I would like to thank Shih Yun for all the little insides!
Please go to http://www.instinc.com for more =)
Saturday, November 3, 2007
Summary Reflection
Over all I feel this course readings have been very insightful. It enlightens me and helps me reaffirm some topics about art and art making.
The main points from the 5 readings I gather are:
- Neo-Traditional = A new modern traditional. Shih Yun’s (SY) artworks have taken a (traditional) abstract painting, transformed into something both modern and traditional.
- Intestinal space: Its importance and impacts. Cause the formation of a hybrid. SY works are a hybrid.
- How social imagination affects society. Society aspires to be original but gets sold out by commercialism. SY may involuntarily contribute to the rising demand of commercialism.
- Gentrification = An urban renewal process that have impact and implications in which the art industry plays a part. As there are not available contextual art works with relation to this, I decided to use her experience in getting a studio space in Singapore.
- The purpose of art making and how it affects human relationships. SY do not consciously create contextual art.
Overall, the readings portray negative connotations like art disintegrating or art affecting society. SY may have unintentionally contributed to some of the points mentioned in the readings but I believe she doesn’t mean to do harm or is a ‘bad’ artist. Thus I would like to sum everything up by reflecting this question, “What makes a bad Artist? Why so?”
The main points from the 5 readings I gather are:
- Neo-Traditional = A new modern traditional. Shih Yun’s (SY) artworks have taken a (traditional) abstract painting, transformed into something both modern and traditional.
- Intestinal space: Its importance and impacts. Cause the formation of a hybrid. SY works are a hybrid.
- How social imagination affects society. Society aspires to be original but gets sold out by commercialism. SY may involuntarily contribute to the rising demand of commercialism.
- Gentrification = An urban renewal process that have impact and implications in which the art industry plays a part. As there are not available contextual art works with relation to this, I decided to use her experience in getting a studio space in Singapore.
- The purpose of art making and how it affects human relationships. SY do not consciously create contextual art.
Overall, the readings portray negative connotations like art disintegrating or art affecting society. SY may have unintentionally contributed to some of the points mentioned in the readings but I believe she doesn’t mean to do harm or is a ‘bad’ artist. Thus I would like to sum everything up by reflecting this question, “What makes a bad Artist? Why so?”
Reflection 6: The context of art making II: Art and Human Relationships
Image:
untitled
(2004)
mixed media on canvas
180cm x 120cm
Reading:
Claire Bishop. “Antagonism and Relational Aesthetics” October 110 (2004) Pages 51-79
In this reading, I feel Claire Bishop has conveyed views about the purpose of art making and how it affects Human Relationships. This is conveyed through relational Aesthetics – An example of how Art takes account of social contexts, vs. Formal aesthetics – Art as it is, no emotional stings attached. Types of Art viewers are also taken into account as art should not be an exclusive privilege for art fans but for the mass public. Art should let people interact, communicate and allow speculations about its context. Art should also invite views to see subject in other lights and not conform to only one idea. Thus the argument continues with questions like “What kind of relation does the art promotes? Is there enough effort put into Art making?” Because of these questions, the display area also comes under fire. Gallery space has been seen transforming into a less ‘white cube’ concept. Its space purpose has changed into a more social one. Open areas are also used.
Also, Art is often stereotyped and unacknowledged. Recognition is given to a famous artist work but recognition for an infamous artist is harder to achieve. Is this especially so for my selected artist during her initial years in painting full time. Her works are not very recognized as she has yet to establish a name. But the question is, on what claims does a famous artist work any better when compared to an infamous artist? Picasso is a fine example. His works often bares resemblance to native African art works as they were his inspirations. His works fetches millions of dollars, but the later cant even fetch half the value. To make it worst, he doesn’t give the later any credit.
On my last point of understanding the reading, “Do Artist consider contexts when art making and if so, what is it?” From a personal response by Shih Yun, she simply responded personally “no, at least not consciously.” My only reaction is that she is a professional artist that is only interested in creating art seems to freeze the moment.
Claire Bishop. “Antagonism and Relational Aesthetics” October 110 (2004) Pages 51-79
In this reading, I feel Claire Bishop has conveyed views about the purpose of art making and how it affects Human Relationships. This is conveyed through relational Aesthetics – An example of how Art takes account of social contexts, vs. Formal aesthetics – Art as it is, no emotional stings attached. Types of Art viewers are also taken into account as art should not be an exclusive privilege for art fans but for the mass public. Art should let people interact, communicate and allow speculations about its context. Art should also invite views to see subject in other lights and not conform to only one idea. Thus the argument continues with questions like “What kind of relation does the art promotes? Is there enough effort put into Art making?” Because of these questions, the display area also comes under fire. Gallery space has been seen transforming into a less ‘white cube’ concept. Its space purpose has changed into a more social one. Open areas are also used.
