Artist as Curator

The word curator comes from the word Curare, a Latin word meaning to take care, whereas it is now recognised in the Oxford dictionary as ‘A keeper or custodian of a museum or other collection'(Oxford University Press, 2014). This topic of Artist as Curator is becoming more known and further discussed, with university courses now teaching Curation, or in our case at PCA ,the role of Artist as Curator within Ba (hons) Fine Art, Critical and Curatorial Practices. The discussion leads us to question whether the two are different and how this affects authorship and hierarchy.

Throughout my degree I have developed the curatorial within my practice, this ranges from the curatorial decisions I have made when displaying my installation to group projects where I have collaboratively Curated others work. Alongside this I have been very keen to greater my understanding of these roles and other’s opinions on these too. An example of this is the texts within Mouse Magazine, a discussion of the role of Artists as Curator, edited by Elena Filipovic. The magazine discusses various elements of curating including its development from the history of curating and it’s realisation in the present.

An Example of a well known ‘super curator’ is Hans Ulrich Obrist. Obrist is an illustration of a Curator that classes his practice as artistic. Obrist explains the need for curation and how this element is what finalises artwork to an exhibition.

‘Today, curating as a profession means at least four things. It means to preserve, in the sense of safeguarding the heritage of art. It means to be the selector of new work. It means to connect to art history. And it means displaying or arranging the work. But it’s more than that. Before 1800, few people went to exhibitions. Now hundreds of millions of people visit them every year. It’s a mass medium and a ritual. The curator sets it up so that it becomes an extraordinary experience and not just illustrations or spatialised books.’ (Obrist, 2014)

Personally since the beginning of our Curatorial sessions within my Fine Art degree and through various visiting lectures and reviews. I alongside the remainder of the curatorial pathway have realised the importance of curation and how approaching this can strengthen an artistic practices’ concept. This experience has enhanced my knowledge of contemporary art, and allows me to critically asses exhibitions and how curation may or may not affect the work that is being exhibited.

When reviewing authorship of exhibitions a good example of an influence is Hans Ulrich Obrist, he believes that as a curator he is there to be a equal partner in the final exhibition this allows us to remove all sense of hierarchy and see the exhibition as a collaboration of artistic practice. This is how I would like to further my curatorial practice. Personally, I have had a lot of experience working with galleries, whilst working as a project assistant at KARST not once have I felt that my work their was undermined and collaboratively we work as a team to produce exhibitions and  to contribute to the smooth running of the space. Within my role I often get the opportunity to assist artists in the technical side of building and realising their work for an exhibition. Within this environment I have never felt subject to hierarchy and feel this is the atmosphere that is needed in contemporary society. It is for this reason that I aim after completion of my degree to continue to work within arts institutions within Plymouth in an attempt to fund my own practice.

When discussing the label of Artist as Curator, it is still under major debate due to previous ideas of art and curating throughout history, in some ways I can refer back to an Artist talk I visited at PAC Home, where Carl Slater explained that he would refer to himself as a Maker, he makes exhibitions and he make artwork, whilst being the co-director of KARST.

I am an Artist, I am a Curator, I am a Maker, I am Jem.

 

References

 

Curator. (2014). In: Oxford University Press, 1st ed. [online] Available at: http://www.oxforddictionaries.com/definition/english/curator [Accessed 3 Jun. 2014].

Theartistascurator.org, (2014). The Artist as Curator. [online] Available at: http://www.theartistascurator.org/ [Accessed 5 Jun. 2014].

Obrist, H., Jeffries, S. and Groves, N. (2014). Hans Ulrich Obrist: the art of curation. [online] the Guardian. Available at: http://www.theguardian.com/artanddesign/2014/mar/23/hans-ulrich-obrist-art-curator [Accessed 4 Jun. 2014].

 

PAC HOME talk – Carl Slater and Mark James on ‘curating’

PAC HOME talk – Carl Slater and Mark James on ‘curating’

What do artists expect from curators? Questioning Authorship, License and Hierarchy of the artist or curator.

