The Gallery Wall And Beyond
Art Criticism and Art Study-Case Study 15%
· Apply understanding of different aspects of content as appropriate using conceptual framework.
· Present a well-reasoned and informed point of view
· Use relevant examples
· Approx 1000 words
Coherent, sustained convincing and well reasoned p.o.v is represented which may acknowledge that other points of view are possible.
All content is comprehensively explained and interpreted in relation to the question
The significance of appropriate examples is explained, evaluated and used to justify the arguments.
Critical arguments and historical explanations are complex, logical, maybe ...view middle of the document...
Although her art initially seems to follow the tradition of the "Found Object" and the "readymade" as seen with artists such as Duchamp and Schwitters, Gascoigne's art is not of protest but rather of reflection towards her relationship to the environment and the ways in which it stimulates her creativity.
In many aspects, it may seem as though Gascoigne was restricted in her artmaking due to the environment she lived in and her circumstances. Having no proper art training except for Japanese Ikebana classes earlier in her life, it would seem as though she would have been disadvantaged as an artist. However, her lack of formal art training was possibly the most important factor that lead to her popularity in the world of art. Gascoigne's works evoke a sense of nostalgia and familiarity which, people who are not part of the artwork can relate to. They are honest and from many perspectives seen to reflect upon the innocence and memories of the Australian outback, its way of life and the relations people have with the local environment. She considers her art to be" Of one of the outdoors-" and this is evidently established in the work, "Plate 30 HONEY BEE 1, 2, 3 1992." Gascoigne would commonly be found fossicking around the highways and bushlands surrounding her house to look for corrugated iron, bits of fence and chicken wire, old toys, lettering signs, anything which might be useful for her next project.
The series "Honey Bee 1,2,3" consists of three pieces which embodies yellow letterings that have been cut up to form what seems to be a patter- less, wordless images. The beauty of coincidence, which is a notion of the "Found Object" is clearly applicable to this work. It incorporates aspects of both the natural and man-made environment around Gascoigne as the plates themselves are made by man but the weathering away and the effects of nature has left each and every single one of them completely different. This work can best be described as a "metaphor for the landscape." The purpose is not for the audience to identify the landscape described (in this case, that of the Canberra Countryside), but to feel a sense of nostalgia and the experience of recognition itself, thus creating a deeper and more meaningful bond to the environment. Through the disarray of letters, Gascoigne has created her own new order which goes against human logic. The letters are not suppose to spell or symbolise any words and have solely become an aesthetic which pleases "the beauty of the eye" as Gascoigne describes it.
Nam June Paik, born into a Korean family is another example of an artist who has been greatly influenced by his environment. Having moved to Hong Kong to Japan to Germany and finally America, he was able to experience the different cultures, developing and changing as his environment...