Also, Art is often stereotyped and unacknowledged. Recognition is given to a famous artist work but recognition for an infamous artist is harder to achieve. Is this especially so for my selected artist during her initial years in painting full time. Her works are not very recognized as she has yet to establish a name. But the question is, on what claims does a famous artist work any better when compared to an infamous artist? Picasso is a fine example. His works often bares resemblance to native African art works as they were his inspirations. His works fetches millions of dollars, but the later cant even fetch half the value. To make it worst, he doesn’t give the later any credit.
On my last point of understanding the reading, “Do Artist consider contexts when art making and if so, what is it?” From a personal response by Shih Yun, she simply responded personally “no, at least not consciously.” My only reaction is that she is a professional artist that is only interested in creating art seems to freeze the moment.
Reflection 5: The context of art making I - At whose expense is art made?
Image:
basement
(2003)
mixed media on canvas
121 cm x 42 cm
Reading:
Rosalind Deutsche and Cara Gendel Ryan, “The Fine Art of Gentrification”. October 31 (1984) Pages 91-111th
From my understanding of this reading, Rosalind Deutsche and Cara Gendel Ryan highlighted an urban renewal process – Gentrification. This is shown though a case study of Lower east side in New York City has transformed previously an area of slum community into a creative and vibrant area with the influx of artist and their industries.
With relation to my selected artist, I could only say Shih Yun have played a part in the process of Gentrification unconsciously. Through out her 5 years in painting professionally, she has moved her studio location four times. Not being aware, she has contributed to the gentrification process. Her first studio was her old private condominium apartment called Anchorage in Alexandra. A vibrant HDB neighbourhood that is home to Queensway Shopping complex, Sweden Furniture store – IKEA and many automobile show rooms like Volkswagen and Volvo. This mushrooming of retail business together with a luxurious condominium was no like such 10 years ago. Land value must have increased.
In the subsequent locations, at new bridge road (Chinatown), emerald hill road and current location Mohamed sultan road, these are areas in which the local government have put in efforts for conservation. This helps increased the values of the areas by introducing leisure, entertainment and creative industries into the areas by alluring them an authentic neighbourhood that has cheaper rents than town. Shih Yun choice in these areas could have been the same too.
On a global view, I would like to reflect on the impacts of Gentrification with the problems faced by local starting artist. For example a freshly graduated young artist (like Shih Yun in the past), faced environmental difficulties when practicing their art as to their own studio space is a major hurler. Rent is only cheaper at obscure places like Little India. Lucky, her vacant old home was her refuge for a number of months before she could afford her own studio space. Even till now, she shares the cost of rent so as not to be finically burden. Many works from home but often it is not the most productive place.
Reflection 4: Does my culture have an “origin”? (2nd Reading)
Image:
Piece of Silence
(2006)
mixed media on board
80cm x 80cm
Reading:
Arjun Appadurai “Disjuncture and Difference in the Global Cultural Economy” in Modernity at Large (Minneapolis: University of Minnesota 1996) 27-47
In this reading, I feel Arjun Appadurai believe what is happening now is a creation of a common imagined world is what affects everyone and our surroundings. Through homogenization and globalisation, everything is becoming the same – lack of originality. The globe becomes ‘smaller’ and the flow of cultures becomes easier. Also, an original is no longer original. Imagination is a constructed originality motivated by a society who aspires to be original. These individuals then look towards primordialism – the going back to roots, going back to purity. This social ideology then brought about social imaginaire. An example stated in the reading is McDonaldization. McDonald is an American fast food joint that sells burgers and fries, have been spreading across the globe through globalisation as it wants to expend its influence and increase revenue. This at the same time allows a free flow of western ideas into the nations. In order to cater to the needs of each different cultures McDonald taps into social imaginaire. Being also influenced by primordialism, McDonalds tries to change their menus in China, offering congee on top of the usual burgers and fries.
With relation to art, I feel sometimes art making have been influenced by such a thinking as its everywhere. Western artist have always been attracted by Asian art as it reflects something exotic. Thus some artists embrace this social imaginaire, produced commercial art. These Asian artists know if they produce art works that showcase their Asian-ness will sell well, thus making art for money - commercialism. Shih Yun on the flip side is an Asian artist inspired by a western style, practices this western style of painting but with a twist. Asian-ness is portrayed with the use of Chinese painting techniques like the use of positive and negative space and Chinese black ink medium. Unconsciously, she may also be feeding a market of art buyers that favours such east and west mix.