Karst – Artist-led Carl did his degree in London, his first curated project was in a medieval church. He believed that he wasn’t so much the curator but a curator of events. It’s all about programming events in a sort of ‘Project Based Practice.’
Mark James did an Ma in Curating and worked at Baltic with Claire bishop. He has previously worked as a Programme assistant at Plymouth Arts Centre and done work within the Peninsula Gallery however he felt his role lacked the control he wanted.

Carl went on to talk about the Label system; explaining that it is awkward. He questions himself, What is it he really does? Is he an artist or director. In answer to this he labelled himself and everyone else as makers ‘We are all makers’ Slater,2014

Another question he feels he is often asking is Are you a Collaborator or is it an Collaboration? Then leading on to bear in mind that everyone talks about a good show, yet everyone talks about a bad show too. He described his journey for both him and Donna at KARST as a roller coaster ride and where about do their roles stop? Further explaining that Donna and himself provide the frameworks for KARST

LIE- Library of Independent Exchange, Mark James and Chris Green. Mark explained how they had made a form of curation within a book, with 50-100 items for published matter for £7. They selected these works to be published through people they had collaborated with and or enjoyed the work of. On Networking carl remarked that ‘unless you ask you don’t get’ and Mark promoted opening’s in a way that all student’s can relate to. ‘ Go to opening’s the drinks are free! Once a month you get to get tipsy for free’ (Mark)

To Finalise the talk Carl talked about variety at Karst ‘To be a Curator or to work on curatorial projects’ and ‘ to programme and curate are two different things yet are also indifferent.’ Slater, 2014I found this talk really interesting as not only did it give you the opportunity to learn more about KARST and L.I.E, it also allowed a informal discussion of the role of artists and curators, ensuring no hierarchy in the event itself.

Reflection

My installation of Vibrate has been successful, it combines both artists practice and curatorial practice to create a well balance piece.

What worked well…

– The filming of the performance went really well, I was able to get the 12 and half minute video done in the second shot to a standard I was extremely happy with.
– The consistency of interests within my artistic practice and research allows me to strengthen the curatorial development of my practice further strengthening its overall concept.
– The development of my practice has been continuous throughout different projects, allowing crossover of artists influences.
– The re-recording of the sound work, couldn’t of worked any better, was extremely pleased with this.
– The development of using white noise throughout the piece allowed the piece to run more smoothly and finalised the piece.

 

What could have been better…

– The knowledge of recording the sound in the right way first, could of saved time.
– Checking colours of light with manufacturer before ordering.

What next…

If I were to develop this work further I would of liked to work with live performance, this would  be a continuation of these concepts, the work itself would consist of a performer and a dildo. Within the performance I would aim to stress the continuation of curling the hair around the didlo alike a curling iron, and the repetition when nothing happens. The hair would fall straight down to its natural form again, this would represent the ideals that a woman has to be sexy.

Making Vibrate

We managed to get the filming done in one day, wiht the help of Reiss Portman (technical) and Helanie Moore (performer).

Recording Equiptment:

Zoom Recorder,
Boom mic,
Lighting,
Tripod,
Cannon D600

Previously I had thought about filming from behind and having a keyhole boarder by this restrained the view of the actions of the ritual so I decided to try shooting the video from a side angle. Below is a screenshot of this video:

First Video (tester), Screenshot

After replaying this video I had decided that I wasn’t very happy with the shot, when Helanie moved in to do her makeup it would often cut out her face or other parts of her body, I also didn’t feel as if as a viewer I could connect with her as a performer like this. I also found her hands crossed over the camera too much when picking up objects.

