Conceptual Evaluation

Beginning with the theme of Memory I thought about things that people wish they didn’t remember such as bad memories or unhelpful advice and through that came to the idea of “Unlearning’. The process of combating pockets of information in your brain is something I was curious about and wondered how someone would do that.

The resolved piece takes a person through that practice and also presents other people’s stories. It challenges your previous behaviour and beliefs and forces you to review how those actions affected yourself and others. Each sheet starts with a belief to unlearn and goes on to acknowledge why it is unproductive and possibly harmful advice- it requires you to apologise and then plan how you will act against the advice in the future. An essential part of the piece is the feeling you get whilst filling out the sheet- it took me back to feeling in trouble in school. I felt ashamed for what I had done and not getting away with it but at the same time it was a demanding challenge to complete as most of the time I didn’t feel my actions warranted a punishment. This seems to present an unwillingness to change, it emphasises the difficulty of unlearning bad habits. I plan to have extra sheets for the viewer to fill out to experience the process as well in order to fully immerse themselves in the feeling of change- and actively reject their negatively ruling thoughts.

I initially wasn’t sure how to present the work as an A4 piece of printer paper didn’t feel like art and could easily be ignored. However, I do feel that it brings the same sense of discipline you would feel in school because of the coloured paper and the structure of the exercise. Lee Lozano’s work played a big part in attempting written prctice as art and also thinking about how it could be presented. Perhaps in a setting with them pinned on the wall and a pile of sheets to take from would emphasise the idea that it’s an interactive art piece. The next step would be to involve others to see how it would be carried out and to further the idea of unlearning past myself.

Working in writing has benefitted how fast I work as it doesn’t take as much physical effort, However, the idea of conceptual work scared me a bit so I was avoidant of creating for the start of the project. Because of this it likely lacks development and I feel lots more work could be done to polish or possibly expand the piece. I also feel that maybe it isn’t that easily accessible because it might need quite a lot of explaining, so next I would aim to discover how an audience would view it and then edit it in a way that anyone could relate.

Conceptual- Memory

i began by looking back at my mind map for the previous project about memory to draw ideas that i hadn’t yet explored and came up with a few routes to be explored:
– Documentation of memories? how reliable can they be? can two people remember something differently but both be true?
– A memory being twisted over time
-Nervous habits- subconscious muscle memory
-Unlearning unhelpful information/habits

I decided to explore the process of unlearning to see if it’s something that’s possible to do by yourself. Throughout our lives , specifically our childhood, we are fed bits of information and advice that we don’t ask for. It is repeated so much the it becomes ingrained into our memories and often we start to live by it. Often these chunks of wisdom are posed as a positive thing so we buy into it easily, however, on many occasions they are just a means of control. I decided to compile a list of these sayings to explore:

The way they are written reminds me of being in school and trying to learn new information. Perhaps applying the same methods of learning to instead begin a process of unlearning could work the same way. To do this I would need to flip the sayings round to mean the opposite, so to unlearn “ignorance is bliss” I would have to write “ignorance is NOT bliss”. Repetition is a common technique for learning so I brought this in to the process.

This reminds me of the lines you would have to write as a punishment, apologising for your mistake. I tried this with the rest of the statements, however, a lot of the meaning got lost in them and it ended up just sounding cynical. I feel like they won’t be easily that recognisable or make sense unless explained.

The nod back to schools methods of learning also reminded me of “punishment exercises”, a worksheet given to pupils when they misbehaved to redeem themselves and apologise. I want to consider placing these statements in this setting to acknowledge their effect and work on changing how we view them.

This is a rough plan for how it might look- I took inspiration from Lee Lozano’s “general strike piece” with the idea of a simple structured page of writing that lacks visual excitement but however makes up for it with the discussion within the format.

This is the work that i felt was strongest- it challenges your previous behaviour and beliefs and forces you to review how those actions affected yourself and others. Each sheet starts with a belief to unlearn and goes on to acknowledge why it is unproductive and possibly harmful advice- it requires you to apologise and then plan how you will act against the advice in the future. An essential part of the piece is the feeling you get whilst filling out the sheet- it took me back to feeling in trouble in school, i felt ashamed for what i had done and not getting away with it but at the same time it was a big challenge to complete. This seems to present an unwillingness to change, it emphasises the difficulty of unlearning bad habits. I plan to have extra sheets for the viewer to fill out to experience the process as well in order to fully immerse themselves in the feeling of change- and actively reject their negatively ruling thoughts.