Arjun Appadurai “Disjuncture and Difference in the Global Cultural Economy” in Modernity at Large (Minneapolis: University of Minnesota 1996) 27-47
In this reading, I feel Arjun Appadurai believe what is happening now is a creation of a common imagined world is what affects everyone and our surroundings. Through homogenization and globalisation, everything is becoming the same – lack of originality. The globe becomes ‘smaller’ and the flow of cultures becomes easier. Also, an original is no longer original. Imagination is a constructed originality motivated by a society who aspires to be original. These individuals then look towards primordialism – the going back to roots, going back to purity. This social ideology then brought about social imaginaire. An example stated in the reading is McDonaldization. McDonald is an American fast food joint that sells burgers and fries, have been spreading across the globe through globalisation as it wants to expend its influence and increase revenue. This at the same time allows a free flow of western ideas into the nations. In order to cater to the needs of each different cultures McDonald taps into social imaginaire. Being also influenced by primordialism, McDonalds tries to change their menus in China, offering congee on top of the usual burgers and fries.
With relation to art, I feel sometimes art making have been influenced by such a thinking as its everywhere. Western artist have always been attracted by Asian art as it reflects something exotic. Thus some artists embrace this social imaginaire, produced commercial art. These Asian artists know if they produce art works that showcase their Asian-ness will sell well, thus making art for money - commercialism. Shih Yun on the flip side is an Asian artist inspired by a western style, practices this western style of painting but with a twist. Asian-ness is portrayed with the use of Chinese painting techniques like the use of positive and negative space and Chinese black ink medium. Unconsciously, she may also be feeding a market of art buyers that favours such east and west mix.
Friday, November 2, 2007
Reflection 3: Does my culture have an “origin”?
Image:
flight II
(2003)
mixed media on paper
50 cm x 65 cm
Reading:
Homi K. Bhabha, The Location of Culture (London: Routledge, 1994) 1-18
In this reading, I feel Homi Bhabha is trying to introduce a new font in between the center(being powerful) and periphery(being weak) - intestinal space(in between). This is because he sees both powers as equal and interdependent through the interaction between both caused by globalization. In distinctively he is referring to western and eastern cultures. This intestinal space is interlinked as he believes there will always be a part of Chinese influence in western culture and western influence in Chinese culture. Both cultures have always been producing and receiving cultural influences for a very long time such that certain cultural aspects could be difficult to locate its origins. Although this hybrid can not be labelled as one or the other it plays an active role that injects new meaning for the West and the east. This is done through the passing of information and culture to each other facilitated possibly by globalization. All this mixing and interaction from two fonts have caused the formation of a hybrid In relation to my selected artist, this is important as the artist works take on a role of a hybrid, and he or she does it through personal translation.
With Reference to my selected artist - Yeo Shih Yun, her works are considered a hybrid as she has borrowed influences of both abstract expressionism (western) and Chinese painting (Eastern). She have used this intestinal space to establish herself as a local Asian artist capable of producing works which resembles a combination of expressive brush strokes with a non Chinese abstract composition layout. Her style also follows closely the footsteps of another local artist, 1999 cultural medallion winner – Chua Ek Kay. Both play the role of a translator for understanding abstract and Chinese painting styles through their choice of including how much of each styles – Going Beyond, marking progress from Singapore’s colonial past that have affected Singaporeans future.
Homi K. Bhabha, The Location of Culture (London: Routledge, 1994) 1-18
In this reading, I feel Homi Bhabha is trying to introduce a new font in between the center(being powerful) and periphery(being weak) - intestinal space(in between). This is because he sees both powers as equal and interdependent through the interaction between both caused by globalization. In distinctively he is referring to western and eastern cultures. This intestinal space is interlinked as he believes there will always be a part of Chinese influence in western culture and western influence in Chinese culture. Both cultures have always been producing and receiving cultural influences for a very long time such that certain cultural aspects could be difficult to locate its origins. Although this hybrid can not be labelled as one or the other it plays an active role that injects new meaning for the West and the east. This is done through the passing of information and culture to each other facilitated possibly by globalization. All this mixing and interaction from two fonts have caused the formation of a hybrid In relation to my selected artist, this is important as the artist works take on a role of a hybrid, and he or she does it through personal translation.
