is often thinned in attempt to regain natural balance. This is also how she gains materials.
If your home needs a little personality, you can buy these light sculptures at http://www.alexrandall.co.uk/salescommissions.php
While she doesn't chemically preserve the animals herself, she works closely with a taxidermist to produce her final sculpture. "Most of the animals we use are shot as vermin and their bodies either used as food for other animals or left to rot. By giving them a purpose, they become quite beautiful." -Randall
Her pigeon pendants and pigeon desk lamp(below) are based on society's view of the pigeon as a vermin and the abuse they endure (being fed gum, shot, and kicked). Each pigeon carries its own light to represent their remarkable adaptation from their Egyptian background to cities around the world.
She also expresses the need for society to reintroduce character back into their homes. After shopping for cookie cutter furniture at Ikea or in Better Homes magazines, living spaces are begging for individuality and personality. A re-emergence of taxidermy in society today is a direct reaction to the sameness established from industrialization.
Grey squirrels were introduced to the parks of England in the 19th century by wealthy Victorians for personal enjoyment. Since then, the grey squirrel has devastated the native red squirrel and other woodland bird populations with diseases and American parasites. They are bigger, faster, and braver than the red squirrel and have adapted to both city and countryside life. Their population is often thinned in attempt to regain natural balance. This is also how she gains materials.
If your home needs a little personality, you can buy these light sculptures at http://www.alexrandall.co.uk/salescommissions.php
Wednesday, October 7, 2009
10-07-09 Idea Post
The last two shoots I have done I have combined real animal materials with fake materials. This is something I want to investigate further especially when considering the preservation of death. Taxidermy, mummification, embalming, etc are all ways in which we try to preserve the living in an eternal state of 'what was.' While I had recognized it all along but never realized it pertained to my work, no preservation looks real. REALLY real (I mean). They use real materials and with the help of glues, chemicals, plastics, fabric, and even the right lighting always FAIL to preserve true life. Of course there are really great taxidermists, but think about the animals in the Smithsonian in Washington DC. I was impressed by the size, textures, colors, lights, surroundings, sounds, etc, but they still looked fake. This is an international museum we are talking about!
Well done taxidermy is breathtaking, don't get me wrong. I am much more interested in taxidermy that has a voice or has been altered in some way by the artist. Nate Hill (previous research artist blog) would be in this category. It's growing ever more popular to take two or more species and combine them into one new taxidermy creature.
Even more exciting is Merly Smith's "Excess Bagage," a piece she created for an exhibition when asked to make sculptures that were suited to be international carry-on luggage. This is not taxidermy. There are no real animal parts in this sculpture, but it certainly is convincing. Louis Vuitton has copyright issues with this piece.
Unfortunately, I couldn't find Smith's website (if there is one). I would have to say, if I were going to buy a Louis Vuitton bag, this $3,000 one would definitely be mine!
*** Wikipedia: ***
Taxidermy (from the Greek for classifying skins) is the act of mounting or reproducing dead animals for display (e.g. as hunting trophies) or for other sources of study. Taxidermy can be done on all species of animals including mammals, birds, nematodes, reptiles and amphibians. The methods that taxidermists practice have been improved over the last century, heightening taxidermic quality, and lowering toxicity. The animal is first skinned. This process is similar to removing the skin from a chicken prior to cooking. This can be accomplished without opening the body cavity so the taxidermist usually does not see internal organs or blood. The skin is tanned and then placed on a polyurethane form. Clay is used to install glass eyes. Forms and eyes are commercially available from a number of suppliers. If not, taxidermist carve or cast their own forms.
Taxidermists may practice professionally, for museums or as a business catering to hunters and fishermen, or as amateurs, such as hobbyists, hunters, and fishermen. To practice taxidermy, one must be very familiar with anatomy, sculpture, and painting, as well as tanning.
Well done taxidermy is breathtaking, don't get me wrong. I am much more interested in taxidermy that has a voice or has been altered in some way by the artist. Nate Hill (previous research artist blog) would be in this category. It's growing ever more popular to take two or more species and combine them into one new taxidermy creature.
Even more exciting is Merly Smith's "Excess Bagage," a piece she created for an exhibition when asked to make sculptures that were suited to be international carry-on luggage. This is not taxidermy. There are no real animal parts in this sculpture, but it certainly is convincing. Louis Vuitton has copyright issues with this piece.
Unfortunately, I couldn't find Smith's website (if there is one). I would have to say, if I were going to buy a Louis Vuitton bag, this $3,000 one would definitely be mine!
*** Wikipedia: ***
Taxidermy (from the Greek for classifying skins) is the act of mounting or reproducing dead animals for display (e.g. as hunting trophies) or for other sources of study. Taxidermy can be done on all species of animals including mammals, birds, nematodes, reptiles and amphibians. The methods that taxidermists practice have been improved over the last century, heightening taxidermic quality, and lowering toxicity. The animal is first skinned. This process is similar to removing the skin from a chicken prior to cooking. This can be accomplished without opening the body cavity so the taxidermist usually does not see internal organs or blood. The skin is tanned and then placed on a polyurethane form. Clay is used to install glass eyes. Forms and eyes are commercially available from a number of suppliers. If not, taxidermist carve or cast their own forms.
Taxidermists may practice professionally, for museums or as a business catering to hunters and fishermen, or as amateurs, such as hobbyists, hunters, and fishermen. To practice taxidermy, one must be very familiar with anatomy, sculpture, and painting, as well as tanning.
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