https://gagosian.com/exhibitions/2004/taryn-simon-the-innocents/

The selection of images are mugshots taken of former inmates who have served time in prison for violent crimes they did not commit. The reason why I was so captivated by Simon's work was because each image was of a person who had experienced the same traumatic experience yet may have been serving different sentences for different crimes and for a different lengths of time. The image gives a sense of emotion which makes it visually stimulating for the audience, as you may question whether the injustice system really brings justice for all cases. In addition, I like the layout of the images and is a creation of a grid like typology. And helped towards having ideas for my Collection project.

https://www.menil.org/exhibitions/242-francis-alys-the-fabiola-project

"Fabiola by Francis Alÿs consists of more than 450 reproductions of a lost 1885 painting of 4th-century Roman Saint Fabiola by French artist Jean-Jacques Henner."

The art behind the process of recreating lost art is what fascinated me with this collection. The idea that what isn't found is not lost either. What also interested me to this piece was that even though each pieces is of the exact same thing, each one is so different. Again, a typology of a women looking in one direction is what influenced me to create my own of students in my class looking in the same direction questioning the audience what they may be looking at. Alÿs was similar to Taryn Simon as they both used portraiture but also decided to keep the images colour which gives the subjects and the painting individual characters and life. Where as Bernd and Holla Becher used black and white which removed the energy and life out of the gas tanks they had photographed. 

https://www.henry-moore.org/whats-on/2016/09/28/eleanor-antin-carving-a-traditional-sculpture

"she has explored constructions of self-identity, constantly pushing at the limits of artistic genre."

“Technically it is carried out in what can be considered the matter of archaic and classical Greek sculpture (peeling small layers off an overall body image until the image is gradually refined to the point of aesthetic satisfaction).”

The reason why I was so captivated by this piece was because she used herself as the subject in her art. The idea of identity and vulnerability was so clear and so raw. It could be seen as disturbing that she starved herself to make a piece of art but I see it as power and control. The idea w=that we as women have power over our bodies and that in itself is art. 

I had visited the Victoria and Albert Museum and came across another Typology where the artist had taken a photo outside the museum every 5 minutes and it shows how as time passes situation and life changes. It's like a story or a film as you are able to follow the images and see what has changed and altered. This intrigued me as it linked to both the collection and altered space themes. The idea that the space has been altered by time and how the collection are photos being framed on a wall. Dieter Meier was very clever to make this into a collection of photos instead of an video as it makes audience, myself, compare the photos and really try and find what had changed from the previous image. I liked that it was similar to my final outcome in my collection project but made me come up with an idea of taking the project further. How i could think about taking a photo across the years course of people slowly turning around in each image and showing their face which shows a story of growth. 

https://www.lissongallery.com/artists/santiago-sierra

For the past two decades, Santiago Sierra has carried out provocative actions around the world. Influenced by the formal language of the minimal and conceptual art movements of the 1960s and 70s, Santiago Sierra’s work addresses the hierarchies of power and class that operate in our modern society and everyday existence. Sierra became well known for his actions in which underprivileged or marginalised individuals were hired to perform menial or pointless tasks in exchange for money. Pieces such as Person paid to have a 30 cm line tattooed on them, Regina Street # 51, Mexico City, May 1998 (1998) or 8 people paid to remain inside cardboard boxes, G&T Building. Guatemala City, August 1999 (1999) underline the situations of labourers’ exploitation, isolation, and repression within capitalist structures. By transforming individuals into consumer goods, Sierra also highlights current sociology-political issues while challenging the intrinsic mechanisms of reality. As a result, the essence of his work can often be found exemplified in the tension that is generated and sustained between the ephemeral performance, its documentation, and the spectator. The latter is hence exposed to the edges of morality and permissibly, but also to the formal and poetic articulation of the voices of those who are ordinarily invisible or unheard.

https://actipedia.org/project/fully-automated-nikon-objectobjectionobjectivity

"I decided to shoot pictures of men who made comments to me on the street. I had always hated this invasion of my privacy and now I had the means of my revenge. As I walked along Houston Street with my fully automated Nikon, I felt armed, ready. I passed a man who muttered ‘Wanna fuck?’

