I found Coates’s architectural landscapes fascinating and it was quite funny in places to see what kinds of objects he had used to create the works. Anything from playing cards to bourbon biscuits were used to create the different landscapes. I like his idea of making his pieces ‘artful’ through his architecture, and using lots of different objects to come together and creating other pieces, such as the different towers that came together to create a hand.
Usually, I’m not interested in things like sculpture and architecture, but I adore the sheer craziness of his landscapes, and I feel like I could amuse myself for hours by trying to identify all the different objects hidden within the pieces.
I also love how he has used a mixture of his creativity with computer techniques to form the different buildings to create such a crazy landscape. The background of the piece is really effective because it flows seamlessly from the sculptural piece itself to make it seem endless, like a real cityscape.
I love his attitude of having to make miniature cityscapes more interesting by going crazy, and recreating all these mad ideas of hands at gateways to cities and using bourbons to create towers. His enthusiasm and imagination are amazing, and this piece has to be one of my favourites that I have reviewed so far.
I really like the stories behind these signs because it lends each one a personal significance and makes them all a lot more meaningful, which is a really important part of expressing yourself through your artwork. However, I think that these pieces of art are very personal, and the Donald Judd one is very much based on an inside joke, which an audience would have to get explained to them.
Smith’s idea about making signs out of the arbitrary things in his life is a really interesting thought, and you can see how much effort he puts into his work. Symbolise the time in which it came from, and the usage of colours to either compliment or contrast with that.
Overall, I found the signs quite plain and a little bit boring, and the stories behind them were much more interesting than the signs themselves. I also think it would be difficult for an audience to connect with the signs in the way he does, because they would have to have the back-story explained to them first. However, you can see his enthusiasm for what he does, and I admire that about him.
The first half of the video to me was just pure confusion, with people milling about in utter disorder. I’m astounded that so many people turned up just to wear out their voice boxes. By the time they are all in place and ready for the performance, they’ve waited what seems like hours just for a few seconds of screaming. This video begs so many questions: why are they screaming at the Tate Modern? What is this meant to represent?
Is this meant to be another gesture of solidarity like the Slow Walk for Aiweiwei which, coincidentally, was also pointless?
One thousand people psyched themselves up, stuffed their fingers in their ears, took a deep breath, and screamed their lungs out. And for what? It made absolutely no impression on the people watching, and it made no impression on me. My expression matches that of those looking down at the screamers: unimpressed and fed up.
I’m sure this is an experience they will treasure for years to come.
I loved watching this video, because the enthusiasm as absolutely infectious. You really get the sense of this being a lifestyle, rather than a job, or just a hobby on-the-side. I think the connection the artists had with their art was such a beautiful thing to see, and just generally I love the idea of street art. It’s a perfect way to express yourself freely and publicly, and as they said at the beginning of the video, it’s great to get quick feedback.
I also love the idea of turning an urban environment into something more creative and striking through the use of street art, and also the idea that it can be easily painted over a replaced is interesting, because the landscape can constantly be changing and evolving.
Each street artist having their own particular style, so although they are constantly painting and changing, and going over what they’ve already done, there is still a personal aspect to it, and people who regularly walk around that area can recognise a particular artist’s work. I think this is important, because it shows that street art shouldn’t simply be relegated to being a nuisance, or just ‘graffiti’, because it is something that an artist has really worked on and poured their feelings into, just like any other artwork.
It’s something that is social as well as personal, and something that everyone can enjoy. It pushes past the formality of art in galleries and makes it relatable to everyone.
As an avid reader of Roald Dahl when I was younger, I was fascinated by the quirky illustrations of Quentin Blake through my childhood. Although I never want to recreate the same type of artwork it still puts a small on my face when I rifle through my old books and see the sketchy smiling faces staring up at me.
I love the spontaneity of Blake’s work, the feel that just moments before you saw the drawings he had finished applying the final rushed lines. I feel this gives the illustrations an atmosphere that’s unattainable by a lot of artists, because his drawing style just contains so much movement and enjoyment.
I also envy his ability to simply throw a drawing away if it doesn’t go right, because he is so invested in his emotions here and now, and unconcerned with mistakes her made, because he will simply move on! His descriptions of drawing were beautiful: using scratchy tools to feel the shapes of the bodies and gestures. It’s such a poetic idea.
I think it’s clever how the room has been prepared with skylights and the space has been especially manipulated to suit the staircase. It’s a really interesting piece of art, to have a staircase connecting from the ceiling, but not reaching anywhere. I think the space has been cleverly used in the room to make the staircase very much the focal point, and the colour scheme is really interesting and draws the eye, but simultaneously manages to be quite soft, especially on the ceiling.
I love how it shows Do Ho Suh’s cultural displacement because it makes the artwork seem very personal, but without alienating anyone who visits it. It can really apply to anyone, because people can relate to it in their own personal way, as it could represent any number of things going on in a person’s life.
I like the overall effect of the piece, and the idea behind it that everyone is always moving, and never really settling anywhere, which is especially true in this day and age when travelling is so widespread.
To be honest, the artwork in this video didn’t interest me at all, and I found Gormley’s voice rather monotonous. I found the blankness of the ‘warehouse/workshop/shed/gallery/factory/studio’ dull and uninteresting, and the structures he’d created seemed meaningless to me.
I found some of the pieces utterly confusing! Is that a person with unfortunate amounts of body hair karate chopping as they fall off a fire hydrant? Because that’s what it looks like to me.
It was disturbing to see so many sculptures of humans hanging high above everyone’s heads as they worked on more sculptures that would undoubtedly meet the same fate. It also seems quite sad that so much effort went into creating these objects, which can now only be seen if you purposely give yourself neck-ache.