Visual Lineage Project

Friday, December 13, 2013

Jung Hee Mun

[ J U N G H E E M U N ]

#1

A Moment to Remember, 2012

documentation of a site specific performance

in Minds, with Rhymes, on Lines , 2013

documentation of installation

For the Sake of My Self, 2013

Performative Video (triptych), 4:13 min

S H I L P A G U P T A

Singing Cloud

Object built with thousands of microphones

with 48 multi channel audio, 2008-09

9min 30sec audio loop

180x24x60 in | 457x61x152 cm

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I want to fly,
High above in the sky

Don’t push me away

We shall all fly
High above in the sky

I want to fly high above
In your sky

Can you let it be
Only your power
And not your greed

A part of me will die
By your side
Taking you with me

High high above
in the sky

While you sleep I shall wake up and fly

designboom

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Untitled
Motion Flapboard, 2008-09
20min loop70.9x8.3x10 in | 190x21.8x25 cm

"Every line appears for few seconds before it swaps to the next.

Only the words that are different from the previous line change,

and sometimes the in between characters are interchanged,

creating a visual and mental play"

Jung Hee Mun's Questions to Shilpa Gupta

Q1:Your early work incorporates sounds which stirred viewers senses in a different way that of visual from your sculptural pieces. How do your approach those elements (provoking human sense) executed (translated) through your concept and interest?

Q2:How your interdisciplinary practices came about and what do your think about new media in a context of your work?

Q3: What will be your use of sublime coming from and how do you approach it?

JANET CARDIFF & GEORGE BURES MILLER

FOREST (for a thousand years...) 2012

The Cabinet of Curiousness 2010

The Murder of Crows 2008

Q1: How do you come up with the text you are using in your voice recorded pieces like The cabinet of Curiousness? and where is the decision making happened when it comes to selecting texts for it?

Q2: How is the notion of spectacle coming to play in your work and how it balance out eery quality of your work?

Q3: What will be your approach on a notion of sublime as your element and how do you contextualize within your work?

Q4: What is your perspective on the word "Disorder"? in a context of senses and in a context of society in general?

Wednesday, December 11, 2013

Emily Marshall

Personal Works

Emily Marshall
Untitled (Mind Mapping), 2013
Chalk on Chalkboard
92"x97"

Emily Marshall
Untitled (Photo and Drawing Collage), 2013
Post-its and Notebook Paper
48"x132"

Emily Marshall
Power Snatch, 2013
Video

Artists

Raymond Pettibon

Raymond Pettibon
To Wit, 2013
Instillation at David Zwirner

Questions for artist:

1. Referring to your most recent show at David Zwirner, how do you arrange your pieces and decide how to put them together?

2. How do you where to place text in your work? Does every drawing need text to go along with it? If not, how do you decide which ones need text?

3. How do you decide what to explain? What is giving too much information?

4. When deciding on text is there a method to the font you choose? Does the font chosen carry certain weight?

5. In an interview you did with Scott Campbell you talk about collaborating with your kid in the future. What role does collaboration play in your art now? Do you always collaborate with others or are there things you do on your own?

6. What about color in your work. What stays black and white and what gets colored? Is there a specific process to this decision?

7. In your interview with Scott Campbell you talk about subject matter and nothing being off limits. But what is too much? Can you over-do a subject? Is there a point when people stop caring about the same material?

VALIE EXPORT

VALIE EXPORT
Doggedness, 1968
Video

Questions for Artist:

1. In your interview with BOMB magazine you talk about feminism is s funny thing. You describe feminists as a group of intellectuals and students who are not necessarily involved in the movement.

- What do you mean by this? Do you think they preach something and live by another set of values?

- Do you consider yourself to be a feminist?

2. You also say that your life has changed over the years and you do no think you can do performance because you do not want to lie.

-Do you not consider yourself a feminist anymore?

-If so, what made you change your beliefs?

3. In your film “Doggedness” you walk your husband on a leash through the streets of Vienna.

-What was the driving force behind this idea?

-Was your marriage an influence?

