Jeremy Hutchison Erratum series (2012)
Jeremy Hutchison Erratum series (2012)
Jeremy Hutchison (b.1979) UK Erratum series (2012) www.jeremyhutchison.com
E R R A T U M® is a new collection of dysfunctional luxuries conceived by London-based artist Jeremy Hutchison. Each object has been made with an error that removes its original function.
“True luxury has no function. It is not something to be used or understood. It is a feeling: beyond sense, beyond logic, beyond utility. It is an ethic of perfect dysfunctionality,” says Hutchison.
Selecting factories across China, India, Turkey and Pakistan, Hutchison invited workers to insert an error in the items they typically produced. Each object is therefore the product of an individual worker’s design.
Each limited edition product will be numbered, sealed and authenticated with the provenance (factory name, worker, year of production). The collection will also be available to purchase via the E R R A T U M® e-commerce store at www.erratum.co www.paradiserow.com/exhibitions/76/
Have you ever purchased a product and found out that it wasn’t quite what you expected? Most people would take a faulty product back to the store and exchange it for a perfect one. But could these broken products actually serve a greater purpose?
Erratum is a collection of everyday products by artist Jeremy Hutchison, but unlike other products that might appear perfect, his are designed to have flaws. Hutchinson approached Asian manufacturers and asked them to send him products with intentional faults, such as a comb without teeth, or a two-headed tennis racquet.
"There’s a big question about why people buy things that they don’t need," he says. "People that buy Gucci handbags are not stupid, they know what they’re doing."
"I think we’ll see the implication of our consumer choices on far flung corners of the globe."
Hutchinson’s work was partly inspired by Modern Times, a 1936 film starring Charlie Chaplin. A film that Hutchinson says illustrates how workers have disappeared into the manufacturing machine.
"I think Charlie Chaplin in some ways was anticipating this phenomenon," he says.
But while many people might look at the collection and see errors, Hutchinson says we can always find another use for the products.
"Anything has a function," he says "All errors are potential successes"
"Then when we look at an error maybe we need to redefine our position according to it."
by Kirsten Drysdale. www.sbs.com.au/thefeed/blog
https://www.youtube.com/watch?v=L5-q3YhKaHc The artist speaks about his practice and intention.
Ulric Collette (b.1979) Quebec
http://www.dailymail.co.uk/news/article-2209095/Ulric-Collette-Artist-creates-bizarre-genetic-portraits-featuring-heads-siblings-parents-children.html http://www.mymodernmet.com/profiles/blogs/ulric-collette-split-family-faces-part-ii http://www.ulriccollette.com http://genetic.ulriccollette.com/
Joanna Braithwaite ( b.1962 UK, NZ, Australia)
Battlers (2005) oil on board with found frame 48x33cm from the Relative Moments body of work; Sheepdog (2003) oil on canvas 122x137cm http://www.darrenknightgallery.com
Janine Antoni (b.1964) Bahamas/ USA
Mom and Dad (1994) Three silver dye bleach prints in triptych, edition of 6 (each 61 × 50.5 cm) © Janine Antoni.
Antoni made up each of her parents in the guise of the other, photographing them together in three different permutations…
search @ http://www.guggenheim.org
Rene Magritte (1898-1967) Belgium title: Not to be Reproduced(1937) oil on canvas Magritte plays with the conventions of what a painting should look like. We are looking at a portrait of his friend and patron Edward James, but we can’t see his face.
more about Venus (and a few of her sisters)…
Vik Muniz (b.1961) Brazil The Birth of Venus, after Botticelli (Pictures of Junk) (2008) digital chromogenic print. Beginning his career as a sculptor in the mid-1980s, Muniz became increasingly interested in photographic reproductions of his work, leading him to turn his attention wholly to photography.
