Author: sheery524474ocaacuk

Exercise 1: Place. London: Thames and Hudson by Dean, T, and Millar, J. (2005)

Reading notes:

Our perception of “place” or the “zone” is subjectively dynamic and depends of our moods, feelings and emotions.

‘While we might certainly be lost in a place, we would certainly be lost without it ‘. ( page 12 )

‘When space feels thoroughly familiar to us, it has become place’ Yi-Fu Tuan, 1976 ( page 14 ).

Place is something that is known to us, somewhere that belongs to us is a ( spiritual ) sense and to which we belong,’ Thomas Hardy, 1887 ( page 14 ).

Many Historical event are known by the place where they occured, Hiroshima, Chernobyl, Auschwitz. ‘Places remember events’, James Joyce, ( page 14 ).

Like the landscapes themselves, our understanding of landscape has changed over time, and this is true also of place.

‘Place is all-important because, there is nothing outside of place.’ Place is all that there is, the limit of all things and in this it might be considered as a divine being. Arostotle, ( page 14 ).

Place is perceived as in some sense ‘bounded’, particularly in relation to the seemingly endless extension of space ( page 18 ).

A place or a work of art can retain a profound importance for us regardless of whether we own it or not, indeed, whether we have seen it or not.

Not every place that is made it art, however; but to make art is to make place ( page 26 ).

‘Everything is somewhere and in place’ Aristotle ( page 26 ).

Research Point – Place. London: Thames and Hudson by Dean, T, and Millar, J. (2005)

Vitaly Komar and Alex Melamid’s Post Art No. 1 (Warhol), 1973

Available at : https://www.artsy.net/artwork/komar-and-melamid-post-art-no-1-warhol

Accessed: 15/04/20

An appropriation art piece of Andy Warhol’s signature Pop-art. I believe the intention was a statement on the transiency of modernity, choosing to recreate the work in a state of decay and disintegration.

Ian Hamilton Finley, ‘Little Sparta’, 1966 Finley is a true ‘Concrete and landscape poet’. His work incorporates text, sculpture, landscape and poetry and the result is very special and stunning. The article mentioned his fantastic poetry Garden work as an entire ‘place’ was created by using the text as a physical, integral, building block of his art.

Nicolas Sloan is an interesting lettering artist, working mainly in stone block carving / engraving. I’ve chosen his stone path installation although I couldn’t find the work’s name. Text carved in stone truly dominates a place, immediately associates with tombstones or a type of memorial, intriguing the viewer to take the pathway and follow the text.

Douglas Huebler, Crocodile Tears series 1984, ink and printed paper collage on paper on board. Hueblers comic art is both humorous and witty, it includes text, charaters and timeline therefore creating a full story, existing in it’s own time and place.

Dan Graham, Time Delay Room, 1974 Graham examines some experimental ideas involving the place of instructional texts: from a necessary banality, is taken into the visual front line of original conceptual art.

‘The Robert Smithson piece, A Heap of Language This work is composed of a total 152 words arranged in 20 lines forming a pyramidal shape. The work examines the boundaries between word and form and the two simultaneously existing in separate visual dimensions: shape and drawing vs. word and reading.

Doug Airken Works in an array of media, including photography, video, sound, and sculpture. Some of his works use text, as the actual canvas, screen or the space where his art takes place. The outcome is very powerful : Doug Aitken – Space – Image Link: https://d2jv9003bew7ag.cloudfront.net/uploads/Doug-Aitken-Space-Image-via-pinterestcom.jpg

Roni Horn, The Dog’s Chorus. Let Slip a Bat Out of Hell (2016). Horn skillfully uses text as a graphic media and building block of the places she takes us to in her artwork. Her work would also qualify as another form of ‘concrete poetry’.

Marine Hugonnier, explores the relationship between text and image, the descriptive and the deceptive. By removing and replacing newspaper photographs with blocks of color, she created a new function, place meaning outside the original purpose of commerce, propaganda and ideology.

Exercise 2: Developing your research skills

Notes on Katie Paterson’s ‘Vatnajökull’ (the sound of)

The piece connects listeners, rather than viewers to a distant and remote place using sound over a telephone line.

We could define the project’s medium as ‘sound’ and technological social science, the lines used to connect listeners from anywhere to a specific ‘place’ as well as forming a relation with the urgent issues our place is facing. symbolically, the project connects us to nature and the entire reality of global warming.

Researching other works by Katie Peterson:

All the dead stars (2009)

Campo del Cielo ( Field of the sky ) 2012

Future Library (2014)

Earth-Moon-Earth (2019)

In general, Katie Peterson is a conceptual scientific artist. Each of her project involves multiple philosophical exploration of space, time and nature. Her inquisitive projects include a very scientific point of view and research. Usually involving scientists as well as craftsmen ( or women ).

Future library, is a bit like ‘long player’, an art project extending over 100 years, involving place, time and an entire social community of forest care takers. As well as multiple writers who donated the capsuled texts, or manuscripts for the future library project.

In her latest work: ‘Earth-Moon-Earth’ (2019). Peterson

Exercise 3 : Gallery or site visit

Keosocheat Koem – (2020) ‘ Eyes of Mercy’ art exhibition at K’bach Gallery, The Factory Phnom Penh

The exhibition features Keosocheat’s collection of cat oil paintings, blending images of her cats into expressions of fantasy, her imaginative world and social interpretation. I’ve chosen 2 pieces that appealed to me for this exercise:

A cat face, with one natural eye and an evil looking camera lens, replacing the other through shattered glass. The nose is blocked by litter and a smoking bud.

There was no artist notes attached to the works. My observation is that is a representation of local Cambodian issues such as oppression and pollution. As well as a representation of the conflict between the natural world and the mechanical and polluted human world.

