Tag: Artists

Peter Kennard

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Peter Kennard

Peter Kennard is a British artist who is known for his political collages. He turns his attention to anything from war to climate change to economic issues. He approach is to dissect mass media images and text, and then he reassembles the image to create a new image that address and brings to light the issue he has chosen. He decided to use collages as he wanted a method that was appropriate for activism. He believes collage fits this requirement. 

His image entitled Use your loaf (see fig. 1), is quite striking. It is addressing the increase in weapons. Kennard uses a picture of a loaf of bread and next to it, in contrast a missile. They are both the same size and roughly the same size. The text states, “no-one is starving from lack of weapons”, this infers this could be addressing the governments spending on weapons rather than helping their citizens. The title uses loaf, which is a metonymy for brain, which could also infer that the viewer should be thinking about this issue. 

(Fig. 1. Use your Loaf (1983))

One of his most famous image was made in collaboration with Cat Phillipps. It draws attention to the invasion of Iraq. The image, called Photo Op (see fig. 2), features Tony Blair taking a selfie in front of an explosion. 

(Fig. 2. Photo-Op (2005))

“This act of re-imaging the powerful…through ripping them up, mashing them together, desecrating them and outwitting them through surreal juxtaposition, this self-initiated act of creative destruction is deeply empowering, and is born from a need to publicly express one’s own anger with and dissent from the powers that be…Through putting together an image – either digitally and/or with scissors and paste, with or without text – people get to feel a sense of empowerment, an empowerment that communicates to the viewer, be it via a placard, a street poster, or an image on social media. The act of re-using existing images and re-presenting them through juxtaposition is inherently subversive, and showed up in the countless images of Theresa May that came thick and fast in direct response to the official election campaigning day-to-day” (kennardphillipps quoted in BJP). 

Figures

Fig. 1. Kennard, P (1983) Use your loaf [Photograph – Online] At: https://www.iwm.org.uk/history/6-powerful-protest-posters-by-peter-kennard (Accessed on 11th of December 2019). 

Fig. 2. Kennardphillips (2005) Photo-Op [Photograph – Online] At: https://www.bjp-online.com/2017/06/kennardphillipps-on-the-power-of-political-photomontage/ (Accessed on 11th of December 2019).  

Bibliography

BJP (2017) kennardphillipps on the power of political photomontage. At: https://www.bjp-online.com/2017/06/kennardphillipps-on-the-power-of-political-photomontage/ (Accessed on 11th of December 2019).  

IWM (2018) 6 Powerful protest posters by Peter Kennard. At: https://www.iwm.org.uk/history/6-powerful-protest-posters-by-peter-kennard/ (Accessed on 11th of December 2019).  

PHF. Peter Kennard. At: https://www.phf.org.uk/artist/peter-Kennard/ (Accessed on 11th of December 2019).  

Linder Sterling

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Linder Sterling

Linder Sterling is a British artist who is known for her feminist collages. She has been influenced from the Manchester Punk scene during the 1970s. This aided in her work and possibly her perspectives. She looks to commodity and gender for inspiration in her art. She uses a tradition methodology of cutting and paste images from magazines and porn. She often uses images from fashion and lifestyle magazine in combination with image of women in porn. Her work is popular, in 2018 she created a 85 metre billboard at Southwark station; she was commissioned by Art on the Underground. 

This image (see fig. 1) was used on the music group, the Buzzcocks album cover. This image was created by Sterling. She combined an image of a women naked with an image of an iron. The women is standing in a provocative way, with her arms raised and her hip jutted to the side. Her head has been replaced with an iron. The iron is pointing upwards, in line with where her head should be. Sterling has placed an image of a mouth smiling over the woman’s nipples. There is a noticeable comparison between the shiny plastic and metal of the iron with the woman’s skin which has been oiled. Her image is simple, only being made up of four piece but it is effective and does make the viewer think. 

(Fig. 1. Untitled (1976))

Figures

Fig. 1. Sterling, L (1976) Untitled [Photograph – Online]. At: https://www.tate.org.uk/art/artworks/Linder-untitled-t12501 (Accessed on 11th of December 2019).  

