Critique notes for:
Untitled (clothes dryer)
Inglis clothes dryer, furniture legs, appliance epoxy, electricity, towels, safety pins, buttons, snaps, juice of broccoli, water, deceased Greenback Blowfly, wet-look glove.
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Domesticity, precariousness, reality, creature, anthropomorphic, legs, feminine, lonely, ominous, performing, tethered, attached/connected, care, big body/tiny legs, face in knobs and door, movement, cycling, elevated, body relationship, Duchamp-ian, humor, exhausting life, overdrive, mundane, familiar.
Fly is at eye height.
Glove hints at violence. Limping. Suggests the body is on all fours. How might the work change if the glove is another foot? Is one glove lost?
The sensory, sounds and scent.
Beck, 1990’s music video where dishwashers fall in love.
Nostalgia, reference to a bygone era, retro, antique. Retro considered to be friendly – those times were simpler? Things invented to make life easier. Automation. industrial age. This didn’t exist all over the world – privilege. Is a clothes dryer a luxury appliance? Who has one?
Objects of Desire, Adrian Forty – design book.
The Future of Nostalgia – book.
Cleaning. keeping up appearances and keeping the filth contained. Sense of things never being done/completed. Performing labour.
Positioned looking at the window. Staging. Story told in the lighting. Spotlighting.
Referencing Memento mori and the endless cycle of life. Existentialism.
Requires another body to make the performance whole as the cycle can only be continued by the interference of another body.
Smell seems to be coming from dryer. What are we trying to remove? What is covered up in the laundry. Broccoli – the push and pull of family life – all of the fights that broccoli bring about. The mystery of what is inside, suspense.
Pierre Huyghe.
Institutional restrictions, not able to make the work. The difficulty of existing within a system.
Borderline too cute, friendly. Wide vocab of materials and objects to choose from. More testing of materials required.
Swaying was cool – perhaps slightly shorten leg to further highlight?
Object Ontology – research.
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Critique notes for:
Dimensional lumber, bathroom dimensions, goat milk soap, electrical cord, male electrical plugs, acetate, zinc oxide, cod liver oil, horse hair, artist’s hair, found hair, graphite, adhesive, faux ice cube, Nitrile gloves, the amount of blood from the artist’s last menstrual cycle, water, mirror, spackling, eggshell coloured paint, room temperature objective of 26°C (to account for hot flush temperature rise)
Uncomfortable to enter. Do I enter this space or not? On entry, felt trapped. Dangerous – will I be electrocuted? Management of own body through the space, felt part of it. Perceived hazards. The frame becomes a threshold for me to decide- do I go past it or not, do I become a part of the dimensions or remain outside of it. Sense of being trapped drew attention to the air and the atmosphere. What is the way to experience this? Is there rules for it? Some sense of this becoming a space in the institution in which to feel welcome.
Uncovering, subtle-ness, layered, discovery, something has become unconstructed/absent. Noticing the actions, the fine-ness of the materials. Intentionality. Noticing the absence of the systems that would usually hold these elements together – forces me to imagine what it is I am not seeing. This seems accumulative – A collection of subtle moments and circuits. Sense of density, a forensic execution of clues, a need to determine and clue in to the language. Serious and dense play. Very specific and focused. Materials energized. Recipes.
Joesph Bueys – mythology and narrative of materials and managed spaces. what is the possible mythology of this space?
The body and this space have become merged. Where is the body? elements of the body, but no body. What are the systems of the body. What is the architecture of the body? Where are what are the boundaries of the body and the space? Installation V Habitation. Which is this? Is this presented through the logics of an art installation? The materiality of gestures between habitation and installation.
The act of naming the gestures (climate control and menstrual blood) in the materials list is useful.
I’m always really impressed by the title of your work (which is on top of the strength of the work itself) one thing that really resonated with me was “bathroom dimensions” that was experiential. Maya Lin, “The last thing that I make about each work is its name. I don’t feel the piece is complete until I have named it, yet I cannot even begin to think about its name until I have seen it finished. […] I see the name as its final shape. And once it has its name, it’s on its own. I have moved on both mentally and emotionally from it.”
Jim Shaw & Felix Gonzales Torres – Male to male plugs? Cannot locate.
Found hair – it summons me to imagine where and who the found is from. Has every hair been found? I loved the found hair! Anyone who has ever painted a wall must have left brush hairs on the wall. It’s something so familiar. Like the body inevitability leaves its trace, as much as the institution resists. I also thought the “found hair” was the most peculiar material within the installation. Very bizarre!
No sign of neglect in this work.
Endless circuits.
Masculine, but softened by the soap surface. Clean, remove, mute the messiness of the body. Becomes sanitized or clean. Treated forensically.
The site, histories of the specific site – what would this look like in another location?
This structure actually needs the support of the walls.
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Lady Adafruit – circuits
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ILYA & EMILIA KABAKOV – reconstructions
AA Bronson – General Idea
Mierle Laderman Ukeles, Manifesto for Maintenance Art, 1969
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WRITING DRAFTS
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Laura U. Marks, touch
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Lisa Robertson, Proverbs of a She Dandy
Tiqqun, Preliminary Materials for a Theory of the Young-Girl
Resistance, boundaries, viral aerosol, insistence, evacuation of the body.
