Laurie Anderson

For example this image above;

Zero and One

http://www.youtube.com/watch?v=r3l9wwp_srg

Its a bit strange but if you keep watching till the end then it talkes about codes and binerie codes all made up from 0 and 1's. And how close the numbers are but there also very far apart.

Simon Patterson

http://www.nmm.ac.uk/explore/art/new-visions/simon-patterson

Simon is a Goldsmith’s graduate, born in England in 1967. His best known work is “the Great Bear” completed in 1992, a subversion of the London Underground map, where station names are replaced by the names of philosophers, film stars, politicians and other celebrities.

Courtesy the artist and Haunch of Venison © Simon Patterson and Transport for LondonReworkings of diagrams and maps are a regular occurrence in Patterson’s practice. The Great Bear (1992) departs from Harry Beck’s London Underground map, inserting a rupture between information and its representation. In this instantly recognizable chart, physical distances are inaccurate yet navigational relationships are communicated with the greatest clarity. In this artwork, named after the Ursa Major constellation, the East London Line becomes ‘Planets’, the Victoria line ‘Italian Artists’ and British Rail ‘Thirty Comedians’. One can travel from Venus to Captain Cook with only one change at Kate Adie, or from Columbus to Kierkegaard to board the mainline train at Oliver Reed. In reading these seemingly unlinked names, one cannot help but draw on memory and imagination to try and make sense of this renamed world where time, space and understanding collapse and reform anew. Visually the map appears to be familiar but inspection reveals an entirely different system. This, though, is a second untruth: the map today is obsolete. In 1992 the East London Line ran from Shoreditch to New Cross and the DLR stopped at the north bank of the Thames. A similar subversion takes place in Cosmic Wallpaper (2002) – seemingly a star chart communicating a school-book representation of cosmology in wallpaper form. Scrutiny shows that it is not the skies above that are being communicated but a portrait of the heavy-rock band Deep Purple, charting their line-up changes, spin-offs, groupies and outputs. In The Great Bear and Cosmic Wallpaper, Patterson reveals the ways both his sources and modified versions portray objectivity as an approximation that is hampered by an inevitable future obsolescence.

Other pices of his work that I found interesting are:

The Undersea World and Other Stories; The National Maritime Museum, Greenwich.

It opened in spring 2008 with its main themes central to the collections and research at the National Maritime Museum (NMM). The Museum unpacks the material cultures that result from human attempts to find their place in the world, be it mapping the skies above, the ocean depths below, or seeking relationships across time and space. Such structures form frameworks of understanding that are bounded by limits of knowledge and distributed through language.

Tony Cragg

Britain Seen from the North 1981

The work here that Cragg has done he has used found pices of plastic that he found then aranged the coulders on the wall in to a picture using the difrent coulders as shading. He first came about using rubbish as one of his materials when he was a student in 1969 and the cost of buying the materials was to exspentcive. At that time in Art, artists were looking more into nature and the industrail world and the big question on The Enviroment came into view, so using rubbish was the normal at that time.




He is British sculptor, born 1949 in Liverpool. He first studied art on the foundation course at the Gloucestershire College of Art and Design.

http://www.sculpture.org.uk/biography/TonyCragg/

An artist of great international acclaim and immense energy, Cragg has developed more possibilities in the making of sculpture than any other sculptor since Henry Moore discovered the 'hole' as positive space. He has employed more materials than most, and tested them to their limits through a wide variety of means, so that he seems to be one hundred sculptors at any one time. Cragg's contribution to the debate on contemporary sculpture practice is considerable. Early works of the 1970s were mostly made with found objects through which Cragg questioned and tested possibilities. Later pieces demonstrated a shift of interest to surface quality and how that could be manipulated, and a play with unlikely juxtapositions of materials. Results vary from the exquisite to the grotesque, from the refined to the crude, in bronze, steel, plastic, rubber, glass, wood, plaster and more. Tony Cragg was elected Royal Academician in 1994. In the summer of 1999 the forecourt of Burlington House housed an installation of his new work. These complex bronze sculptures demonstrate his mastery over form and material. A solo exhibition, A New Thing Breathing, was held at the Tate Gallery, Liverpool, in spring 2000 and five monumental sculptures formed the first exhibition on the Terrace of Somerset House, London in autumn 2001.