I then moved the camera closer to the mirror and slightly higher this allowed me the closest shot to front on as possible, we also moved Helanie’s make up to her right side so she wasn’t putting her arm across the camera, this shot worked a lot better, we were also able to aim the lighting so that when it would be switched to black and white the background would have more contrast and appear more grainy. This also allowed me to make further links with early erotica I had previously researched for the installation Sex, Lies and Videotapes. The following shot is from the final video:

Final Video, Vibrate

 

I was able to do all video editing on Final Cut Pro, which is software I have never used before, and I am extremely please with the outcome, however when reviewing the sound recordings I had made to go with the video I had various problems the main one being the Boom Mic had picked up every noise, not just the vibrations when necessary. Firstly I cut these recordings down and tried every possible way of reducing the background noise but this didn’t help at all. After a brief chat with the tutors, it was obvious the sound was really letting the piece down. The next day I booked out just a zoom mic, I spent the day in my room, sat watching the video and imitating the movements with the vibrators, moving the sound closer to the mic when Helanie moved the mic closer and doing flick movements when necessary. This worked better than I ever could have imagined. The only issue was that there was still fair amount of background noise, and in future it would be a better idea to book out a sound booth as a lot of recordings were ruined by talking downstairs. After making over 60 recordings, I went back through and played them alongside the video to see which ones synced the best and had the least background noise. I used the remained of the recordings to cut and make by own white noise to be played through the video. I really enjoyed learning to use new software for this project and although at times I was a little out of my comfort zone, I feel I thrived and have produced a better piece than I had even imagined. I am definitely hoping to work with video and sound again on future projects.

Hannah Wilke

Within the daily ritual I was confronted with question do I want the performer to be naked or not? This lead me to the work of performance artist Hannah Wilke, various of her pieces were questioned due to the nude content allowing the viewer to question whether or not this was objectifying the female form or expressing it? This idea of the nude can lead us back to Berger’s theories implying the awareness of being viewed as naked. Luckily my performer had given me the option that if I had wanted her to be naked she would have done so. After much consideration and asking various women in what state they do this ‘ritual’. I decided that it would be best to dress the performer in her underwear and silk dressing gown. As an artist I also had to bear in mind that I wanted the performer to be as comfortable as possible in order to make the piece relatable and genuine.

Clar, A. (2006) Ana Mendieta. Toledo: Clamor Magazine. Available from: http://clamormagazine.org/issues/38/people-web.php (Accessed 2nd June 2014)

Ana Mendieta

When researching into ritual within performance I came across Ana Mandieta, her work usually forms in an autobiographical nature to which she focuses on identity in a cultural origin. There is an interesting feel to observing a ritual permitting the viewer into a sacred ceremony usually unseen unless participating. This idea of sacred rituals can be appropriated to the daily ritual of the morning schedule. To which as women we awaken and do our hair and makeup (a creation of identity) within the comfort of our homes or rooms. Vibrate allows a insight into the development of medias influence on identity and its progression into what could be deemed as a sacred ritual of women.

 

Manchester, E. (2008) ‘Marxism and Art: Beware of the Fascist Feminist’[online]. London: Tate. Available from: http://www.tate.org.uk/art/artworks/wilke-marxism-and-art-beware-of-fascist-feminism-p79357/text-summary (accessed on 1st June 2014)

John Berger, On the Female Nude, Ways of Seeing, 1972

John Berger’s On the Female Nude, Ways of Seeing, 1972.

Berger talks about how from early stages women has always been portrayed to be vain, this was illustrated through paintings. Within early European Oil paintings women were often shown to be nude, looking at themselves in a mirror or with men watching over them. He discusses the speculation that the mirror was used as a symbol for vanity and it helps to show how women were taught to survey themselves. Expressing further that every glance represents a mirror, reminding ourselves of how we should look.

With regards to how Berger influences my piece, is when assessing the development of vanity to contemporary society, this isn’t just subject to ‘the male gaze’ this development of the need to look a specific way is also down to the media and its pressures on body image. These pressure’s suggest that as a woman you have a duty to wear makeup in order to be pretty, and be recognised (becoming a social norm). We are taught that we must enhance certain aspects and hide other in order to be beautiful and sexy. Vibrate helps to explore this ritual behaviour of beautification.

 

WAYS OF SEEING Episode 2: The Female Nude. 2014. John Berger.