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C.Ree, Dark Water, 2010
Ruin and remake
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Critique notes for:
Unbecoming A Body
The work draws you into the room. Though you remain uninvited and uncomfortable, intrusive. Recoil. Tension. Anticipation that something was going to happen. Claustrophobic. After a while you became accustomed to the conditions, wanted to spend time to understand more. The room sheet also makes the conditions safe – until then things felt unsafe.
A body was missing. It had undressed.
Transformation, metamorphosis. Like water to gas, the body does not stay intact, it is not formal, it changes. A document of the dissolution of the body. What are the elements that the body is made of? When it boils down to its liquid form, what is left?
Cooking transforms scent through time. Cooking also transforms the body through time. The staging of time.
The objects are also unbecoming.
There is a sense of neglect here. Crusty edged puddles, forgotten and left behind. Repulsive, bodily smears, someone else’s body outside of your own.
The smell is spatial, temporal-y uncontainable, a constant presence.
The objects are repeating, why? What is the function that each have in relation to each other and to the body. What relationship does cooking have to the body? Why is everything set at floor height? Why not abdomen height? Or vagina height? Why are some objects subtle and others not? Why are there interventions and in other places not?
This appears to be a set. It is staged for drama. The objects are in a state of forming. Are they props for metaphors about the body? In relationship to each other, the objects are becoming a metaphor. Recast in new light. Unknowing of the objects in this context. The lighting brings the elements together.
Space? Why are the objects so crowded? Could a more spatial install allow the objects and the reading to further breathe? Tension in cord feels precarious. Items appear to be pulled back and forth. The precarity feels somewhat controlled.
Repair and restore, balance. Cleanse. Yoni steaming.
Construction/re-construction of gender?
Violence.
Tableau.
Alchemy.
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Eve Fowler – language works
Louise Lawler – Bird Call work
Thomas Zipp – Hysteria
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Pressure, weight, suspension, bursting, electric, current, charged, energy.
What materials are required to summon a body? What can be left out?
Joel Fisher, Judgement and Purpose
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Unbecoming A Body
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Stand-up comedy and the legacy of the mature vagina, Roberta Mock, Article in Women & Performance a journal of feminist theory · March 2012,
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Flailing
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Ben Lee, Bronze Broccoli Barbells Blue
Laura Marks, TOUCH: Sensuous Theory and Multisensory Media
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Sonya Clark – Hair braiding, flag un-raveling
Kate Kretz – Human Hair Embroideries
Anne Wilson – CCMA Collection. Hair embrodieries
Andres Serrano, Immersions (Piss Christ), 1987
Caliban and the Witch: Women, the Body and Primitive Accumulation, by Silvia Federici
Witches, Witch-Hunting, and Women, by Silvia Federici
Adrian Piper – translation of materials and thoughts, filtering, control of content outside of practice. The body.
What are the ethics of scent? How to be ethically invasive?
FLUXUS The speed and efficiency of these works. Parameters/instruction. Yoko Ono’s New York puddles.
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The Feminist Uncanny in Theory and Art Practice, Alexandra M. Kokoli
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Katarine Hruskova – Virgin Hair and Cumulus Root
Moran Sanderovich – monstreous and grotesque
The Female Grotesque: Risk, Excess and Modernity, Mary Russo
This exhibition that feels like something my work should be in
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Glitch Feminism, A Manifesto, Legacy Russell, Verso, London, 2020
- The body is a text. Every time we define ourselves, we choose definitions that reduce the ways our bodies can be read.
- Gender is prosthetic.
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Testing the parameters of research. How can the methods of research feed back into the materials? How do methods materialize?
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Ree Morton
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Critique notes for:
Heidi Holmes
Draft (Peri-Menopause) Premarin Edition
The label scent could be a stand alone text.
Material – Text is also material. The body (of the audience) is also material. What is the audience bringing to the work?
Hair standing on end – sensations. Hair is universal.
Slightness, insidious, sense.
Audience – Is it about you trying to represent the experience? Is it about trying to communicate that experience to others? Is about about saying it is present, but bringing more attention to it. The audience at Emily Carr is young – what do you want them to take from this?
Architecture is phallic and patriarchal. Creating women centered architecture. The wall here references a female consciousness or an age (or a lifetime). The structures (or metaphorical structures) that exist in this architecture have been metamorphosed and made female centric.
Vulgar
Affect
The paradox of the human hair being unsuccessful and the horse hair being effective is cruel and poetic.
Each person has a unique sensibility that they bring to the scent text. Our individual imaginations mean encounter will be different. Having the scent as text, rather than ‘real’ makes it poetic, non specific/broad.
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How to be disgusting?
The Womanhouse
Martha Rossler – Virtual Statistics
Michael Lexi – Visualization of medical tests
Diane Ackerman – History of the senses
Laura Favaretto – Carwash flaps installed in gallery
Nalini Malini – Painted portraits of women, Empowerment
Miriam Cahn – Period drawings (1980s)
Hanna Wilke
Elisha Queez
Jenny Michelle – Pulvarium
Forces, emanations, activation. What functions in the same way as heat?
What is the sound of the scent?
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Doris Salcedo – Names on rocks, water
Portraits drawn in water on sidewalk, then fading in the sun – who is this artist? Did I see it at Asia Pacific Triennial?
Use these words when presenting an idea: sketch, practice, experiment, test, under-painting/drawing, plan etc.
Offer context of concept when presenting idea.
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Ana Mendieta – the body
Janine Antoni – Venice – fibre optics
Carolee Schneemann – Abjection, the body
Nina Katchadourian – Accent coach for parents