Throughout his career, Muniz has created multiple series of photographs, each prefaced with the phrase “Pictures of” and in which he has used of variety of unconventional materials, including dirt, sugar, chocolate, wire, and garbage. Muniz consciously enacts playful contradictions upon the surfaces of these photographs, as they are at once literally pictures of the materials out of which they are constructed — in this case garbage — as well as pictures of the images formed through the transformation of the materials. Combining three-dimensional elements within a two-dimensional pictorial space to create visually and conceptually loaded images, Muniz creates work that fosters a shift in visual perception as well as cultural preconceptions. http://www.mintmuseum.org
Sandro Botticelli (1445-1510) Republic of Florence Birth of Venus (1486) tempera on canvas
Awol Erizku (b.1988) Ethiopia/USA Girl with a Bamboo Earring; Lady with a Pitbull (2009) Digital chromogenic prints 165x127cm editions of 5
Leonardo da Vinci (1452-1519) Republic of Florence Lady with an Ermine (c1489) oil on wood 54x39cm
Johannes Vermeer (1632-75) Dutch Republic Girl with a Pearl Earring (1665) oil on canvas 44.5×39 cm
Contemporary art is often about pushing boundaries, innovating, and coming up with new and original concepts. Sometimes however artists choose to address historical themes, drawing inspiration from artistic traditions that came before them. Many contemporary artists reference Old Masters in their work, both to show that they are still relevant today and to critique issues in the art historical tradition. One example comes from photographer Awol Erizku, an Ethiopian born artist who re-imagines Old Master paintings with African-American models in contemporary settings. Leonard da Vinci’s Lady with an Ermine becomes a modern day woman sitting with a pit bull. Seeing this classic work in a new light reminds us just how much white artists, using only white models, have dominated art history. In this way, the work is reminiscent of Carrie Mae Weems’ commentaries on the marginalization of African American and female artists. While our society has come to accept the dominant narrative of art history, it is important to question and challenge this history, which excludes so many. Helen, http://blog.tinneycontemporary.com
Pablo Picasso (1881-1973) Spain/France The Maids of Honor (Las Meninas, after Velázquez) (1957) oil on canvas 194×260cm
Diego Velasquez (1599-1660) Spain Las Meninas (1656) oil on canvas 318×276cm http://smarthistory.khanacademy.org search Las Meninas
3 Dimensions in2 two….then into four…
Pablo Picasso Seated Nude (1909-10) oil on canvas ; Head of a Woman (Fernande) (1909) plaster
Josh Bryan UK from Triangulations series, pen
artist unknown, digital animation analysing the complex structure of of the human face’s 3 dimensionality.
The earliest explorations by Cubist painters involved analysing the structure of objects. Complex forms were broken down for closer examination, into geometric, faceted parts. These facets were painted tonally and appear affected by light and shadow. Muted, almost monochromatic colour was preferred, the focus remained on the underlying structure, not colour. Background and subject often interlocked. These modernist, very early C20th conventions remain a source of practice explored by contemporary image-makers.
Kelly and the Infanta visit Van Dieman’s Land
John Glover England/ Australia (1767-1849) Natives on the Ouse RIver, Van Diemen’s Land (1838) oil on canvas 78.0 x 115.6 cm search for Glover @ www.artgallery.nsw.gov.au
Diego Velasquez Spain (1599-1660) Portrait of the Infanta Maria Theresa of Spain (c1652) oil on canvas 127cm×98.5cm
Yasumasa Morimura (b.1951) Japan Daughter of Art History (Princess A) (1990); Daughter of Art History (Princess B) (1990) www.morimura-ya.com/
Sidney Nolan (1917-1992) Australia/ UK Death of Sergeant Kennedy at Stringybark Creek (1946) enamel paint on composition board 91x121.7cm http://nga.gov.au/nolan/
Jacqui Stockdale (1968) Australia www.jacquistockdale.com
Infanta Diemonia (2004); The Tracker (2004) digital prints
re-thinking the beach; re-thinking sport & leisure; re-thinking identities
Tooth’s pub poster c1940s; Anne Zahalka’s Australia, Isle of Refuge type C photographic print
Tooth’s pub poster c1950s; AZ’s Bondi, Playground of the Pacific type C photographic print
Alan D. Barker (b.1914) Now for a “K.B.”!, c1950s colour lithograph www.joseflebovicgallery.com ; AZ’s Bronte Beach, Refrescante! type C photographic print
AZ’s Cronulla, Jewel of the Shire type C photographic print
Installation view, Town Hall Hotel exterior, King Street, Newtown.
from Zahalka’s series HOMEGROUND! This body of work is a contemporary take on the classic KB, Resch’s & Toohey’s advertising posters which adorned the walls of pubs from the 30’s – the 70’s in New South Wales. www.zahalkaworld.com.au
I’m interested in the ways in which place, identity and culture have been defined through popular and mainstream images representing the individual, groups and communities. I like to play and interrogate these representations to expose the stereotypes and to reflect on cultural difference and diversity. These images don’t necessarily portray or allow for the multiplicity of identities that make up who we are as a nation or as an individual. I’m interested in subverting these and representing those others not represented or portrayed within the popular or mainstream. (AZ from an interview with Kate Caddey)
Consider contemporary Australian opinions about ethnicity, about gender, about lifestyles, about the beach, the ocean and who uses them, about immigration and evolving demography.
