AMERICAN ARTIST
1950's
MIKE KELLEY MADE FELT BANNERS THAT LOOKED LIKE HIGH SCHOOL FLIERS AND POSTERS. HE WAS INTERESTED IN THE IDEA OF CRAFT AND THE WAY THIS CAN HEIGHTEN AN OBJECT. IN THE INTERVIEW BELOW HE TALKS ABOUT HOW HE BEGAN TO SEE OBJECTS NOT FOR WHAT THEY WERE BUT INSTEAD JUST FOR THE NUMBER OF HOURS THEY HAD TAKEN HIM TO MAKE. I CAN DEFINATELY EMPATHISE WITH THIS - BUT IT IS IMPORTANT TO QUESTION WHETHER THIS MAKES AN OBJECT MORE OR LESS IMPORTANT JUST BECAUSE OF THE TIME IT TOOK TO MAKE AND THE SUBSEQUENT PRESSURE THIS PUTS ON SOMEONE, IN A WAY, TO LIKE IT.
I REALLY LIKE THE IDEA OF SOMETHING TIME CONSUMING ENDING UP LOOKING LIKE SOMETHING THAT TOOK NO TIME OR SKILL. IT MAKES YOU QUESTION WHY WE PLACE IMPORTANCE ON CERTAIN THINGS AND NOT OTHERS..
http://www.bombsite.com/issues/38/articles/
THESE ARE TWO ARTISTS MENTIONED IN THE INTERVIEW.
HAIM STEINBACH
A FASCINATING INTERVIEW WITH STEINBACH ABOUT HIS VIEWS ON HIS WORK AND THE OPINION OF OTHERS VIEWS OF HIS WORK. A REALLY INTERESTING PIECE ABOUT RELATIONAL AESTHETICS WHICH TIES IN WITH MY DISSERTATION RESEARCH. HAS THE ARTIST BECOME A CURATOR? STEINBACH EXPLORES HIS RATIONALE FOR MAKING WORK THE WAY HE DOES AND THE MISINTERPRETATIONS AND COMMON ASSUMTIONS SURROUNDING IT.
ABOVE:
RELATED AND DIFFERENT - 1985
(PIECE DISCUSSED IN THE INTERVIEW)
BELOW:
PINK ACCENT - 1987
BARRY LE VA
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