Anish Kapoor

1. Research Kapoor's work in order to discuss whether it is conceptual art or not. Explain your answer, using a definition of conceptual art.
Sol LeWitt stated: “In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.” From this understanding I believe his work is loosely conceptual. He aimed to draw in his audience and include him in the piece but in order to do so Kapoor had to explore different materials and architecture in order to achieve what she intended. Her concept was developed along with the exploration of form and mediums.

2. Research 3 quite different works by Kapoor from countries outside New Zealand to discuss the ideas behind the work. Include images of each work on your blog.


'The Sky Upside-down' mirrors (one in Chicago and one in New York) express interesting ideas by trying to take the viewer away from there surroundings and focus on the sky creating a sense of sublime and tranqulity in a busy urban area. I like how rather then creating and imitating the scenery her works simply reflect what is already there. It makes the audience think beauty is all around me, i just have to look.



"Yellow" is a largely scaled yellow square which consumes the audiences attention. It uses fiberglass and 12 coats of paint to create an illusion of on first appearance having a predictable rounded form, but on closer inspection it is actually a concave shape. This illusion questions the audience whether "what we perceive is reality or imagination, a misunderstanding between the eye and the mind as one is overcome by a sea of colour"

http://jfkwalks.wordpress.com/2009/11/29/anish-kapoor-perception-and-deception/



"Inside Levitation" is a recent installation where she has created a giant spherical shape of colour. With this he attempted to bring the audience into "a space within a space" which also similarly to "Yellow" more forcibly consumes the audiences attention by completely surrounding them and containing them with the artwork physically. His aim to do this was to provide a space where people can contemplate and reflect in a poetic experience.

http://www.dailymail.co.uk/news/article-1385590/Anish-Kapoor-Leviathan-sculpture-unveiled-Grand-Palais-Paris.html

3. Discuss the large scale 'site specific' work that has been installed on a private site in New Zealand.

For "The Farm" to compete with the vast mountains and landscape it was required for him to create such a large scale work for people to take notice.

4. Where is the Kapoor's work in New Zealand? What are its form and materials? What are the ideas behind the work?

"The Farm" is located in Kaipara Bay and is a 85 meter long, 27 meters across. It consists of two elliptical steel rings connected by 32 cables covered in deep red PVC-coated polyester fabric made by Ferrari Textiles. It also weighs at 7,2000 kegs. Kappor often tries to use his works to compliment the surroundings and highlight different aspects. This work is an example of this and references to the surroundings by channeling wind from the harbor into the land. I would believe this would create a surreal effect if you were to stand inside of the work making you feel like you are wind itself.

5. Comment on which work by Kapoor is your favourite, and explain why. Are you personally attracted more by the ideas or the aesthetics of the work?

I really like how Kapoor tries to creates atmosphere with his works and not necessarily make a statement. His works take on a form of function rather then aesthetics to allow audiences to reflect and contemplate. I feel as if Kapoor understands that art in itself should have a function of reflecting rather then aesthetically pleasing. Another aspect Kapoor approaches which i like is he enhances the area then opposing to transform the area. It seems very humble and admirable that he works like this.

Pluralism and the Treaty of Waitangi

1. Define the term 'pluralism' using APA referencing.

"First, pluralism is not diversity alone, but the energetic engagement with diversity. Diversity can and has meant the creation of religious ghettoes with little traffic between or among them. Today, religious diversity is a given, but pluralism is not a given; it is an achievement. Mere diversity without real encounter and relationship will yield increasing tensions in our societies.

Second, pluralism is not just tolerance, but the active seeking of understanding across lines of difference. Tolerance is a necessary public virtue, but it does not require Christians and Muslims, Hindus, Jews, and ardent secularists to know anything about one another. Tolerance is too thin a foundation for a world of religious difference and proximity. It does nothing to remove our ignorance of one another, and leaves in place the stereotype, the half-truth, the fears that underlie old patterns of division and violence. In the world in which we live today, our ignorance of one another will be increasingly costly.

Third, pluralism is not relativism, but the encounter of commitments. The new paradigm of pluralism does not require us to leave our identities and our commitments behind, for pluralism is the encounter of commitments. It means holding our deepest differences, even our religious differences, not in isolation, but in relationship to one another.

Fourth, pluralism is based on dialogue. The language of pluralism is that of dialogue and encounter, give and take, criticism and self-criticism. Dialogue means both speaking and listening, and that process reveals both common understandings and real differences. Dialogue does not mean everyone at the “table” will agree with one another. Pluralism involves the commitment to being at the table -- with one’s commitments."