What range of opinions are held across Australian communities? In the past? now? What reasons do you have for holding your opinion?
Zhou Xiaohu (b. 1960) China America Likes Me (2012) painting, video
Zhou Xiaohu is a great-nephew of Zhou Enlai, the first Premier of the People’s Republic, who predicted when the artist was five: “This kid’s going to lead everyone astray.” As one of China’s best known and most prolific contemporary artists, Zhou Xiaohu specialises in inducing confusion and bafflement, his goal being always to make viewers question their perceptions of reality and their default view of the “facts”.
Zhou Xiaohu was one of the first contemporary artists in China to work experimentally with sculptural ideas of video and animation. With a background in sculpture, oil painting and graphic design, Zhou’s work is a dynamic combination of these mediums, reflecting a world in which technology rules and the media is the pinnacle of propaganda and public influence.
Best known are Zhou Xiaohu’s clay-mation sculptural installations that showcase meticulously worked video dramas taken from news stories and fictional events, enclosed inside sculptural sets composed of clay figurines (the ‘characters’ used in each clay-mation). Referencing scenes of war, terrorism, international summit meetings, and natural disasters, Zhou satirizes the level of media-control in a digital age, in which public opinion can be manipulated through documented news, and where scenes of war, torture and famine have become commonplace and cease to shock. www.longmarchspace.com
Joseph Beuys (1921-86) Germany I like America and America Likes Me (1974) performance in New York City
Joseph Beuys viewed performance art as a medium with the potential for self healing and social transformation. He believed that by enacting self-invented rituals, he could assume the role of a modern-day shaman and affect the world around him. His performances, or “actions,” utilized elements of the absurd and contained layers of meanings and symbols. But even within a seemingly chaotic environment, Beuys attempted to create an atmosphere for his viewer that would unite the intuitive, passionate soul with the intellectual mind, and thus prepare the individual for a spiritual evolution. search at www.wikipaintings.org
Beuys created and carried out 70 actions between 1963 and 1986, the year of his death. During this time, he also created approximately 50 installations, participated in more than 130 solo exhibitions, and conducted numerous interviews, seminars, lectures, and discussions. His public persona, “Beuys the artist,” was created almost immediately after his first public performance and soon became indistinguishable from “Beuys the man.” He wore a signature costume of jeans, felt hat, and fishing vest, both onstage and off, and repeatedly used certain materials in his work, such as fat and felt, which referenced his earlier life and wartime experience. “The whole process of living is my creative act,” he said.
Beuys was introduced to performance art in 1962 when he encountered Fluxus, a nonconformist international group of artists who sought to upset bourgeois perceptions of art and life. Fluxus included fellow artists George Maciunas, Nam June Paik, John Cage, George Brecht, Robert Filliou, Dick Higgins, Alison Knowles, Yoko Ono, Ben Patterson, Daniel Spoerri, Wolf Vostell, and Emmett Williams. According to Erwin Heerich, a friend of Beuys, “The contact with Fluxus endowed the issue of art and life, in Beuys’ mind, with a radically different significance. In Fluxus he recognized a vital current that released new impulses in himself—and here the other side of Beuys emerged, his powerful sensitivity to, and talent for, the public arena and the media.”
In 1963 Beuys invited Fluxus artists to perform at the Düsseldorf Academy of Art. Brecht, Maciunas, Paik, Vostell, and Williams participated, and Beuys performed his first two public actions, Composition for 2 Musicians and Siberian Symphony, 1st Movement.
Beuys’ actions were often described as intimate, autobiographical, politically charged, and intense. Actions would typically last 45 minutes to nine hours, and though his actions were not rehearsed, Beuys often created a score or “partitur” (as opposed to a script) in which he would plan the objects that would be used and the sequence of the performance. Beuys viewed each action as a new version of a basic theme and an attempt to make his philosophy more comprehensible. He also believed that the less literal the performances were, the easier it would be for the audience members to translate his message into their own lives.