Bibliography 

Manchester, E (2007) Untitled 1976. At: https://www.tate.org.uk/art/artworks/Linder-untitled-t12501 (Accessed on 11th of December 2019).  

Tate. Linder. At: https://www.tate.org.uk/art/artworks/Linder-10844 (Accessed on 11th of December 2019).  

Margaret Harrison

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Margaret Harrison

Margaret Harrison is a feminist, and also self-proclaimed ‘radical artist’. Her work address issues surrounding feminism and usually takes on a humorous note. She was one of the founding members of the London Women’s Liberation Art Group. Her work has received recognition from a variety of fronts, including the police. In 1971 the police shut down her exhibition due to her representation of men. This was fatally her first solo show. “It was censored and locked down after the opening for indecency because Margaret feminized the bodies of well-known figures, including Hugh Hefner” (Sanchez quoted in Battaglia). This image that Sanchez talks about is entitled, This is only a bunny but he is quite nice really (see fig. 1). It caused a stir as Harrison had drawn Hugh Hefner as a playboy bunny. It is this type of humorous approach that marks Harrisons work. It is a good take on exactly what Hefner has created. It also allows the viewer to think about issues for women surrounding this. 

(Fig. 1. This is only a bunny boy but he Is quite nice really (1971))

Another image of Harrisons which looks at how women are objectified is called Good Enough to Eat (see fig. 2). The image shows a women laying in a sandwich. It addresses how women are viewed and are objectified. But also how people view women as an object, how an image of women are ‘eaten up’. It is a clever way to highlight this issue. By contrasting the female figure with a sandwich, it shows how easily people devour both as objects and also as something pleasurable. 

(Fig. 2. Good Enough to Eat (1971))

I like Harrisons images as they are humorous but raise and tackle important issues. These drawings show a different method of looking at feminism.  

Figures  

Fig. 1. Harrison, M (1971) This is only a bunny boy but he is quite nice really [Photograph – Online]. At: www.artnews.com/2019/03/06/bunny-business-margaret-harrison-sends-up-playboy-hugh-hefner-at-the-armory-show/ (Accessed on 7th of November 2019). 

Fig. 2. Harrison, M (1971) Good Enough to Eat [Drawing – Online]. At: https://www.tate.org.uk/art/artworks/harrison-good-enough-to-eat-p06246 (Accessed on 7th of November 2019).  

Bibliography  

Battaglia, A (2019) Bunny Business: Margaret Harrison sends up playboy Hugh Hefner at the Armory Show. At: www.artnews.com/2019/03/06/bunny-business-margaret-harrison-sends-up-playboy-hugh-hefner-at-the-armory-show/ (Accessed on 7th of November 2019).   

Harrison, M. Biography. At: margaret-harrison.com/?page_id=11 (Accessed on 7th of November 2019).  

Harrison, M. Home. At: margaret-harrison.com (Accessed on 7th of November 2019).

Hamish Fulton

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Hamish Fulton

Hamish Fulton is a British artist known for his photographs taken whilst walking. It was after Fulton walked from John O’Groats to Lands End, he decided that he would make “only art resulting from the experience of individual walks” (Fulton quoted in Eyestorm). His work looks at the affinity between art and the landscape. To Fulton, each walk is different and each has an atmosphere that is unique. He photographs his walks, and as such is the one to physically experience it. But the viewer is allow a glimpse at his experience through his images and accompanying text. His methods allow him freedom whilst also addressing issues surrounding the environment. He believes people have become distanced between our natural environment. The use of text is his work is interesting. The text is usually sizeable and placed directly over the landscape images. His image Wind through the Pines is an example of this. The image (see fig. 1) is of a forest scene with the following words layered over the image:

“Wind through the pines

Clouds of breath and steam in the cold candle lit air

Seven days walking and seven nights camping in a wood Cairngorms Scotland March 1985

Song of the Chaffinch

Changing tune of the stream

Walking fo seven days in a wood Cairngorms Scotland April 1991”

(Fig. 1. Wind through the Pines (1985, 1991))

The text and image give off a nostalgic, reminiscent and romantic feeling. The text fills the image but in my opinion doesn’t distract from the image, which is still visible. The text enhances the image. 

