Anish Kapoor Sculpture

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.

As defined by Caroun.com “Conceptual art is a contemporary form of artistic representation, in which a specific concept or idea, often personal, complex and inclusive, takes shape in an abstract, nonconforming manner, based upon a negation of aesthetic principals”.

I think Kapoor’s art is conceptual art because there are specific personal ideas behind each piece of his artwork and his work is very explorational. As Higgins (2008) explains Kapoor is interested in such things as negative space which he has explored by making work containing voids and also has investigated this notion by way of his mirror pieces – “a large group of sculptures of varying scale that include concave, circular wall-mounted mirrors several feet in diameter, and the huge Sky Mirror that was mounted near the Rockerfeller Centre in New York in 2006”.

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.

Kapoor's Installation Dirty Corner 

Dirty corner is a monumental site-specific installation that was created for ‘the fabbrica del vapore’ in Milan. The ideas behind this work is for the visitor of the work to lose their perception of space by entering the sculpture which gets progressively darker until there in no light, forcing the viewer to use other senses to guide them through the tunnel.

Kapoor's Installation Levitation (2011)

Inside Levitation (2011)

Another work by Kapoor is a 35 metre high ball called Leviathan and it’s made of tautly-stretched PVC over a giant metal frame. As Kapoor states (2011) his ambition was to create a space within a space, “people will be invited to enter the artwork to immerse themselves in its colour and it will be I hope a contemplative, poetic experience”.

Yellow Anish Kapoor

Yellow is a work by Kapoor that “questions 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, plain curving colour that takes a form outside of formation, hovering between apparition and a surface,” Kehinde (2009).

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

The Farm Anish Kapoor

The large scale ‘site specific’ work that has been installed on a private site in New Zealand is called ‘The Farm’ “and it’s the largest permanent outdoor installation to date,” Chu (2010). It is a sculpture, which has been specifically created for Alan Gibbs’ 1000-acre farm just off of the Kaipara Harbour.

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

 According to Fabric architecture (2010) Kapoor’s installation is called ‘The Farm’ and its situated in Kaipara Bay, north of Auckland. “The sculpture is fabricated in a custom deep red PVC-coated polyester fabric by Ferrari Textiles supported by two identical matching red structural steel ellipses that weigh 42,750kg each”.

“The ellipses are orientated one horizontal, the other vertical. Thirty-two longitudinal mono-filament cables provide displacement and deflection resistance to the wind loads while assisting with the fabric transition from horizontal ellipse, to a perfect circle at midspan, through to the vertical ellipse at the other end. The sculpture, which passes through a carefully cut hillside, provides a kaleidoscopic view of the beautiful Kaipara Harbor at the vertical ellipse end and the hand contoured rolling valleys and hills of ‘The Farm’ from the horizontal ellipse,” Fabric Architecture (2008).

The ideas behind the work according to the artist are that he’s interested in “sculpture that manipulates the viewer into a specific relationship with both space and time”, - Anish Kapoor, Tate Magazine (2007).

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?

The view which is seen through Kapoor's sculpture

I really like all of Kapoor’s installations but I am attracted most to Kapoor’s work ‘The Farm’ because it offers so much to the viewer and the landscape surrounding it. I think it’s so beautiful and I love how the red contrasts so well against the green landscape and also how it slots into the space. I am attracted both to the aesthetics and the ideas behind the work but I think more so the aesthetics. I would love to view this work up close and I like it how you can look through the centre of the installation to the Kaipara Harbour.

Reference List

Caroun.com. Conceptual Art. http://www.caroun.com/art/conceptualart/conceptualart.html

Higgins, C (2008). A life in art: Anish Kapoor. http://www.guardian.co.uk/artanddesign/2008/nov/08/anish-kapoor-interview

Fabric Architecture (2010). Anish Kapoor sculpture blends fabric and steel in New Zealand. http://fabricarchitecturemag.com/articles/0110_sk_sculpture.html

Chu, A (2010). New Form at the Farm – Anish Kapoor dismemberment: site. http://www.facebook.com/pages/New-Form-at-the-Farm-Anish-Kapoor-Dismemberment-Site-1/173514462671879

Mail Online (2011). The next big thing: Giant PVC sculpture stuns the Paris arts scene. http://www.dailymail.co.uk/news/article-1385590/Anish-Kapoor-Leviathan-sculpture-unveiled-Grand-Palais-Paris.html

Kehinde (2009). Anish Kapoor – Perception and Deception. http://jfkwalks.wordpress.com/2009/11/29/anish-kapoor-perception-and-deception/

Pluralism and the Treaty of Waitangi

1.Define the term ‘pluralism’ using APA referencing.

As Eck (2011) explains there are four main points used to define pluralism. The first is that pluralism is “the energetic engagement with diversity. [Secondly it] is not just tolerance, but the active seeking of understanding across lines of difference. [Thirdly] pluralism is not relativism, but the encounter of commitments [and lastly] pluralism is based on dialogue. The language of pluralism is that of dialogue and encounter, give and take, criticism and self-criticism”.

The concept of pluralism is used for a wide range of issues and is seen to be in the interest of citizens. I think it’s basically a guiding principal that tries to permit the coexistence of many different diverse groups of people peacefully.

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

I think New Zealand is a country that can be defined by pluralism, especially through our culture, mainstream ideas and government.

We are seen as a culture dominated by European tradition, knowledge, belief, and behaviours that are dependant on social thought and learning. I also think that New Zealand has successfully interwoven itself with a few Maori traditions as well and is generally accepting of other races, and religions too.

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

According to the Network of Waitangi (1993) before 1840 New Zealand’s dominant culture was still firmly under Maori control and European residents absorbed Maori values to some extent.