This artist stood out to me mainly because I loved how she used herself and highlighted the issues with catcalling. The ideas of removing the important space, being their eyes had reminded me of my altering space project where I had removed the important space. Not being able to see their eyes but knowing that they are looking directly into the camera and at her makes the piece more imaginative and makes the viewer trust the art. Because these could be photos of them looking in a complete different direction but because she has told us that they are cat calling and looking at her we know what is going on behind that blank space. It also makes the piece become her own. Being able to take a photo and then changing it and altering it makes it become of her own. But overall, i really did enjoy learning about this piece and looking at it. 

https://www.tate.org.uk/art/artworks/anderson-jersey-t12889

Anderson applies oil paint in a variety of consistencies, ranging from thin washes, which seep into one another, to areas of more evenly applied and thicker paint. Writing about Anderson’s use of oil paint, the critic Martin Herbert has observed:

Anderson’s art with its deliberate surface thinness, most closely shadows the 1970s works of Michael Andrews, another British painter who used his medium’s slippages to signify what he felt about a subject, and who tended to let his iconography melt outward from a tight Photo realist core, as if drifting inexorably into the fault zone of memory.

Toba Khedoori is arranged in loose chronological and thematic order. The exhibition begins with large paintings on paper that ushered her into the contemporary art scene in the early 1990s. Her breakthrough came with monumental paintings on paper, such as Untitled (doors) (1996) and LACMA’s own Untitled (hallway) (1997), within which detritus from her studio floor appears embedded in the wax surfaces. Depicting common objects and architectural features and occupying a space between painting and drawing, these impressive works seem to withhold as much as they reveal. While Khedoori’s works are emphatically two-dimensional, the scale of those early paintings brings them into dialogue with the actual experience of architecture, which she often represents in fragments. While Khedoori’s emphasis the quotidian as subject matter serves as a sober update of Pop Art’s embrace of common objects, her placement of these everyday objects within undefined and thus mysterious surroundings invites an almost surreal unease. 

Her work influenced the ideas of altering a space as she is removing the area around or within the space around it. I wanted to focus on taking an image and them removing/ altering it in a way she has. 

https://youtu.be/eE7BR9HCffk (video)

 In Woman at the Window, painted in 1822 by the German landscape artist Caspar David Friedrich (1774-1840), a woman has opened a shutter to watch some boats go by. Soft gray light fills the window overhead and highlights the folds of her pleated dress. The earth tones of the dress match the shutters and the floor, and the gathers in the fabric soften the angles of the room. The woman’s head and shoulders are framed by the open shutter, which is in turn framed by the window, the alcove, and the floorboards; the edges of the windowpanes form a cross. The model for this painting was Friedrich’s wife, Caroline, and her comfortable presence in the creative sanctuary of his studio says something about the integration of work and family life and the painter’s desire to connect his interior and exterior worlds.

I love how this piece questions the audience what is she looking at or why is she looking out the window?

I want my work to also be questionable to the audience...

why is a part of the image being removed? why can't we see it? What is the artist trying to convey?

https://www.theguardian.com/artanddesign/2019/jan/30/susan-hiller-artist-conundrums-vivid-and-intriguing (news report)

Susan Hiller, a leading British conceptual artist whose video, audio and photographic installations ingeniously explored extinct languages, alien abductions, girls with psychic powers and the Holocaust. This artist also looked at the idea of things being blank and looking into nothing which links into my work where i remove a part of an image and it becomes nothing. 

Ms. Hiller’s mysterious and dreamlike art, which often made use of marginalized and forgotten artifacts of modern culture, played at the precipice between reality and the subconscious and often explored the paranormal.