The next image (see fig. 2) is of a stone stair scene in Japan, with the text:

“The life of scattered stones

Seven one day walks in the rain Nikko Japan April 1990”

(Fig. 2. The Life of Scattered Stones (1990))

I like this image. I find it very calming and peaceful even though the stones are scattered around and hit by the weather, they are still there, as strong and solid as ever. 

The method Fulton uses is a good example of text in landscape images, which is what my images are. I am going to take notes from his methods, as I like the effect his use of text has, and could help my body of work.  

Figures

Fig. 1. Fulton, H (1985, 1991) Wind through the Pines. [Photograph – Online] At: https://www.tate.org.uk/art/artworks/Fulton-wind-through-the-pines-p7762/ (Accessed on 7th of November 2019). 

Fig. 2. Fulton, H (1990) The life of scattered Stones. [Photograph – Online]. At: https://www.eyestorm.com/Pages/Product.aspx/Hamish_Fulton/The_Life_of_Scattered_Stones._Seven_One_Day_Walks_in_the_Rain_Nikko_Japan_(1990)__2000/4579423 (Accessed on 7th of November 2019).

Bibliography

Eyestorm. Hamish Fulton. At: https://www.eyestorm.com/pages/browse.aspx/artist/hamish_fulton/10/ (Accessed on 7th of November 2019). 

Lake-Edwards, C (2018) Hamish Fulton ‘Leave only Footsteps, take only photographs’. At: https://www.eyestorm.com/Pages/Magazine.aspx/HAMISH_FULTON___|____LEAVE_ONLY_FOOTSTEPS__TAKE_ONLY_PHOTOGRAPHS_/985 (Accessed on 7th of November 2019).  

National Galleries Scotland. Hamish Fulton. At: https://www.nationalgalleries.org/art-and-artists/artists/Hamlisch-Fulton (Accessed on 7th of November 2019). 

Barbara Kruger

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Barbara Kruger

Barbara Kruger is an American conceptual artist, known for her bold graphic images. Kruger was a photographer for two years, but she decided to move towards utilising found images in her work. The images are usually black and white. She gets most of her images form the media, she then edits them and places bold text over the image. The text is usually red and white which creates a striking contrast against the monochrome image. It draws the viewers attention and make us think about the issues she is exploring. The issues Kruger looks at range from feminism, to politics, to consumerism, religion and power. Her images are very recognisable and address these issues with purposely selected images and text. 

In 1980, Kruger released an untitled image, but due to the text, it is known as ‘Perfect’ (see fig. 1). It shows a woman with her clasped as if praying. We only see her torso, she is a plain jumper of cardigan. The woman gives the impression of innocence, faith and obedience. Kruger calls on the idea of the virgin Mary. The image represents in sense the perfect women, a dutiful passive embodiment of femininity. 

(Fig. 1. Perfect (1980))

Another image Kruger produced, is probably one of her most notable pieces. The untitled work (see fig. 2), ‘Your Body is a Battleground’ brings to light the anti-abortion laws. The images was made specially for the Woman’s March on Washington in 1989. Kruger showed her support for the freedom of choice for women. The image features a portrait of a woman, which is spilt vertical, half in positive and half in negative. This is a powerful image, which has remained relevant throughout the years. To me it can be seen as much more than support for reproductive choices, it can refer to other areas where women are restricted, judged and oppressed.

(Fig. 2. Your Body is a Battleground (1989))

Krugers use of text is bold. It stands out, almost overtakes the image and alludes to the deeper meanings. The use of red and white text creates a striking contrast to the black and white image. Her wordings are often very simple but do echo a issue or problem. Her images are very successful and I will be taking note when looking at using text in my body of work. 