Friday, April 12, 2013

Jee Hee Kang

[Jee Hee Kang]

Untitled, 2013

[Do Ho Suh]

Specimen Series, Specimen Series: New York City Apartment: 348 West 22nd Street, New York, NY 10011 (detail),polyester fabric, dimensions variable, 2011

Staircase, 2008

Blueprint, translucent nylon

542.01 x 264.02 x 108.46 inches, 2010

The Perfect Home II (detail), translucent nylon

110 x 240 x 516 inches, 2003

Some/One, Stainless steel military dog tags, nickel plated copper sheets, steel structure, glass fiber reinforced resin, rubber sheets

dimensions variable, 2003

Fallen Star, Installation view, Stuart Collection, UCSD, San Diego, CA, 2012

1. You studied oriental painting in Korea. How do you think of a relationship between the oriental painting and your current fabric house works? Have you ever considered to bring your experience in oriental painting to your process of creating sculptures?

2. Do you feel that you chose the right materials to work with? Do you have any plan to use different sources to convey your ideas?

3. How do you see your next step? Is there anything you would like to change in your current fabric works, or you are thinking of doing totally different things and methods for your next works?

Thursday, April 11, 2013

Denise Hwa-In Yoon

Janine Antoni

Grope

1990, 84pockets from mens trousers, 47 X 99 X 47 inches (121 X 152 X 121cm)

Touch

2002 Video installation Edition of 5 with 2 artist's proofs 132 X 178 inches (335.28 X 452.12 cm) Duration: 9.37 minute loop

Moor

2001 Installation materials used in this section of the rope are: Dad's coconut husks, Joe's blue pants, Rosary beads found with Doug, Doug's grandmother's dish towel, Elizabeth's grandmother's blue and white striped apron, Mom's fall and hairnet, Grandmother Gugu's slip, Red velour Christmas dress worn by Granny Miana currently 326.9 feet

Lick and lather

1993 Two busts: one chocolate and one soap From an edition of 7 with 1 artist's proof + 1 full set of 14 busts, 7 of each material 24 x 16 x 13 inches (60.96 x 40.64 x 33.02 cm)

Saddle

2000 Full Raw Hide; cast of artist's body 26 x 33 x 79 inches (66.04 x 83.82 x 200.66 cm)

1. When you are in love, does that affect your work in positive way? Or is it better in work-wise when you are hurt by love? Or not in love?

2. Is there a behind story of your choosing these material? where does material come from?

3. Has there been any incident or epiphany that changed the direction of your work? How did you respond and why?

Denise Hwa-In Yoon

Untitled

2012, Pillow and threads, Dimensions variable, 26 X 17 X 9 inches

Untitled

2012, cutted shirts, Dimensions variable, 61 X 55 X 4 inches

Untitled

2012, Sleeveless shirts and shoes, Dimensions variable, 31 X 13 X 3 inches

Byul Han

                             Moment#1 (2013)
                                             15” x 8” x 7”
                                             Cement, Wood, Acrylic, wire

Moment#2 (2013)
8” x 15” x 7”
Cement, Wood, Acrylic, wire

Moment#3 (2013)

35” x 15” x 10”
Cement, Wood, Acrylic

Anish Kapoor

                      To Reflect an Intimate Part of the Red (1981)
                                                   Mixed media and pigment
                                                       Dimensions variable

Svayambh (2007)
Wax and oil-based paint
Dimensions variable

Cloud Gate(1994)
Stainless steel
10×20×12.8m

                          Yellow (1999)
   Fiberglass and pigment
   6×6×3 m

                                     Untitled (2007)
                                                          Stainless steel
                                                          205×231×45 cm

                           My Red Homeland (2003)
                                                       Wax and oil-based paint
                                                       dimensions variable

Questions for Anish Kapoor by Byul Han

- I am so fascinated by your works, especially the one ‘To Reflect an Intimate Part of the Red' which is made with vivid color of pigments. The colors were so powerful and the texture gave an emotional impression. How do you invent materials of your own work? I was wondering if you decide materials before beginning the work, or if you find the concept to help finding materials? Moreover, how do your materials work on your art pieces?

- When you blend the artworks in the environment like ‘cloud gate’, what do you think about the relationship between the artworks and environment?

- Your works are made in various scales from the gigantic scale to small scale. What do you think is the effect of the scale on the artwork?