Reply three of your peers’ work,When responding to your peers, you are encouraged to add to what they said in their analysis or to ask them questions in order to generate more discussion within the forum. Finally, when responding to a peer, always greet them first (i.e. start with “Hi Liudi” or “Hi Tristan”).
Mary’s:I was particularly interested in how the concept of ‘place’ can be a placeholder for several meanings. For instance, Normandy has become the placeholder for D-Day and Jerusalem has become the placeholder for “The Holy Land.” Therefore, a place can be connected to multiple meanings, whether that be of historical significance, collective memory, etc. As discussed within the text, “the theme of place intersects with the themes of time and memory.” Magdalena Jetelová is one contemporary artist that does so in the context of German history. Within the photograph, Atlantic Wall, Area of Violence (1994–1995), Magdalena Jetelová examines how the large concrete bunkers built by the Nazis along the Atlantic Coast have now become crumbling ruins. Although the bunkers appear as if they will fall into the sea at any moment, the meaning of the “Atlantic Wall” will always withstand that place. It will forever be “an area of violence.” In addition to places having meanings, they also have value. As aforementioned, Normandy and Jerusalem have different symbolic value to different people. As discussed within the text, people may have “reverence for a place that symbolizes deep-rooted identity.” This was exemplified by Truman Lowe in his installation, Red Banks (1992), a twenty-foot-long sculpture created out of wood. As a Native American himself, Truman’s work is a homage to the riverbank where it is believed his “Ho Chunk ancestors” first stepped into being. Therefore, the red banks is a place that is near and dear to Truman Lowe as it has shaped his identity as a Native American.Magdalena Jetelová’s Atlantic Wall, Area of Violence (1994–1995) and Truman Lowe’s Red Banks (1992) are both artworks that represent places entrenched with meaning and value. They both have historical significance – the Atlantic Wall is connected with World War II while the Red Banks is associated with the inception of the Ho-Chunk Tribe. Moreover, each place has become a central facet to someone’s identity and memory. However, these different places clearly have different symbolic value to different people.
Jiaqi’sInstallation artists create the artworks specifically in a theme for a particular location. Installation artworks play the important role to connect viewers with the environment and space around them by interacting with the viewers. One of the most memorable artworks in this chapter is Roxy Paine’s Maelstrom. Paine placed the shiny metal rods and pipes all over the roof top of Metropolitan Museum of Art in New York in a shape of branches. It interacts with the viewers by inviting them to walk into the negative space and become part of the flow. This artwork aims to highlight the relationship between human culture and nature. The tree structure is obviously an artificial production when looking at it closely, which hinted that many man-made systems or items have inspired by natural forms.It reminds me about the monumental artwork Large Field Array by British artist Keith Tyson, which was introduced in the Introduction chapter. It also provides the amazing viewer experience with the negative space to create an immersive feeling of being inside this three-dimensional analog version of an online encyclopedia.Another impressive artwork for me in this chapter is Olafur Eliasson’s The Weather Project installed in The Turbine Hall. I had seen it on Internet before which left me a forceful image. Different from the two artworks I mentioned before, it does not only focus on the communication between viewers and installation, but also has the viewers as a part of it by making the ceiling into a mirror. Atmosphere, the most important elements in this project, brings viewers into the world between reality and imagination. The central focus point is the only, the huge, the bright orange light, which looks like the sunrise or sunset and attracts all the people to look towards it. The wonderful use of light and shadow and the expanded fictional space builds this indoor splendid spectacle participated by the viewer themselves.
Prakriti’sAfter reading the chapter on Place, I understood just how interchangeable these themes are, in artwork. As mentioned by the authors, place holds a relationship with identity and memory. I found that a lot of the artworks mentioned in this chapter hold true to that statement. For example, Hurvin Anderson’s Afrosheen (2009) perfectly represents all three themes. The artwork is situated in a barbershop in Birmingham that he used to visit as a child with his father. Being immigrants to Birmingham, the barbershop became an important cultural gathering place for immigrants. The barbershop, in particular, reminded Anderson of when he used to go there with his father and the blue colours he used on the walls were reminiscent of the Caribbean. Thus barbershop became associated with his identity because it was run by the Afro-Caribbean community of Birmingham.While Anderson was responding to the specific scenes in the barbershop taking place in front of him, Liza Lou was trying to capture the appearance and feel of her childhood kitchen from memory. She made Kitchen (1991-1996) to honour the work of a housewife that often goes ignored and taken for granted. It’s appearance as something out of a children’s fairytale, compared to the significant message of the work parallels the facade a 50s housewife had to put on to pretend that she was leading a fulfilling life in order to keep up appearances. Kitchen (1991-1996) was the fictional recreation of Lou’s childhood kitchen that often held unpleasant memories for her. Turning these memories into a strong commentary on how women were confined by gender roles in society, Liza Lou creates conversation around how society treats women.Both these pieces represent a place, identity, and memory for the artists that created them. In some ways through the recreating of current experiences, and in other ways through recreation and fabrication of an old memory.
“Hi Liudi” or “Hi Tristan”