Figures 

Fig. 1. Kruger, B (1980) Untitled (Perfect) [Photograph – Online] At: https://www.artic.edu/artworks/159464/untitled-perfect (Accessed on 7th of November 2019).   

Fig. 2. Kruger, B (1989) Untitled (Your Body is a Battleground) [Photograph – Online]At: https://www.thebroad.org/art/barbara-kruger/untitled-your-body-battleground (Accessed on 7th of November 2019).  

Bibliography

Art History Archive. Barbara Kruger. At: www.arthistoryarchive.com/arthistory/feminist/Barbara-Kruger.html (Accessed on 7th of November 2019). 

Guggenheim. Barbara Kruger. At: https://www.guggenheim.org/artwork/artist/barbara-kruger (Accessed on 7th of November 2019). 

Kruger, B (1989) Untitled (Your Body is a Battleground). At: https://www.thebroad.org/art/barbara-kruger/untitled-your–body-battleground (Accessed on 7th of November 2019).  

Mitchell, W. J. T. & B. Kruger. (1991) ‘An Interview with Barbara Kruger’ Critical Inquiry, Vol. 17, No. 2, pp. 434-448.  

Kara Walker

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Kara Walker

Kara Walker is a collage artist who investigates issues surrounding gender, sexuality and race. She is known for her silhouettes on a white background. Her techniques reminds me of shadow puppets in a way. This could be seen as womens’ art, which also draws attention to the gender issues. 

Bibliography

Walker Art. Kara Walker. At: https://walkerart.org/collections/artists/kara-walker (Accessed on 18th of November 2019). 

Walker, K. Biography. At: wwwkarawalkerstrudio.com/biography/ (Accessed on 18th of November 2019).  

Woodward, D (2016) Three Radical Female Collage Artists You Need to Know. At: https://www.anothermag.com/art-photography/8849/three-radical-female-collage-artists-you-need-to-know (Accessed on 18th of November 2019).  

Martha Rosler

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Martha Rosler  

Martha Rosler is another artist who I have come across in my research. Her work takes many forms including performance, video, text, instillations and photomontages. The majority of her work in made from the perspective of a woman. Her feminist art looks to challenge the representation and expectations of women. In her works entitled Cold Meat I, Cold Meat II, Damp Meat (see fig. 1) and Hot Meat (see fig. 2).

(Fig. 1. Damp Meat)
(Fig. 2. Hot Meat)

Rosler combines images of naked women with domestic appliances. These works show how the female body is commodified, she compares it to food. “I was always interested in addressing people, primarily women but not only women, with the idea that you recognise me for other human beings” (Rosler Quoted in Murg). She uses images of women in magazines from the 1960s and the 1970s. She believes the tradition views of women still have a startling hold on women today. One image that stuck out was Cleaning the Drapes (see fig. 3), it shows a women vacuuming the curtains, whilst the spilt reveals a scene of soldiers. This contrasts the domestic view of women with the way the media showed people images of the Vietnam war, these images came to people through televisions which were relatively new.

(Fig. 3. Cleaning the Drapes)

Figures

Fig. 1. Rosler, M. Damp Meat [Photograph – Online] At: www.martharosler.net/photo.body/damp-meat.html/ (Accessed on 18th of November 2019).  

Fig. 2. Rosler, M. Hot Meat [Photograph – Online] At: www.martharosler.net/photo/body/hot_meat.html(Accessed on 18th of November 2019).  

Fig. 3. Rosler, M. Cleaning the Drapes [Photography – Online] At: https://www.moma.org/collection/works/150123?artist_id=6832&locate=en&page=1&sov_referrer=artist (Accessed on 18th of November 2019).  

Bibliography

Murg, S. Interview with Martha Rosler, the Artist who speaks softly but carries a big shtick. At: https://pinupmagazine.org/articles/interview-with-brooklyn-artist-martha-rosler-jewish-museum-nyc-survey-show (Accessed on 18th of November 2019).