“I consider that definitions of reality are always provisional, that we are all involved collectively in creating our notions of the ‘real,’ ”

https://www.youtube.com/watch?v=_VR1APW8H2I - the power of scent / Peter De Cupere / smell festival 2018

He paints with scents, produces olfactory objects, soap paintings and sculptures, creates video and live performances, makes three-dimensional drawings and build poetic smell installations.Everyone who has ever smelt his work cannot fail to recognise that his works prompt quite a reaction. You either love it or you feel attacked via your nasal senses.Smells act directly on the limb system and do not give you the necessary time and chance to translate things like you do with "sight“. Smells act on your memory subconsciously and so you associate your own subjective feelings with a specific smell.

Your attitude to the object is determined by the smell associated to the memory of a certain moment which is what fascinated me to his work. The idea where it makes the audience to think and question the art which is what i aim to do when people view the project I have created for the Altered space project. 

I decided to chose this news report as i believe that not a lot of light has been shed on not enough sympathy has been given to these people. So creating a piece that is meaningful to me and is something i am so passionate about will help me to produce something that represents knife crime and the horrors of it all. These are images of just a few victims of knife crime but their are many many more. And will continue to be more as I believe not enough has been done to help reduce that chances of this happening. 

https://www.wallpaper.com/art/damian-ortega-gladstone-gallery-new-york

Damian Ortega explores sculpture of found materials. In the first piece he finds used day to day items that we wouldn't acknowledge and place them into a glass cube which makes the rubbish become more valuable and interesting. Ortega also looked into floating furniture which is staged as if it is in a house that has no floors or walls. I love the idea of something gaining value when being places in a box or is being hung from the ceiling and floating. Another piece that fascinated me was another piece called "news and events" I had an idea that I want to do a sculpture based on knife crime which I believe is a common issue in London that not many people care enough about. Having dangerous weapons being hung in a white empty room makes the piece intimidating. 

Lubaina Himid’s Gangs are getting Younger (2008), from “Negative Positives: The Guardian Series.” Photo: Andy Keate, courtesy of Hollybush Gardens Gallery.

https://news.artnet.com/market/lubaina-himid-oldest-turner-prize-market-takeoff-1301645

Creating a common theme and problem with generalisation and how papers use gang violence to repress young teenagers in London as criminals/ animals when the truth is not every child in London associate with gang violence but people generalise us and even people like myself to associate me with what they read on the news paper or watch on TV. I want my piece to be a clear message and be blunt as I want the viewer to understand what is happening and be aware on how serious it is.

 I loved that she had covered the text with a painting of the knifes because, myself being born and raised in London, I know that the media say the same thing about stabbings nearly everyday. Covering the text with the knifes is almost makes the artist paint a clear picture to the viewer on what is happening and what has gone wrong.  As I had said before the media present these stabbings as an alert to be ware of teenagers in London instead of a memorial for the life that has been lost. The fact that the rest of the news paper isn't covered and that the news that is placed on the same page is no where near as important as a death, shows how the media have places gang violence and knife crime near non serious stories. the heading as well just shows how much the guardian care for those who have been killed "CHILDREN KILLING EACH OTHER OVER ... GIRLS" it's upsetting as a teenager myself that this is what they believe people are getting stabbed over. 

https://www.newsshopper.co.uk/news/17322657.bellingham-street-artists-anti-knife-crime-painting-after-teenagers-murder/

Nathan Bowen, 32, drew one of his demon characters with the words 'Put Down Knives Pick Up A Paint Brush' on a blank wall in Randlesdown Road. Jay Hughes, 15, was killed there on November 1 after a single stab wound to the heart. Artist Nathan, who has always lived in Bellingham, told News Shopper: "I wanted to do a piece like this for years. The stabbing was so close to home.

"I walk by that white wall every day and I thought it was the perfect spot to spread the message."Nathan has been doing street art for 10 years and his aim is to transform rundown walls and bring them to life.

I love this piece as it could help possibly change someone life or influence them to become better. It also should be a common art piece around the London and this is what I would want my art to create. I want it to remind those about those who have been killed through knife crime and remind them how many people it has effected. 

William Pope.L Discusses His Artforum Cover at CAA: "Leave Me Out of it "

artnews.com/2015/02/17/william-pope-l-discusses-his-artforum-cover-at-caa-leave-me-out-of-it/

“Should we talk about race?” Schlenzka asked.

