e l i z a j o h n s t o n - k e y w o r d s o c i a l m e d i a p a g e
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We looked inside some of the posts by ejohnocacs102-blog and here's what we found interesting.
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Bibliography
Aaron Westgate, 2007, An Interview with David Carson, Layers Magazine, Available at: http://layersmagazine.com/an-interview-with-david-carson.html [Accessed 15 March 2017]
Barker, C 2007, ‘Issues of subjectivity and identity’, in Cultural studies: theory and practice, 3rd edn, Sage Publications, London, pp. 218-223.
Cassandra Naji, 2015, The 8 Most Influential Women Revolutionising Central Asian and Caucasian Art, Available at: https://theculturetrip.com/asia/articles/the-8-most-influential-women-in-central-asian-and-caucasian-art/ [Accessed 19 March 2017]
Eva Czernis-Ryl, 2017, Finding yourself: ceramics of Bankstown Koori Elders Group, Available at: http://garlandmag.com/article/finding-yourself-ceramics-of-bankstown-koori-elders-group/ [Accessed 20 March 2017]
Grace Dent, 2014, Grace Dent on TV: Grayson Perry tackles issue of identity brilliantly in new show Who Are You? Available at: http://www.independent.co.uk/arts-entertainment/tv/reviews/grace-dent-on-tv-grayson-perry-beautifully-tackles-the-issue-of-identity-in-new-show-who-are-you-9830253.html [Accessed 14 March 2017]
Howes, D 2005, ‘Skinscapes: embodiment, culture, and environment’, in C Classen (ed.), The book of touch, Berg, New York, pp. 27-39.
Jesse Prinz, 2013, Magritte Is Not a Surrealist, Available at: http://www.artbouillon.com/2013/09/magritte-was-not-surrealist.html [Accessed 16 March 2017]
Jonny Weeks, 2017, Razor gangs: eerie mugshots paint picture of Sydney's criminal past, The Guardian, Available at: https://www.theguardian.com/artanddesign/2017/mar/17/razor-gangs-eerie-mugshots-paint-picture-of-sydneys-criminal-past [Accessed 14 March 2017]
Mansfield, N 2000, ‘Freud and the split subject’, in Subjectivity: theories of the self from Freud to Haraway, New York University Press, New York, pp. 25-37
Ryan Noblet. 2013. Paula Scher Presentation, Prezi, Available at: https://prezi.com/hnkdzy3nmmsh/paula-scher-presentation/ [Accessed 21 March 2017]
Shepparton Art Museum, 2014, Bankstown Koorie Elders Group, Available at: http://sheppartonartmuseum.com.au/icaa-gallery-item/!/303/item/21 [Accessed 17 March 2017]
The Art Crime Archive, khoward1101, 2015, The Rape, Available at: http://www.artcrimearchive.org/article?id=1862002 [Accessed 15 March 2017]
Wikipedia, 2017, Lady Pink, Available at: https://en.wikipedia.org/wiki/Lady_Pink [Accessed 16 March 2017].
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Social identity
Social identity explains that part of a person’s concept of self comes from the groups to which that person belongs. The influences and impacts of the society in which an individual belongs governs the way the individual views and identify themselves and each other. 1.British artist Grayson Perry projects his vision of British society, mirroring his reality. In particular, he delves into sexually taboo subject matter through his cross-dressing persona ‘Claire’. Wider society are taken back from this character because to them it is not a normal mode of behavior and see him with disgust because it doesn’t conform to wider societies norms.
1. Barker, C 2007, ‘Issues of subjectivity and identity’, in Cultural studies: theory and practice, 3rd edn, Sage Publications, London, pp. 218-223
Grayson Perry as ‘Claire’
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Fractured identity
Fractured identity explores the fluid nature of the human condition. It explains that multiple forms of the self are constructed throughout the entirety of an individual’s life respective of cultural and social contexts.[1]Graphic designer, Paula Scher, mirrors this through her work as she has multiple creative identities that have spanned over the entirety of her career. Design transcends through time but it’s the forever changing social world that urged Scher to divulge into different creative identities relentlessly revolutionising design aesthetics. Over the 4 decades she altered her creative identities between album design, poster design, logo design and personal projects.
1. Barker, C 2007, ‘Issues of subjectivity and identity’, in Cultural studies: theory and practice, 3rd edn, Sage Publications, London, pp. 218-223.,
Top: Paula Scher, Boston album cover
Middle: Paula Scher, Stunning Subjectivity: Obsessive Typographic Maps
Bottom: Paula Scher, Tiffany & Co logo
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Creative identity
Creative identity is the way the individual, as a creative practitioner, authentically projects themselves. It is the idea that the creative self is influenced by external factors important to them which then forms their codes and processes of thinking.1. American, graphic designer, David Carson, built his creative identity in the 90s with his humorous and expressive pushing of the traditional design boundaries. He did so with Raygun magazine. His influence of the oceans fluidity was portrayed through erratic composition as titles were carelessly letter spaced, page numbers were enlarged and conventional layouts weren’t considered.
1. Barker, C 2007, ‘Issues of subjectivity and identity’, in Cultural studies: theory and practice, 3rd edn, Sage Publications, London, pp. 218-223.
David Carson’s covers for Raygun
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Authenticity
Authenticity is the act of an artist being genuine and truthful in their art practice. It is “true freedom and fulfilment (that) can only be gained by “…giving individuality uninhabited expression (Mansfield 2000 p, 18)”.1. This is seen in Balinese 85-year-old Artist Ni Tanjung’s creative practice. Self-taught, she creates her own system of expression from scratch and produce non-standard paintings, drawings. Unaware of art-historical subjects and technical principles she avoids artistic and social conformism. Her creative space plays important role in her authentic practice. She is an invalid so she draws from her bed and installs a private night exhibitions in her room.
