Category Archives: GoMA

Side note – Karla Black

Now would be as good a time as any to break away from recording my internship, as in my last post I introduced the work of Karla Black at GI 2012. Karla  represented Scotland at the 54th Venice Biennale and was a finalist for the Turner Prize in 2011, the year that Martin Boyce won. Martin was actually at an opening at the gallery while I was a volunteer tour guide, unfortunately I don’t have pictures but maybe someone does!

Karla’s sculptural installations are known for their light pastel colour schemes and ephemeral quality, and for the artists’ use of everyday household materials. This is a common sub-genre of conceptual and neo-conceptual art in itself, and a feature of a lot of Glasgow artists (hence the title of the latest sculpture show at GoMA, ‘Everyday‘. But more of that later.) One particular talking point about Karla in particular, is her adoption of what could be termed ‘feminine care’ products such as cosmetics, in her work. ‘Don’t Adapt, Detach’ is decorated with glitter eyeliner in place of paint, for example, and those looking closely at ‘Empty Now’ would have seen bronzing pearls casually strewn on the sawdust.

Karla Black GI 2012

The ramifications of such use of materials deserves in-depth discussion, and is a topic I will write about in a later post. The artists’ incorporation of stereotypical ‘feminine’ products raises important questions of meaning, intent, and interpretation. The habit of society to read gender into art, as in so many things, will form part of my Masters research, and the meaning we read into materials is something I am very interested in. Karla Black’s own reaction to such categorization of her work was one of the motivating factors for me in my research, and has posed many as yet unanswered questions.

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Glasgow International Festival of Visual Art 2012

The beginning of my Internship coincided with the start of Glasgow’s contemporary art festival, so I spent my first day visiting nearby exhibitions around Trongate and the Merchant City. There was a staff briefing at the gallery, whose involvement in the festival consisted of an enormous sculptural installation by Karla Black. The work was made with seventeen tonnes of sawdust, and was a feat of logistical acrobatics to install. Who knew sawdust was so heavy? In a listed building, with the Glasgow underground system already running close to the foundations, and a gallery space which had public rooms below it, there was a real risk that the sculpture would cause the floor to collapse. The original design of the work was even heavier…

Karla Black GI 2012

Karla Black detail

 

The sawdust piece is titled ‘Empty Now‘, and the overhanging cellophane ‘Will Attach‘.

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Some reflections on my time as an Intern

I’ve come to the end of my twelve-month internship as a Curatorial Assistant. I actually can’t believe that a year has passed since I was finishing my finals and starting in the gallery, it has passed so quickly. My internship served as a crash course in contemporary art, and dropped me in to the city’s current art scene. If that sounds a little dramatic, you have to understand that there is a limit to how ‘contemporary’ your classes get when you study Art History. With my honours focused primarily on art of the twentieth-century, I didn’t really get any more recent than the late eighties. After all the (amazing!) stuff that happened in the sixties and seventies, study materials sort of trailed off…

Graduation Day

Which is precisely why such a different approach is needed when you are dealing with contemporary art. Sure, the theory and the historical impetus still stand, and occupy not just an important place but also a really useful one when it comes to critiquing current works. There is not, however, this sense of retrospective reinterpretation and categorisation that dictates how ‘historical’ art of times past should be viewed and understood. In my case, I was mainly viewing art by emerging and mid-career level artists, who are still in a developmental phase, which keeps things fresh and interesting! Even more importantly, if you come from an Art History background, there is very little literature about these artists! The odd review if you’re lucky, sometimes. Academic essays in peer-reviewed journals are the exception, and not the norm, which means I had to change how I approached researching these artists.

To be continued…

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Collecting Ghosts? Part One

Social Media Week 2012, Psychic Dérive, and GoMA forum

Renowned artist and Glasgow School of Art alumni David Sherry raised a number of interesting issues when speaking at the GoMA forum, ‘The Relevance of Museums Within Contemporary Art’. For those unfamiliar with his work, Sherry is an internationally exhibiting artist who has represented Scotland at the Venice Biennale and was shortlisted for the Beck’s Futures prize in 2003. He discussed the problematic nature of collection and display of performance art, such as his piece ‘Just Popped Out’ (see below) which he later performed.

Sherry discussed the extent to which the artist, as being an inherent part of a piece of performance art, becomes part of the collected and displayed work once a gallery has acquired it. He raised the possibility of being replaced by actors, which would seem to be an inevitable situation as the work will outlive the artist. This raises the dilemma of originality, however in the narrowest understanding of the term would the work not cease to be original after its initial performance? Perhaps performance art is destined to be ‘original’ only once. Galleries can, and do, display the props that accompany a performance: Sherry’s post-it note from the performance pictured above is framed on the wall of Gallery Two in GoMA. These props are not the art work, however they lend themselves more to the conventions of archiving and display than a performance does. How institutions deal with contemporary art that is of an impermanent and fleeting nature leads on to GoMA’s photo-sharing project for Social Media Week…

Social Media Week 2012

In contrast to performance, it would seem that photographs are permanent works of art. The scenes that they capture, of course, are not. GoMA’s ‘Your Public Art’ project ran for Social Media Week, and invited the public to have their images included in an installation. Inspired by the popularity of Tumblr and Instagram the aim of the project was to examine the idea of what public art really was. Real time photo streams on sites like Instagram’s ‘This Is Now’ project aim to capture the ordinary to the sublime and everything in between: the point is IMMEDIACY. On this feed, for example, photos from the twelve cities that make up the project stream through live, so what can be seen updates in real-time and is therefore constantly changing. The focus seems to be in the inclusion of the remote viewer in the action as it unfolds, albeit virtually. In this case, the impermanence of the medium is the appeal, rather than the creation of an archive of photographs. Of course technically such an archive exists, since nothing which has been put online can ever really be removed. This is incomparable to the way in which photographs as a ‘fine art’ form are used, appreciated, exhibited, or archived, in a gallery or museum situation. In the world of social media, it seems, the photograph is only of interest for a second. Not much longer than the lifespan of the blink of the eye of the photographer who viewed the original scene, the value of the image lies in the substitution of the real life experience of the original viewer which it represents. Yet is this really new? Has photography not always been about the viewer one step removed from the original action…?