“I’ve never had that happen!” Pope.L said. “Had a white person ask, ‘Should we talk about race?’ Usually it just happens, and then it’s like,’ Oh. Maybe we shouldn’t have.'”

The reason why Pope.L's work stood out to me was because it was to do with race and being segregated to society within America. He talks a lot about race and sexuality in his art and makes them very personal to how he believe's he feels in America. The reason why I was so intrigued in this piece of work was because it was so different to the other artists that were shown in the lecture. I love that he talks about black domestics and discusses the issues of that in his book. This image was so very raw and scary. The idea of risking your life for art, it makes the piece more terrifying and jaw dropping. I want my sculpture piece to be able to create the same feeling for the audience. I want them to view and think about all those lost through knife crime. But also in terms of my 4D work i would love to have seen the video or film footage of him creating this image. The idea of not being able to breathe psychically to then represent that as not being able to breathe in your society makes the image become a performance. I have learnt that using yourself as the piece of footage and being physically involved in the art makes it more meaningful and powerful. 

In this session we spoke about the idea of things being haptic and optic. I spoke in class about how i felt this painting was showing intimacy and closeness. It was a great way to talk about other peoples work and understand that everyone can see a piece in a different way and process it in different ways. 

https://www.guggenheim.org/artwork/5242

The work is one of Horn’s “pair objects,” which exploit the principle of duplication in order to explore the concept of unity. 

The owls’ double stare, as it loops outward and back, seems to form a figure eight (the sign of infinity) while the dual images perpetuate a constant and essential shifting between identity and difference. I loved the idea of two identical things being the same yet different. I believe that it links well with my collection project as i presented similar photos where the subjects had one thing in common but were individually very different. I love the idea of cloning and making something look the same but it's not. Making the audience try and spot the difference and wants to know why they are the exact same? In here explanation of work she talks about the here and there. And i think that is such a great way to present a typology like this where you are trying to show what is here (now) and what is there (then). 

https://www.youtube.com/watch?v=3uZ1edjeozg - video explaing what the artist had done and why he had done it.

This artists had made me think about how I have created the "Hidden Identity" video where I am covering my face with a white slab of wood and holding it up in busy areas around London. The location of this piece is what makes it so much more important. I believe that the Yellow bag over the head was a representation of a protest that was happening at the time. It made me think about the idea of doing something in an area that is not allowed. For example not wearing a headscarf in a country that makes it essential to would make the art a lot more powerful. Or having someone dress as a KKK in an area in America where their are a lot of African- Americans would also make the piece a lot more interesting. The reaction of the audience would then become the art and create a response to it. At the end of this piece from Motti I believe he was arrested and that in itself made the whole thing a lot more interesting and the experience for him a lot more interesting. 

When it came to learning how to use a camera in different ways, I was inspired by the idea of different able and doing weird positions to entertain the camera. Although I found the video weird to watch it reminded me a lot of the images I had taken when we had to test out images and panorama setting. 

https://carrollfletcheronscreen.com/2014/04/23/wood-and-harrison/

Moroccan Doors found on google images. 

These images that were found on google images is a representation of the architecture and the door frames commonly found in Morocco. I love the same of these arches and how they remind me so much of "home". I wanted to pick a place where I feel at home and comfortable. So i decided to look into my country and think about what it is that makes it a place where I feel at home. And i found these images of the arches. I then came up with the idea of creating this arch and have it placed in CSM (London) as a symbol of being from culture but just living in another culture. I also like the idea of creating something everyone can relate to. You can be from any country and have an race, but the comfort you feel once you see the front of your door it puts the individual at ease. And that is what i want the audience to get out of from my sculpture. 

Colour:

These pieces of work reminded me of the colours used around morocco and I loved the red and how the rug is matching. So it made me think about what accessorises i may want to have with the door. So I came up with the idea of having fabric hanging over the door it would make the piece feel less serious and then having two lamps of either side as it is a way to welcome people into the house and allow them to feel welcomed. I also had a rug that my mother told me is a way to make people feel comfortable so I had it laid out in front of the door almost like a door mat. 