What Is Pluralism? (retrieved 29 August 2011). http://pluralism.org/pages/pluralism/what_is_pluralism

2. How would you describe New Zealand's current dominant culture?

From my perspective European/Pakeha are the dominant culture, although in saying that New Zealand has become such a divers country having the indeginous Maori and immigrants. European/Pakeha culture however is the most influencing culture which we follow.

3. Before 1840, what was New Zealand's dominant culture?

Maoris out populated european settlers by 100,000 to 200 people, so consequently Maori was the dominate culture in New Zealand. This however rapidly changed with the introduction of European ways and technologies which were taken advantaged of by Maori for territorial purposes.

4. How does the Treaty of Waitangi relate to us all as artists and designers working in New Zealand?

I have difficulty finding a direct influence in all New Zealand artists and designers working in New Zealand however i can make the connection of how the treaty has influenced our modern culture. In what we see as 'kiwi' could not be possible without the history we've experienced. In saying that, culture is determined by its history.

I think its important that all New Zealanders, artists and designers or not, should understand the Treaty of Waitangi as it gives perspective to our country. It allows us to see the changes to our country and not forget the way of life that examples valuable morals which is lost in our conventional western culture.

5. How can globalization be seen as having a negative effect on regional diversity in New Zealand in particular?

Globalization is mainly associated with the economy, so from that aspect the development of an increasingly integrated global economy can alter the need and want for regional diversity. In a recent campaign efforts were made to try convince New Zealanders to buy 'NZ Made' products. This was to combat the globalization which has occurred in New Zealand. Companies have been moving factories overseas where it is cheaper labour and materials. The negative effect of this is the loss of jobs in New Zealand.

In a aspect from artists and designers the art world has become much smaller, so artists and designers tend to aim at subjects which appeal to a global audience rather then specifying to a New Zealand culture. It has become more accessible for people to access and understand a global trend/matter rather then addressing/appealing to a local audience.

6. Shane Cotton's paintings are said to examine the cultural landscape. Research Cotton's work 'Welcome'(2004) and 'Forked Tongue' (2011) to analyze what he is saying about colonialization and the Treaty of Waitangi.

To find a clear image to see his works was hard to find but from what i could see in 'Welcome' has a face of jesus with the throned crown which suggests he is about to get crucified. Imedietly i start to think this work deals with icons and intertexutality. The fan birds are sometimes represented as a messenger of death. In Maori culture it is commonly believed that if fan tail enters and exits out the same entrance someone dear to you will die soon. With this he could directly be indicating that the treaty of Waitangi was a message of death, not to the maori people, but as to the maori culture. This idea is complimented by conventional european pictorial processes. The left and bottom objects of the message seem as if they are inversions of the other objects which could relate to the diversity in the two cultures.

In 'Forked Tongue' he discusses Maori and Pakeha characteristics being overlapped upon each other. With this imagery he talks about "landownership and two cultures living in one land." He has done this by having the maori influenced wild patterns with a indigenous maori bird overlain a photographic image of land. The photographic image references the technologic advancement of the europeans. The balance between these two layers are not harmonious and seemed forced which directly references the past of the cultures trying to reach pluralism.

7. Tony Albert's installation 'Sorry' (2008) reflects the effects of colonization on the aboriginal people of Australia. Research the work and comment on what Albert is communicating through his work, and what he is referring to. Describe the materials that Albert uses on this installation and say what he hopes his work can achieve. Define the term 'kitsch'.

Albert is trying to communicate through his work how the aborigines were treated by the european. He made this work following the apology made by former Prime Minister of Australia, Kevin Rudd on 13th of February. The word 'Sorry' is a direct reference to Kevin Rudd's apology and it is made up of faces of people affected by the europeans. They had there family, land and culture taken from them. The faces are contained within the word Sorry which could suggest that they were forced to fit within the european society. I feel as if Albert made the work seem as if an apology was inadequate for all the mistreatment that occurred, which i think the same.

The contemporary definition of kitsch is considered derogatory, denoting works executed to pander to popular demand alone and purely for commercial purposes rather than works created as self-expression by an artist.

Terms and Materials (retrieved 29 August 2011). http://netdwellers.com/1001/hosting/users/AT/IslandArts/paTerms%20and%20materials.html

8. Explain how the work of both artists relates to pluralism.

Both artists try to achieve two cultural references within one work. This mix of two styles rely on references to the two cultures history to understand the statements the artist is trying to discuss. The effort made to talk about two cultures working in on society directly talks about the ideas behind pluralism and progresss that has been made.