1.Mansfield, N 2000, ‘Freud and the split subject’, in Subjectivity: theories of the self from Freud to Haraway, New York University Press, New York, pp. 25-3
Ni Tanjung and her art space
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Creative influence
Creative influence is the ways in which a creative practitioner is influenced in their process of art making. The societal, historical and cultural makeup of an individual’s environment plays a major role in influencing ones internal and external creative self.1. Artist, Natalya Dyu’s, work is strongly influenced by her engagement with social reality. In her video work ‘Happystan’ (2007) she takes a dispassionate look at the economic and social conditions of the majority of Kazakh people, particularly women, highlighting with poignant and tragic humour the discrepancy between the naïve optimism of the lyrics and the harsh, colourless realities of everyday life.
1. Barker, C 2007, ‘Issues of subjectivity and identity’, in Cultural studies: theory and practice, 3rd edn, Sage Publications, London, pp. 218-223.
Natalya Dyu, Happystan
youtube
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Sensory knowledge
Sensory knowledge is acquired through ones’ skin and their contact with the world they live in. Howes explains that the tactile relationship with the world is one of uniting perceptions with moral and cosmological values.1. The Bankstown Koorie Elders Group translate their sensory knowledge of the Indigenous landscape in their ceramic artwork ‘After the Rain: Bungle Bungle'. It’s the physicality and raw materials involved that project their profound relationship with the landscape as they believe “Once you touch it, it gets into your bones. You find yourself again.”2.
1. Howes, D 2005, ‘Skinscapes: embodiment, culture, and environment’, in C Classen (ed.), The book of touch, Berg, New York, pp. 27-39.
2. Naomi Sharp, ‘Deep Collaboration’ in Christine Nicholls, Earth Works: Contemporary Indigenous Australian Ceramic Art, Flinders University Art Museum, Adelaide, 2012, pp 6-7
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Sensory Knowledge:
The Bankstown Koorie Elders Group, 'After the Rain'
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Overdetermination
Overdetermination is Sigmund Freud’s argument that all psychological material even the most small, innocuous day to day acts are at the “focus of and expression of the most plural and deep psychological complexity”.1. Graffiti, is shown throughout our life as a criminal act of vandalism. The act of graffiti mirrors the violent energies contained within the unconscious and is not merely an act of vandalism and destruction but rather a platform for the unconscious to express its deepest thoughts. In namely male dominated ‘industry’, female street artist, Lady Pink, used graffiti in an act of rebellion which in turn subjugated within her a sense of female liberty.
1. Mansfield, N 2000, ‘Freud and the split subject’, in Subjectivity: theories of the self from Freud to Haraway, New York University Press, New York, pp. 25-37
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Unconscious
Sigmund Freud postulates in his theory that the unconscious is not just an overshadowed part of the mind but one that was radically different and irrationally impulsive.1. One way for the unconscious to be liberated is through sexual objectification . Rene Magritte’s explores the unconscious, unbridled, sexual imagination in his painting ‘The Rape’. It illustrates a woman’s face as a female nude torso. Using lewd imagery, he exploits the sublimated primal desire for sex and in that, namely, men only see women for their bodies. He created a woman that is senseless, and has no presence to project the sublimated desire for sex/rape living in the mans’ unconscious.
1.Mansfield, N 2000, ‘Freud and the split subject’, in Subjectivity: theories of the self from Freud to Haraway, New York University Press, New York, pp. 25-37.
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Essentialism
Essentialism assumes that the identity and distinctiveness of a person or group is the expression of someone’s inner essence or property. It explores the idea that “I” or “Me” is unchanging and unchangeable.1. Artist Glen Ligon explores the nature of anti-essentialism in suggesting that identity isn’t of one’s subjectification but is of one’s growth over their lifetime. In his series “Runaways” (1993) he reconfigures 19th century fugitive slave posters but presents ten distinct characteristics of himself supplied by friends and reflects that “it’s about me…but its also not”2 . In this he communicates that individuals needn’t to conform their labelled identities but rather form their own sense of identity.
1. Barker, C 2007, ‘Issues of subjectivity and identity’, in Cultural studies: theory and practice, 3rd edn, Sage Publications, London, pp. 218-223.,
2. The Mueseum of Modern Art (Youtube). 2015. How artists explore identity | Modern Art & Ideas. [ONLINE] Available at: https://www.youtube.com/watch?v=NICodKeadp0. [Accessed 1 March 2017].
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Subjectivity
Subjectivity is the “condition of being a person.”1 It refers to the individual as being subject to forces which effect and shape the self. It is also a critical component in the construction of the creative self. Jean-Michel Basquiat (1960-88) lived in a marginal, New York where hip/hop subculture emerged and the youth used rap and graffiti to ratify their existence in a system that excluded them. Basquiat reflected, through his punk street art and portraiture, his identity as a product of such environment.
1. Barker, C 2007, ‘Issues of subjectivity and identity’, in Cultural studies: theory and practice, 3rd edn, Sage Publications, London, pp. 218-223.,
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Subjectivity:
Top: Street art by Jean Basquiat (reflects the political climate of the time
Middle: Self Portrait as a Heel 1982 (punk aesthetics reflecting his environment)
Bottom: Picture of Basquiat
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