Beuys traveled to the United States in 1974 and performed an action entitled I like America and America Likes Me at the René Block Gallery in New York. The action actually began at Kennedy Airport, where friends wrapped him in felt and transported him to the gallery in an ambulance. Beuys then spent several days in a room with only a felt blanket, a flashlight, a cane that looked like a shepherd’s staff, copies of the Wall Street Journal (which were delivered daily), and a live coyote. His choice of employing a coyote was perhaps an acknowledgment of an animal that holds great spiritual significance for Native Americans, or a commentary on a country that through its Western expansion had become “lost” America.
http://vimeo.com/5904032 Joseph Beuys in America
Beginning in the mid-1970s, Beuys increasingly used his actions as a forum for his political and environmental beliefs. In 1982 he undertook his first large-scale ecological action, 7000 Oaks, for the exhibition documenta 7. Beuys planted the first of 7,000 trees on Friedrichsplatz, outside the Museum Fridericianum in Kassel. This was the very same location that he intended to plant the final tree. His plan was for the trees to be planted in the urban areas of Kassel, and next to each tree was to stand a four-foot-high basalt column. He involved the local community in the planting of trees outside schools, in playgrounds, and along city streets. By 1986, the year of Beuys’ death, 5,500 trees had been planted. On June 12, 1987, at the opening of documenta 8, his son, Wenzel, completed the project by planting the 7,000th tree.
Joseph Beuys repeatedly said that his art was intended to arouse in other people a “spiritual response,” and it was his role to provide “the means to point out that the human being is a creative being.” Perhaps he could have made his messages more clear, but for Beuys, “Art is not there to provide knowledge in direct ways. It produces deepened perceptions of experience… . Art is not there to be simply understood, or we would have no need of art.” Emily Rekow www.walkerart.org
Hiroshi Sugimoto (1948) Japan/USA La Boîte en Bois (Wooden Box) (Replica of Duchamp’s ‘Large Glass’) (2004) Glass, gelatin-silver print, 2 sheets of 8” x 10” original negative
Glass: 16 x 10 x 1 3/8 inches Box: 17 7/8 x 11 5/8 x 3 inches edition of 35 www.sugimotohiroshi.com
To craft his exquisite black-and-white images, Hiroshi Sugimoto uses a 19th-century-style, large-format camera, exploring his idea of photography as a method for preserving and modeling time. “Endeavors in art are…mere approximations, efforts to render visible unseen realms,” he says. Influenced by Surrealism and Dada, Sugimoto’s work is intimately connected to Marcel Duchamp, as in his series “Conceptual Forms” (2004), (inspired by Duchamp’s The Large Glass, 1923), large-scale black-and-white photographs of mathematical models and tools. Ongoing subjects include dioramas, theaters, Buddhist sculptures, and seascapes—the latter captured in a famous series of near-abstractions, coupled with specific geographic titles. A supreme craftsman, Sugimoto often varies the length of exposure to achieve tonal richness, as in “Joe” (2006), photographs of Richard Serra’s works that function as visual memories more than documentation. “I imagine my vision then try to make it happen, just like painting,” he says. “The reality is there, but how to make it like my reality.” www.art.sy
"There are four replicas of Duchamp’s ‘Large Glass’- two in Stockholm, one in London, one in Tokyo. I’ve been photographing the replica in Tokyo, spending so much time with the replica that facing the original is a very strange feeling. The original has an enormous power compared to the replica. A replica is a replica, it’s a copy- a duplicate. Duchamp’s concept of a copy was that the copy is as important as the original. But it’s not true. The original has its own Duchamp spirit in itself, even though he might say, ‘Well, this is not special at all.’ He probably didn’t believe in spirits. But I do feel it." - Hiroshi Sugimoto www.art21.org
Marcel Duchamp (1887-1968) France/ USA Boîte-en-valise (1935-41) Leather valise containing miniature replicas, photographs, and color reproductions of works by Duchamp, and one “original” (Large Glass, collotype on celluloid), (69 items) overall 16 x 15 x 4” (40.6 x 38.1 x 10.2 cm) from an edition of 20
Richard Hamilton (1922-2011) UK Typo/Typography of Marcel Duchamp’s Large Glass (2001-2002) 266.5 x 170.0cm http://www.artgallery.nsw.gov.au/collection/works/14.2006/
search on www.smarthistory.khanacademy.org