In an interview with Radio 4 he talks about a triangle of Image, Material, Oject. The Image was importaint but then he would look at the material that he had made it out of with then made him look at the object that he has made.





He's says that the majority of his work resolved around that during 1982-1983. Soon after this time he desided to go back in to his studio and go back to basics with exspramenting with new materials eg. sand blasters, making models ect...





His inmrestion of what he wanted his work to look like used to get sent away to craftmen to get made. However when it came back he use usally very disapointed with it. This then gave him the idea fo getting assestent to assest him in makeing his work. Everything that is done to the pice would get cheaked then re-cheacked over with him before it would go ahead. Some quotes that I picked out of the interview:

"Making things is an exsperance", "You have to lisen to the material"

Lucy Skaer: Turner Prize Short List

This pice is on a table, to me this looks like a hand jestuer. It makes me think that somone who sits at this table is/has been getting agravated over some work that there doing or trying to do.

Carved out whales head. She has put the walls around it so that a veiwer has to peir inside it to get a better look at it, probubulie spending more time looking over it.

http://www.guardian.co.uk/artanddesign/2009/dec/04/lucy-skaer-turner-prize-profile

Jackie Donachie

Jackie is the resadent artist at Bellahuoston Park this year and is considering on making something that gives the frelling of fleeting. (Jackie often thinks of a frelling or a emotion to give hur work)
She likes seeing things that have been adapted in mordern life, eg. a band stand- No bands being played now, so its use has changed to being a shelter for poeple to sit under out of the rain.

In hur elear work she also used the concept of things seen in every day life, but not apperashated. She did this in a exebition called Dear wifes, where she painted the floor a bright yellow and attatched scafilting poles to the floor, like single cimbing frams (Didnt realy understand this work very much, to me the room seemed to bright, and didnt realy understand why scaflding poles joined together had a in depth meaning)

Another pice of hur work, that I found interesting was 'South'. This was a large round polished disc which was heated, she wanted to allow the viewer to relaxe and ly around it, as when she went to visit the sight it was mid winter and everyone was hudling around each other. Thus hur wanting to give hur work a relaxed feel to it, also alowing the viewers to sit and hang out around it.
On the opening night she boroed a massive snake to place on it which turned a frew heads.
I really liked this pice of hur work.
It is simple and realy cliverly tought out. I like how she had a snake on it on the opening. It gives me the thought of something which could be cold polished concert some life to it, with the warmth invinting pepole to relxe, and haveing the snak on it on the opaning, gives me the impreshion of the heat inside the disc moving around cashouley/slowley, almost surging as the snake moves around it.

In hur talk she also talked about a building in Inverness (hospital) that she was asked to help desing some art work for.
She found intersting pices of old hospital equipment and photograghted them, then put them on these large wall mounted light boxes in pairs. I liked this because the objects were really nice photografes, but creepie is the same way as you didnt know what they could have been used for.
She also used hur bigh disc here in the main garden of the building (she designed the main garden, as well as a kitchen area, and a setting area made from timber form a wood shop at the bottom of the bilding sight)

She also worked with a lady called Cristen Burk who was also an artist/sculpoer. She designed the abstract pices of work inspered from the Feshie river, Glen Affric, clowdes and some more. These were very abstracted, and brightly coluered. There were like a fram, just giveing very little information on what they were showing. The coulers chosen for them realted to the photografe that they were taken from, eg. the Freshie river, the water boiles looked orange there for this fram was orange.

(couldnt find any picture's on the web, but she has some books out)