Maori Haka

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

I think the Treaty of Waitangi can relate to us all as artists and designers today because it is our history, our heritage, its part of our culture and it’s New Zealand’s founding document. The treaty is a strong part of New Zealand identity and a lot of New Zealand art has strong links to ‘Kiwi’ identity and culture. It also helps us understand Maori culture as well and their traditional art such as carvings, Ta moko, weaving and painting.

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

By other countries taking or borrowing Maori Culture and globalising it, it could have a negative effect on some things that are seen to be sacred or hapu. This could also been seen to decrease inter-cultural contacts. Globalization according to blurt it “is all about coming close of the world. It is to make the world closer than ever before”. This may be seen as a disadvantage because cultural traditions could be lost or transformed in a negative way by the merging of different world traditions, and what is seen as uniquely ‘Kiwi’ could be lost along the way.

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

Cotton’s paintings explore questions and ideas about, colonialism, cultural identity, Maori spirituality, and death. He is known for his paintings that include Maori iconography such as shrunken heads, native birds such as tui and European symbols and items. I believe the depiction and combination of these ideas in his work relate and link his work to colonization and the Treaty of Waitangi.

Shane Cotton Welcome (2004)

Cotton’s painting ‘Welcome’ (2004) is a painting consisting of native New Zealand birds, Jesus Christ and a shrunken Maori head. As Gow Langsford Gallery says “Cotton’s depiction of these ancestors and in referencing their after-life and the heavens, his work can be seen as a way to keep their identity and memory alive”.

Shane Cotton Forked Tongue (2011)

These ideas are also explored in Cotton’s painting ‘Forked Tongue’ (2011). Which as Daly-Peoples (2010) says the painting “features a cliff face, a fantail, some Maori designs and a tracery of red lines these symbols or metaphors become starting points for an elaboration on the links between the physical, historical and spiritual landscapes.”

7.Tony Albert’s installation ‘Sorry’ (2008) reflect 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’.

 Abert’s work ‘Sorry’ (2008) “is a work made up of big letters spelling out the word, with each letter covered in what he calls Aboriginalia: stereotyped and kitsch portraits of Aborigines from a time it was considered quaint to beat into copper an image of a man standing on one leg with a boomerang or to paint an idealised bare-bosomed maiden on black velvet,” Sorenson (2009).

Kitsch is defined as something of art or design that is considered to be poor taste because of sentimentality but it is something which is still appreciated in an ironic way according to World of Kitsch (2003).

As Albert says his work ‘Sorry’  is made up with “uncollectables, and they play such an important role.” Through his work he has come to a new realisation, “I’ve always thought of myself as an Aboriginal artist, now I’m an Aboriginal person and a contemporary artist”. 

As Queensland art gallery states, “Sorry commemorates the apology on 13 February 2008 by the Prime Minister of Australia, Kevin Rudd, to Indigenous Australians who have suffered as a result of ‘past mistreatment’ by the Government of Australia”. As the gallery goes on in saying Albert’s work takes this apology on face value with his installation until real changed is observed. He has done this through ‘his army of kitsch faces’ that makes up the word ‘Sorry’.

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

Both these artists can be related to pluralism because their ideas of coexisting in a diversely cultural country are the same whether it is New Zealand or Australia. I think these ideas can be seen in their work and also how they approach art in general.

Reference List

Eck, D (2011). What is pluralism. http://pluralism.org/pages/pluralism/what_is_pluralism

Network Waitangi (1993). Treaty of Waitangi questions and answers.

Blurt it. What are the pros and cons of globalization? http://www.blurtit.com/q392054.html

Gow Langsford Gallery. Shane Cotton. http://www.gowlangsfordgallery.co.nz/editions/shanecotton.asp

Daly-Peoples, J (2010). Shane Cotton paintings examine the cultural landscape. http://www.nbr.co.nz/article/shane-cotton-paintings-examine-cultural-landscape-126412

Sorensen, R (2009). Curios of the contemporary. http://www.theaustralian.com.au/news/arts/curios-of-the-contemporary/story-e6frg8n6-1111119151528

World of Kitsch (2003). A guide to kitsch: part 1. http://www.worldofkitsch.com/about/definition.html

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Minka Kelly and Derek Jeter Split

New York Yankees star Derek Jeter and his girlfriend, actress Minka Kelly, watch James Blake USA being beaten by Novak Djokovic SRB in 3 sets at the US Open 2010. The couple looked to be enjoying each other's company at the Billie Jean King Tennis Center in Queens, New York. (Pacific Coast News) Minka Kelly and Derek Jeter (Pacific Coast News)One of Hollywood's hottest couples is no more: Actress Minka Kelly and baseball star Derek Jeter have called it quits after three years together. The actress' rep confirmed the news to People magazine.

"They care about each other and it was amicable," says a source. "They're still friends."

While no official statement has been released by the couple, we can easily see this being an "our schedules got in the way," or "the distance was too much" kind of split. After all, Jeter is constantly training and traveling with the Yankees (Kelly watched him get his 3,000th hit this summer), while she is busy filming the upcoming Charlie's Angels TV reboot.

While these two have never been forthcoming with details about their relationship, there weren't any indications that there was trouble in paradise. In fact, the couple most recently dodged another round of engagement rumors. They also joked about the actress' lack of baseball knowledge not long ago. Perhaps that was the problem.

Kelly and Jeter began dating in May 2008 and each have a long list of high-profile exes. The Yankees stud has been linked to no shortage of beautiful women over the years, including Mariah Carey, Jessica Alba, Adriana Lima, Scarlett Johansson, Jessica Biel, and more. John Mayer, Chris Evans, and Donald Faison have reportedly dated the brunette actress.