Rocio Boliver – Sex

As already discussed in my initial proposal for Sex Lies and Videotapes, Rocio Boliver is an artist who also challenged censorship and the forbidden. Through the use of performance she uses these as a tool to deconstruct her own beauty through the elements of pain and sex. Alike my practice, Boliver feels that by having the ability to discuss and express these views she can empower her own self, however then awakening others from the monotony of contemporary society. Although in some sense the public may question whether or not her performances are made to shock, Boliver explains how it is simply an interest in this iron curtain that is created and how if it were another subject that were censored then that’s what she would explore.

Rocio Boliver, la congelada de uva. 2014. rocio boliver, la congelada de uva. [online] Available at: http://www.rocioboliver.com/ [Accessed: 15h May 2014].

Edward Kienholz – On Exhibit 1966

When realising the importance of the curation of my piece and how this affects the audience, it is relatable to research of Edward Keinholz video On Exhibit, 1966. Within the video Kienholz references how we as an artists and curator can provoke a viewer to feel a specific way, and example of this is the piece Back Seat Dodge ’38, 1964. The piece itself captures to teenagers making love in the back end of a car, the placement of beer bottles and other objects allows the viewer to speculate the goings on. Within the video we can view the audience reaction to this piece, as at the time this was very shocking and the piece had ended up being censored to 18+. At this stage the exhibition was deemed pornographic however this is subtle compared to content in contemporary society. The installation of Vibrate takes this ideal into consideration, the video piece references sexual apparatus in a subtle way, through the ritual of make-up. This is not in any way an attempt to shock the viewer but it suggests a consideration of the acceptance of these apparatus.

Steel, J. 1970. Keinholz On Exhibit. Available at: https://archive.org/details/kienholz_on_exhibit [Accessed: 10 May 2014].

Curating Vibrate

The curating of the piece was highly influenced by the ideal of cinematic seperation which is discussed in Laura Mulveys Visual Pleasure and Narrative Cinema, 1975. Within this text Mulvey talks about the erotic elements of the spectacle and further elements of voyeurism, in terms of cinema experience and objectification. It is claimed that the use of light, darkness and shade can heighten the voyeuristic experience. This suggests to the viewer the ideas of exhibitionism therefore allowing a viewer to connect with said performer in an attempt to release repressed sexual desires. It is for this reason I had previously had the ideal of using one chair within the room to allow a one to one experience with the screening. However this alike my previous works should be up to the viewer to decide whether or not they want to connect with the piece. For this reason I will be having a small plaque on the wall explaining how the audience may close the door behind them when entering the completely blackened room at their own discrepancy. An example of an artist who uses similar elements in their work to manipulate the viewers experience in Kohei Yoshiyuki’s The Park, 1972, exhibited at the Open Eye Gallery at Liverpool Biennual in 2012. The application of darkness and light (within the handheld torch) suggested to the viewer the voyeuristic experience upon viewing the pieces in a blackened room.

Within our Summer show meetings I had requested the small black room upstairs for my installation, I had been advised that Helanie’s installation would be in the small white room opposite and Joe’s video piece would be screened in the Seminar room. This worked well as I was aware that by having my video on loop with others it would change atmosphere of the space so I preferred having my own installation. Also due to discussions with the fellow artists exhibiting upstairs we were able to realise that each of our installations would no affect eachothers.

Within the set up of my install some of my curatorial decisions had to be adapted for instance the use of dim lit red light to highlight the red leather chair and to enhance the grainy texture of the video. This experience of having to adapt my work allowed me to realise the curation of the piece and allowed it to develop into a stronger piece entirely. Upon installing my red light not only was it bright pink it was also alot brighter that I had anticipated, this affected the video and space  by changing the atmosphere of the room in a different way, it was for this reason I decided to remove light altogether allowing the viewer to fully submerse themselves in the action of the video and the sound alongside it.

Visual Pleasure and Narrative Cinema. 1975. [film] Laura Mulvey (Accessed 27th May 2014)