Woodward, D (2016) Three Radical Female Collage Artists You Need to Know. At: https://www.anothermag.com/art-photography/8849/three-radical-female-collage-artists-you-need-to-know(Accessed on 18th of November 2019).  

Paula do Prado

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Paula do Prado  

Paula do Prado uses various techniques and materials including painting, textiles and photography. She addresses several issues in her work including identity, stereotypes, and race. Her work contains references to her culture as well as her experience of living in Australia. She is originally from Uruguay and often combines her heritage and language with her art. Her works often contains Spanish phases and sayings, this is an advantage in her art as “this tension between exclusion and inclusion is important” (Prado quoted in Madeleine). “Art provides a vehicle for me to explore, scrutinise, decipher and tease out these interconnections between culture, race and identity…dealing with some of these issues is hard…I’m not an activist by any means…It”s more about seeing things differently” (Prado quoted in Madeleine). Her work on gender is helpful for my work, I am looking at gender, and much of her work does too, she sees gender “like race, as another category that is socially constructed, that I don’t think anyone truly fits into neatly” (Prado Quoted in Madeleine).  

Bibliography  

Madeleine, A. Paulo do Prado. At: https://wwwartistprofile.com.au/paula-prado/ (Accessed on 18th of November 2019).  

Mary Beth Edelson

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Mary Beth Edelson

In Some Living American Women Artists (see fig. 1), Mary Beth Edelson replaced the heads of the figures in the Last Supper with female artists. The image of the Last Supper is still recognisable, the structure of the image is unchanged. Edelson has only added images of the heads of female artists in place of Christ and his disciples. When I first looked at this image, to me it appears to be drawing a comparison between the patriarchy in the art world with the patriarchy in religion. Edelson shows women in the roles of men, it represents how women struggle against tradition, expectation and inequality in their work and lives. It shows just a small amount of female artists there are, but they are often overlooked and dismissed. This is similar to what I am trying to do. I am attempting to look at the inequality in the art world by using a male dominated pilgrimage route. This artwork is influential to my work, as it has the same principles and aim behind it. Edelson also uses collage techniques to accomplish this, which is what I want to do. It also links religion and art together. This work is quite symbolic, Linda Aleci believes it “honors the ecumenical ideals of communion and community” (Aleci quoted in Greifen). Edelson compares the historical systematic omission of women in art and in aspects of religion. Edelson explains why she choose to challenge religion, as “the most negative aspect of organized religion, for me was the positioning of power and authority in the hands of a male hierarchy that intentionally excluded women from access to these positions…[The work] gave me a double pleasure of presenting the names and faces of the many women artists who were seldom seen in the art world of 1972 as ‘the grand subject’—while spoofing male exclusivity in the patriarchy” (Edelson quoted in Dang). 

(Fig. 1. Some Living American Women Artists (1972))

Figures

Fig. 1. Edelson, M. B (1972) Some Living American Women Artists [Photograph – Online] At: https://www.moma.org/collection/works/117141 (Accessed on 18th of November 2019).  

Bibliography

Dang, F (2016) The Art of Storytelling. At: samblog.seattleartmuseum.org/tag/some-living-american-women-artists-last-supper/ (Accessed on 18th of November 2019). 

Griefen, K. Considering Mary Beth Edelson’s Some Living American Women Artists. At: https://brooklynrail.org/2019/03/criticspage/Considering-Mary-Beth-Edelsons-Some-Living-American-Women-Artists (Accessed on 18th of November 2019).  

Jess Kohl

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Jess Kohl

Jess Kohls series Friends of the Dead, features portraits taken in a cemetery. The portraits feature visitors to the sites. It shows the connection between the living and the dead. Whilst I am not using portraits in my body of work, Kohls work is valuable to me as I can see how she has taken her images in the cemetery. Her images are quite dark, they are also in monochrome. Which, similar to Kikkas, gives him images a peaceful yet haunting feel. 

Bibliography

Kohl, J. Friends of the Dead. At: jesskohl.com/still/friends-of-the-dead/ (Accessed on 10th of September 2019).