Although this more humours art, the idea of the place that the piece is in has a relation to the meaning of the art. Which is what I also want to do with this place project. The idea of having a coke machine in a Mosque is not a common thing. However, the idea that it is called Mecca Cola has almost made it feel like it belongs there and that their is nothing wrong with it because of what is said on the machine. I love the idea of transforming something and making the area around it force the object to adapt to it's surrounding. Having a Moroccan Door in the middle of London in Central Saint Martins is almost unreal however it is a representation of culture and diversity. The idea of acceptance and adaptation. 

"Arriving at each new city, the traveller finds again a past of his that he did not know he had: The foreignness of what you no longer are or nor longer poses lies in wait for you in foreign, unpossessed places… " (Italo Calvino, Invisible Cities)

A Room for the Night is an ongoing photographic series made entirely in hotel rooms. Beginning in 2014, I have travelled around the world secretly making and photographing temporary sculptural assemblages using only the furniture and objects found in the hotel rooms I stayed in.

"I am inspired by the relationship between familiar and unfamiliar space and how the unconscious finds meaning within the objects that surround us. Because of their temporary nature, hotel rooms are perfect laboratories for exploiting these ideas. Working alone, I stack, lean and balance furniture in configurations that range from the formal to the surreal. These sculptural installations transform the mundane familiarity of the room into a theatre of beauty and absurdity. Upturned stacks of dressers and nightstands become tribal totems. Mattresses are leaned against walls to reveal garish designs beneath the sheets. Chairs and side tables are balanced in juxtapositions evoking modernist sculpture, minimalist installations and Bauhaus architecture. These installations are photographed in the austere black and white style of crime scene photography. After the photograph is taken the room is carefully restored to its original condition. By hiding all traces of my activity I transform myself into the only witness and the photograph into the only evidence of anything having happened."

The photographs combine a rigorous formal approach with humorous art historical references to examine our uneasy relationship to hotel rooms as centres of displacement and intrigue. By re imagining the hotel room as a stage upon which unconscious impulses are privately enacted, my work makes visible the hidden dreams, desires, transgressions and lonely fantasies that all rooms secretly contain. For my project I look at the idea of an object representing myself (Moroccan) but being opened in London or being placed in London. It's not looking at an idea of where it doesn't belong because I feel like I belong in both countries or any country. However, the idea of being able to open the door and chose where I want to be and belong is more of the idea I want to get across to my audience. 

The project involves the movement of a found structure, an old wooden shed, from one riverside location to another. This journey of 8 km downstream from Schweizerhalle to the centre of Basel was undertaken through the temporary mutation of the shed into a boat. This boat, a copy of a tradition Weidling, was made only with wood from the shed and was subsequently used as a transport system for the remaining parts of the structure. The shed already included an oar of the type used on Weidlings nailed to its facade as decoration. In its new location, the Museum für Gegenwartskunst, the boat was then dismantled and once again re-configured into its original form, but for a few scars left over from its life as a boat, it stands just as it once did several kilometres up-stream.

Installation view of Where we Begin at Sean Kelly Gallery, NY, 2011 During his solo exhibition at Sean Kelly Gallery in 2011 Peter Liversidge decided the only person who could install the postage pieces was the postwoman, Dana Giro. He would send the gallery numerous items which Ms Giro would arrange at the back of the gallery on her ‘postal shelf’ however she saw fit. “The responsibility for the work was entirely with her, she was the only person who could make that work.” In one such work for the exhibition, Liversidge has invited the gallery’s postal carrier to create an arrangement of found objects – rulers, t-squares and protractors, among others – that the artist has sent through the mail from London. The arrangement of these objects, displayed on a shelf in the exhibition, will be at the sole discretion of the mail carrier and can be rearranged by her during the course of the show as she sees fit. 

When it came to transporting my work I had to take it a part to paint it, then transport within sections. It took three separate days to transport the piece as I had to take them onto a bus. I then took them home and on the day of the exhibition, I took it all to CSM in two trips in order to resemble it.