With Reference to my selected artist - Yeo Shih Yun, her works are considered a hybrid as she has borrowed influences of both abstract expressionism (western) and Chinese painting (Eastern). She have used this intestinal space to establish herself as a local Asian artist capable of producing works which resembles a combination of expressive brush strokes with a non Chinese abstract composition layout. Her style also follows closely the footsteps of another local artist, 1999 cultural medallion winner – Chua Ek Kay. Both play the role of a translator for understanding abstract and Chinese painting styles through their choice of including how much of each styles – Going Beyond, marking progress from Singapore’s colonial past that have affected Singaporeans future.
Reflection 2: The “Traditional” in Asian Art
Image:
combustion
(2001)
Chinese ink on watercolour paper
76cm x 56cm
Readings:
John clark, “Formation of the Neotraditional”. Modern Asian Art (Sydney: Craftsman House, 1998), 71-80
Prasenjit Duara, “Of Authenticity and Woman: Personal Narratives of Middle-Class Women in Modern China”, in Becoming Chinese: Passages to Modernity and Beyond ed. Wen-Hsin Yeh (Berkeley: University of California Press, 2000) 342-347
In John Clark’s reading, he introduced a term called “Neo-traditional” to describe a category of art works that have a blend of both traditional and modern cultural values. In this case, traditional is thought to be from eastern cultures as they are not modern, while western cultures are thought to be modern. Because of the need to become modern, the western are also thought to be strong and dominating. “Neo-traditional” is thus born because of the need. In order to understand Neo-traditional, one must understand traditional. Traditional is thought to be invented as it is constantly redefined. A community consensus sets a particular set of technique which helps identify themselves from others forms Traditions. Traditions are past down from one generation to another. Oddly, traditions can be altered from one generation to another, thus making traditions unaccountable.
In relation to my selected artist Yeo Shih Yun, I would need to first mention her artistic style. Falling under the catalogue of abstraction, her style is more abstract expressionism as artist like Jackson Pollock and Robert Motherwell have heavily influenced her. Her works is a kind of self expression which is not subjected to creating representational, figurative or objective visuals. But her works are more of abstract and often displays expressions of chaos and order through the play of space, lines, colours and marks. Like her predecessors her works has an emphasis on spontaneity and sub-consciousness rather than an organized and controlled painting.
With relation to the reading of how traditional is constantly evolving as it does not have a fixed set of markers. I would like to view Shih Yun’s works as Neo-traditional. She have taken a ‘traditional’ abstract painting and turned into a modernized ‘traditional’ abstract painting by changing its usual state. Firstly her cultural background as an abstract expressionism painting is very different as abstract painter during post world war II New York city. Hers have an Asian twist towards something western and we can see it very prominently through her constant use of Chinese and Indian ink than compared to oil paints.
John clark, “Formation of the Neotraditional”. Modern Asian Art (Sydney: Craftsman House, 1998), 71-80
Prasenjit Duara, “Of Authenticity and Woman: Personal Narratives of Middle-Class Women in Modern China”, in Becoming Chinese: Passages to Modernity and Beyond ed. Wen-Hsin Yeh (Berkeley: University of California Press, 2000) 342-347
In John Clark’s reading, he introduced a term called “Neo-traditional” to describe a category of art works that have a blend of both traditional and modern cultural values. In this case, traditional is thought to be from eastern cultures as they are not modern, while western cultures are thought to be modern. Because of the need to become modern, the western are also thought to be strong and dominating. “Neo-traditional” is thus born because of the need. In order to understand Neo-traditional, one must understand traditional. Traditional is thought to be invented as it is constantly redefined. A community consensus sets a particular set of technique which helps identify themselves from others forms Traditions. Traditions are past down from one generation to another. Oddly, traditions can be altered from one generation to another, thus making traditions unaccountable.
In relation to my selected artist Yeo Shih Yun, I would need to first mention her artistic style. Falling under the catalogue of abstraction, her style is more abstract expressionism as artist like Jackson Pollock and Robert Motherwell have heavily influenced her. Her works is a kind of self expression which is not subjected to creating representational, figurative or objective visuals. But her works are more of abstract and often displays expressions of chaos and order through the play of space, lines, colours and marks. Like her predecessors her works has an emphasis on spontaneity and sub-consciousness rather than an organized and controlled painting.
With relation to the reading of how traditional is constantly evolving as it does not have a fixed set of markers. I would like to view Shih Yun’s works as Neo-traditional. She have taken a ‘traditional’ abstract painting and turned into a modernized ‘traditional’ abstract painting by changing its usual state. Firstly her cultural background as an abstract expressionism painting is very different as abstract painter during post world war II New York city. Hers have an Asian twist towards something western and we can see it very prominently through her constant use of Chinese and Indian ink than compared to oil paints.
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