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‘Fiorucci Made Me Hardcore’ (1999) by Mark Leckey.

Fragments of found video footage from nightclubs are spliced together, repeated, slowed down and edited into a filmed collage about British subcultures.

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I love the simplicity of Phillipson’s online video in comparison to the complexity of the ideas she explores. The video presents almost as a constant stream of thought which, paired with her drawings, gives an insight into the inner workings of her mind during an anxious/traumatising situation at a hospital.

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The Dinner Party Judy Chicago (1970)

Chicago focuses on women's lives to present an alternative narrative of Western civilization.

The Dinner Party presents a massive ceremonial banquet, arranged on a triangular table (symbol of equality) with thirty-nine place settings each commemorating an important woman from history. The settings consist of embroidered runners, gold chalices and utensils, and china-painted porcelain plates with raised central motifs that are based on vulvar and butterfly forms and rendered in styles appropriate to the individual women being honored. The names of another 999 women are inscribed in gold on the white tile floor below the triangular table. This permanent installation is enhanced by rotating Herstory Gallery exhibitions relating to the 1,038 women honored at the table.

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Barbara Bloom,

‘Ghost of Vanitas Still Life’ (1994)

‘Best of Vermeer’ (1991)

Bloom had a deep affinity for Dutch “Golden Age” painting, but more pertinently of a shared love of the material world. These were painters fascinated by framing: not only in the form of coy devices like the pulled-back drape at the edge of the canvas, but in the literal depiction of framed pictures within their pictures. (We know the artists whose paintings Vermeer owned because he showed them so often in his own paintings.) In David Bailly’s picture, things and pictures are arrayed across the surface of his canvas. Whatever his allegorical intentions, Bailly’s concern with the observable world, in all its idiosyncratic particulars, has trumped conventional narrative. Bloom’s peekaboo mounting only exacerbates Bailly’s pre-occupation with distracting surfaces and the limpid connections of thoughts and things.

I admire the way Bloom has modernised yet still paying homage to the great Dutch still life artists. A future endeavour i want to partake in is painting my own still life’s from different unique moments in my life in gouache, returning to traditional methods and ideas regarding vanitas to depict modern life as a 20 year old artist

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JENNIFER CHAN

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http://jennifer-chan.com/

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Alice Tomaselli, ‘Bouquet of 54 natural flowers and one artificial’ (2012)

Tomaselli’s work was a major point of inspiration for my WEB works. I was driven by her juxtaposition between real and fake, an idea I am interested in further exploring through my practice. Beauty and attributes associated with it interest me and I love the contrast between real and fake beauty whether in nature, architecture or humans. Is natural better than fake if fake doesn’t wilt and die?

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WEB final product

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Thomas Dozol

Bridge Red (2012)

Dozol’s photography is rooted in a modernist utopia and are a homage to 20th Century Modernism and in particular two buildings – the Strandbad Wansee in Berlin by Richard Ermisch and La Cité Radieuse in Marseilles by Le Corbusier – both built with a view to the future rather than the past. The works focus on aesthetic perfection where artistry overpowers materialism and struggle (possibly why many of his figures are naked.) 

Dozol develops his photographs in the darkroom using sequential exposure. He used two enlargers: one for the black and white image, one for the colour flash, each with their own masking over the photographic paper.

This is a process I wish to attempt in the future as I love the material differences between the vivid and crisp red and the lo-fi monochromatic image. 

Inspired by Dozol’s work, I created my For Adults Only series which juxtaposes the features of pen and gouache.

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3 Flames and 113 Candles installed with a detailed photograph of the latter

Both pay homage to Gerhard Richter’s work two candles

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Process of creating work 113 candles

Only paper and lighter used

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Jeroen Jongeleen, ‘Influenza / City jewels’, shattered car windows in glass vitrine

(1999 – 2007)

Jongeleen is a Dutch artist inspired by graffiti and textual art. This gradual project spanning over 8 years interests me with its relevance to my WEB. Not only does the work explore beauty in the city/artificial beauty/replication which I am interested in and hoped to emulate in my WEB collage, but also was a gradual process based on glass found over time. Over this semester with my quilt and web, I have found it difficult to actively search for imagery; the web was lighting dependent and the images in the quilt were obtained from a few magazines I already owned. Thus, I hope to expand on both further as Jongeleen has done, in the future.

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“The Kiss was given to the MoMA as a donation without asking for permission. I entered the museum as a regular visitor and gave an intense French kiss to the wall. Next to the invisible kiss I then fixed a fake label, which simulated the style of a regular MoMA caption.” --Maria Anwander

Anwander’s conceptual work infiltrates artist rankings and points out subjections between the artist, audience and curator.

In this work for example, Anwander has challenged what it means to create conceptual art for an institution, entering the gallery as a visitor and leaving as a contributing artist. The controversy brought by this work has made Anwander notorious with her own shows at MoMA

see also: Fucks the Curator 

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“M the Machine” by Miika Nyyssönen (2003)

This abstract installation consists of 700 cardboard boxes and three computer screenings.

I am more interested however in the grid component and shapes cut into the boxes which serve as tiny windows. This semester I have focused a lot more on pattern, structure and organisation in my works which can be seen across my practice, due to my own life currently lacking these things. Nyyssönen’s work with it’s monochrome appearance and rectangle forms has a calming effect on me and as a result, I worked on my own rectangle/grid/monochromatic compositions as not only a way of expressing subject matter but to present a calming process.

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Delphine Diallo is a contemporary French/ African artist who expresses her disillusionment caused by mass media as well as her personal beliefs regarding the harm which can be caused by mass media in her collages. Diallo combines mediums of expression to describe her/the world at the time. In her collages, the artist collates fashion editorials, documentary photographs, modern life and traditional practice.

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3 Flames, experiment with pencil and burning paper based on a photograph I took of my boyfriend in front of Two Candles by Gerhard Richter. This is one of my favourite moments in recent memory and I wanted to capture it beyond just photography. This work is based on the exhibition currently at GoMA which displays Richter’s in depth studies of different subjects; his drawings, photographs and paintings.