What is Extinction to me? I’m interested in the idea of preserving / examining.
What does it mean to preserve? What does it mean to examine?
To show /demonstrate the damaging affects on the world.
Preserving, examining, presenting. Facts, figures, statistics.
Explaining the why, creating something tactile, beautiful for poeple to touch and explore with their eyes, with their fingertips.
Look at the definition of Preserving. What does it mean?
The idea of reproduction / mass production.
Timothy Morton describtion of Stockpiling.
Reproducing and declaring facts.
A loss of connection, due to the mass production of an image
The mass production of a single object removes the significance of that one object.
What is Extinction to me?
I’m interested in the idea of preserving / examining.
What does it mean to preserve?
What does it mean to examine?
To show / demonstrate the damaging affects on the world.
(I have discovered the interest in my practice; I still need to define exactly what my thinking is and progress with research. Hans-Peter Feldmann describes his practice as ‘Collecting, ordering, re-presenting’, the moment I read this group of individual words within the context of my practice my vision cleared. I went on to discover more about Feldmann and found his book ‘272 Pages’. The opening page features an extract from Chuck Berry’s autobigraphy where he describes his process; ‘First, it happened; second, I conceived what happened; third, I reproduced what I conceived; and fourth, you will conceive what I have reproduced.’)
Definition of extinction.
the act of making extinct or causing to be extinguished.
- the condition or fact of being extinct or extinguished also : the process of becoming extinct extinction of a species.
- the process of eliminating or reducing a conditioned response by not reinforcing it.
the process of eliminating or reducing a conditioned response by not reinforcing it.
A story/narrative, something that is read in a linear way. When reading a book, you start at the begining, develop your understanding and then reach the conclusion. It’s a process, just like learning, developing, understanding. A book is designed so you have a begining, middle and an end. Are we nearing the end of our story? The progression of life is linear.
Ecology is the study of the relationship between living organisms, including humans, and their physical enviroment; It seeks to understand the vital conections between plants and animals and the world around them.
Matt Mullican was born in Santa Monica in California in 1951. Since the Seventies Matt Mullican’s works have been exhibited in the most prestigious museums of the world as the Metropolitan Museum of Art in New York, Haus der Kunst in Monaco, the National Galerie in Berlin, the Stedelijk Museum in Amsterdam and the Museum of Contemporary Art in Los Angeles. In the last years Matt Mullican’s works have been exhibited in many solo shows as The Meaning of Things at Spazio Culturale Antonio Ratti in Como (2013); Vom Ordnen der Welt, Haus der Kunst, Munich (2011) and 12 by 2 at the Institut d’Art Contemporain in Villeurbanne, France. Matt Mullican has partecipated in Venice Biennial in 2013, in the Whitney Biennial in 2008, in Documenta X (1982, 1993, 1997) and in the Skulptur Project in Munster (1987).
Stone Video Rubbing Wire shows a synthesis of the cosmology that Matt Mullican created starting from the Seventies; an encyclopedia made by images, diagrams, pictograms and symbols that represents omtological ideas, synthetizing the whole subjective and objective universe. The American artist brings to Milan a monumental work dated 1987 constituted by 40 granite tiles and a new canvas series, realized using the most oldest reproduction technique of an artwork, the rubbing.
Through these new works Matt Mullican represents the five worlds that creates the reality: the subjectivity, the language, the arts, the objectivity and the elements, wondering the existential questions of one’s self: “what happened before I was born?”, “Why the things happens in the way they do?”, “What happens after I die?”.
Stone rubbing is the practice of creating an image of surface features of a stone on paper. The image records features such as natural textures, inscribed patterns or lettering.
Over the course of the next week, choose a number of contrasting locations in order to preserve the textures and record the existence. The record should include any extra information / data deem to be necessary, i.e. location, weather, temperature, date.
The outcome should be a traditional A0 printed page which houses the stone rubbing of the specific location along with the data of the surrounding area. The idea is to connect with the environment (Fabrica) and explore what it means to preserve.
Explore the history.
How can you share the story through print?
Where is your content coming from?
Think about format.
Who is it being created for?
Why are you creating this work?
Who can relate to this now?
When was it created?
Who’s your audience? Peers, General Public, The Government, Fellow creatives, your future boss.
Could it be expanded upon with additional content? Imagery, footnotes, texts, etc.
How does it affect a public space, how does it communicate to a community?
What impact can typographic choices have on the meaning behind the words?
What impact can colour have on the final product?
How are you going to document this particular place.
Think about readability.
- Have fun. Ask for help. Get started.
The Work of Art in the Age of Mechanical Reproduction
“The Work of Art in the Age of Mechanical Reproduction” (1935), by Walter Benjamin, is an essay of cultural criticism which proposes and explains that mechanical reproduction devalues the aura (uniqueness) of an objet d’art.
“Benjamin argues that distraction became an alternative to contemplation. Distraction is fundamentally social. It replaces the viewer’s thoughts by moving images, stopping the viewer from thinking.”
Benjamin criticises the usual account whereby true art is contemplated and the masses seek only distraction.
This echoes contemporary discussions of how media exposure reduces attention spans and may even produce stimulus overload.
The earliest works of art might have been items such as totem poles, cave paintings, and fertility dolls.
Dadaist artists rearranged everyday and artistic objects and conventions to subvert dominant assumptions.
For Benjamin, the positive aspect is inconceivable without the negative.
Film, for instance, is assigned the function of expressing supernatural and mythical phenomena.
He argues that children are now bombarded with printed letters even before they can read. The effect is that they can no longer experience the ‘archaic stillness of the book’, instead being overwhelmed by ‘locust swarms of print’ which ‘eclipse the sun’ of the intellect.
“The Greeks knew only two procedures of technically reproducing works of art: founding and stamping. Bronzes, terra cottas, and coins were the only art works which they could produce in quantity.” — Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction, 1935.
Eugène Atget was a French flâneur and a pioneer of documentary photography, noted for his determination to document all of the architecture and street scenes of Paris before their disappearance to modernization. Most of his photographs were first published by Berenice Abbott after his death.
Marcel Broodthaers was a Belgian poet, filmmaker, and visual artist (b. 1924 in Brussels, Belgium, died in 1976 in Cologne, Germany)
Marcel Broodthaers worked primarily as a poet until the age of 40, when he turned to the visual arts. Over the next 12 years, his work retained a poetic quality and a sense of humor that balanced its conceptual framework. Broodthaers continued to invent ways to give material form to language while working across mediums - poetry, sculpture, painting, artist’s books, printmaking, and film. From 1968 to 1972, he operated the Musée d’Art Moderne, Département des Aigles (Museum of Modern Art, Department of Eagles), a traveling museum dedicated not to his work as an artist but to the role of the institution itself and the function of art in society. In the final years of his life, Broodthaers created immersive “décors,” large-scale displays in which examples of his past work were often unified with objects borrowed for the occasion. His work, despite its brief duration proved enormously influential to future generations of artists.
Broodthaers made his first film in 1957, and from 1967 he produced over 50 short films in documentary, narrative, and experimental styles.
Broodthaers later worked principally with assemblies of found objects and collage, often containing written texts. He incorporated written language in his art and used whatever was at hand for his raw materials—most notably the shells of eggs and mussels, but also furniture, clothing, garden tools, household gadgets and reproductions of artworks.
As a poet and political activist, Broodthaers had a life-long interest in the circulatory power of printed matter: posters, graphics, editions, and artist books.
Last updated 10/10/2022