Jenny Holzer- conceptual

Jenny Holzers work revolves around the use of words and how they can control and manipulate people in public spaces. she is a conceptual artist born 29th july 1950 in ohio, but based in new york, who has spent time studying in North Carolina, Athens and Rhodes during her 20s. Her first works drew heavy attention and are still some of her most well known pieces, they consisted of sheets of paper showing one line statements known as ‘truisms’. she plastered them anonymously all over walls and windows in Manhattan. They evolved into stickers, T shirts, and even billboards, the collection of slogans amassed to almost three hundred over the span of her career. The Truisms are bold and almost demanding, the way they are uniformly displayed and repeated makes them out to be fact. They were often conflicting and challenging snippets of information yet along side the rhythmic pattern they were presented in they captured the viewer much like the advertisements we see today; in turn this planted the question of what to believe when it came to the information and media we are fed.

Holzers work allowed me to discover that using only words is a valid form of conceptual art and helped me to find the most appropriate way of displaying them. The statements are short and easy to understand because they mimic the way someone would speak, i want my work to flow naturally as if it was being spoken; this could also allow for the opportunity for my work to be developed into audio alongside.

Bruce Nauman

Bruce Nauman is a contemporary artist born in Indiana 6 December 1941, He works with a wide variety of mediums, such as sculpture, photography, video, drawing printmaking and many more. In over 50 years he has undertaken a search for as many different ways of working as he can this results in a broad range of styles and outcomes. His career never adhered to one discipline, he was consistently seeking out any possibility to discover a new realm of art. One of his works explores the value of human perception and acknowledgement, a functioning tape recorder set into a concrete block that supposedly plays a woman’s scream on repeat. it questions whether or not we need to her the scream for it to exist, i also feels it places the viewer in a sense of helplessness with the inability to ever hear what they are told. i like the unease that it provides, it challenges the human urges to see before believing. it requires work form the viewer to have their own input which is something i want to explore more- the idea that a piece partially relies on their perception of it.

Image result for concrete tape recorder bruce nauman

Lee Lozano

Born 5 November 1930 in New Jersey, Lee Lozano was a painter and conceptual artist known widely for her graphic, abstract drawings of genitalia-like shapes. she was at the height of her career during the 60s with striking, large scale paintings of tools, they felt human like as if they were in motion- the curves and brush strokes feel seductive due to their exaggeration. Alongside these were her ‘comix’, rough sketchy drawings of people, teeth and mysterious holes often accompanied with provocative statements like “eat cunt for mental health”. she was bold, there is no subtlety to her work, the shapes are phallic and suggestive- it impossible for the viewer to escape the erotic connotations.

Image result for lee lozano comix

Following this work came ‘General Strike Piece’ in 1969 in which she gradually began to reject the art world by creating instructions for herself that guided her withdrawal. She set out tasks such as, avoiding being present at any public functions and would then document how it went. This wasn’t just a rejection of the art world but also a bold play on how she lived her life- the experiments also included smoking weed everyday for a month in ‘grass piece’ and moved as far as boycotting women which lasted until her death in 1999. Despite the goal of renouncing the art world, this in turn became her most highly praised piece. i like how the visual aspect of this piece doesn’t instantly portray expression however when reading you get a very personal insight into her mindset and opinions- this contrast is something that i would like to explore.

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Lawrence Weiner

Born in 1942 in the Bronx, he now spends time working and living between Amsterdam and his home New York. Weiner was a prominent figure within the conceptual art scene of the 60s, questioning an alternative relationship with art. He uses language and typography to create installations that play with its environment and setting, and aims to have the ability to engage anyone who passes it.

He highlights that art is for people by people, the connection between multiple minds is the reason for art to exist. He discusses that the whole point is the objectification of something to be communicated.
I am particularly interested by the idea of creating art within another persons mind- the objectification of thoughts that could translate to someone else and evolve within them.

In 1969, he created “statements”, a book consisting of only words which weiner felt had the same desired effect as creating the object. he investigates whether the art needs to be actually physically exists to be regarded as art whilst also examining ownership of of art, is knowing the art the same as owning the art as you cannot unknow it?
His art has completely flipped around what my idea of what art could be, although i knew words could be used as art, i thought that it required a visual/ physical element to appeal to people as art. i am still discovering what conceptual art means and feel that i would benefit from taking more of a risk by creating something that could be art but could also be disregarded as nothing.