I additionally observed Socheat’s admiration and reverence for nature / animals welfare, including her beloved pets that dominate the theme of her artwork. Motifs of urbanism, pollution and mistreatment are noticeable throughout her artwork, but it doesnt seem that she dwells on the negative and leaves room for the observer to develop their own response and imaginative interpertation.

The artist: Keosocheat was born in the beautiful province of Kampot in 1993, she graduated from the prestigious Royal University of Fine Arts ( Phnom Penh ) in 2018. While studying, she would visit galleries and spent hours exploring and developing the ‘soul’ of her paintings. After graduating she dedicated an entire to developing her debut exhibition; ‘Eyes of Mercy’, a series of cat paintings in oil. demonstrating the artist’s skills and creativity, with 29 original artworks of cats painted in the company of her own cats. More importantly, Keosocheat would like to use her artwork as a vehicle to raise awareness on animal rights in Cambodia.

Her art would best fit into the surrealism category. She paints in oil, Blending realistic elements into her own vision and fantasy.

Text In Visual Art – Research Point notes

Works form the early twentieth century where appropriated words, letters and symbols were increasingly incorporated, , reflected the emerging avant-garde movements of the time. This period also saw an increasing presence of the printed word in the urban landscape and the developing sophistication of marketing and advertising.

Kurt Schwitters’s Mz.299 192

Picabia, Schwitters and Marcel Duchamp were all associated with the dada movement and rejected traditional art materials.  In Duchamp’s seminal work Fountain 1917, replica 1964, he incorporates the name R. Mutt. Here he uses text in its traditional sense by indicating authorship; however R. Mutt is the name of the factious artist -Duchamp’s pseudonym.

it was Sol LeWitt who first coin the term ‘conceptual art’ in the article Paragraphs on Conceptual Art, 1967. LeWitt, along with the text-based artists Joseph Kosuth, Art & Language, Hamish Fulton and Richard Long, represented a fundamental strand in the conceptual art movement.

 In the late 1960s and early 1970s conceptual art was established as a category or movement and language was a central concern for artists such as Ed Ruscha and Lawrence Weiner.

Conceptual art presented a shift towards ideas and systems that invited the viewer to engage with an intellectual concept.

 Lawrence Weiner’s use of language and words focuses on the interaction between the artwork and the ‘receiver’ – the audience who encounters the work in some form.

 The artist’s aim is to offer a universal, objective experience in which the reader is invited to execute the work through his or her own imagination.

Edward Joseph Ruscha IV (, roo-SHAY; born December 16, 1937) is an American artist associated with the pop art movement. He has worked in the media of painting, printmaking, drawing, photography, and film. Ruscha lives and works in Culver City, California. “The words have these abstract shapes, they live in a world of no size,” noted Ed Ruscha in relation to his early single word-works which often employ visual alliteration.

Bruce Nauman’s colourful neon text-pieces are frequently self-referential and equally as playful as Ruscha’s paintings and prints.

Martin Creed is often referred to as a conceptual artist in the minimalist tradition. Creed uses language to unsettle and amuse – both words are always apparent to the viewer yet need one another to comfort.

The Italian artist Mario Merz began using neon in 1966, his neon texts were often juxtaposed against everyday objects.

This critical reflection on modern society is also evident in Jenny Holzer’s work through her witty and provocative slogans which reference to everyday experiences and emotions.

Holzer belongs to the feminist branch of a generation of artists that emerged around 1980, looking for new ways to make narrative or commentary an implicit part of visual objects. Her contemporaries include Barbara Kruger, Cindy Sherman, Sarah Charlesworth, and Louise Lawler.

While Holzer is known for inserting her political statements into the public sphere, the German artist Joseph Beuys is lauded for his role using art for social transformation. Much of Beuys’s work was focused on the environment – many of actions would take place in the landscape.

While some of Richard Long’s walks are recorded by a photograph others, such as In the Clouds 1991 are text based. These pieces are sparse in nature, with a handful of words chosen to describe the long walks the artist makes all over the world.

Artists have, of course, also looked to language for its poetic impact and literary resonances. Concrete poets, including Ian Hamilton Finlay, explored the formal qualities of language through its visual arrangement on a page, creating sculptural works with embedded text.

Finlay was also drawn to how language shapes the world in which we live and his sculptural works entwine references to nature, the Romantic sublime and history through a combination of deftly chosen objects, poems and sentences. The garden Little Sparta, perhaps his tour de force creation, in the Pentland Hills near Edinburgh is littered with aphorisms, poems and references to ancient Greece and particularly the rivalry between Athens and Sparta.

Like Finlay, Cy Twombly was equally fascinated and inspired by Mediterranean heritage. Twombly first travelled to Italy and North Africa in the early 1950s and settled there in 1957. Throughout his career Twombly referenceed classic literature and mythology, while blurring the lines between painting and writing.

The two artist I would like to highlight as most interesting in my view are : Ian Hamilton Finley and Sol Le Witt

Case study : ‘Nathan Coley a Place Beyond Belief’

My initial responses:

My initial mental response, was viewing yet another American, Vegas style, road side sign. The text message created a wish to learn more on the context and possible meaning of the piece.

Questions I have:

What is the message and context of this text ? What place exists beyond belief ? Where is the sign located and what are the buildings in the background ?

Type of Art category:

It looks like a conceptual / philosophical questioning art installation incorporation text and everyday objects ( The lights and scaffolding ).

Initial interpenetration:

I can guess the text might symbolize a certain emotion, state of mind or situation, the artist wished to address and let the viewers reflect on.

• My Thoughts following the monologue:

Coley’s Monologue helped answer some of my questions: It shed light on the piece and included additional meanings, depth and context on was previously mysterious text piece.

•Other information found on Coley’s website:

The source of the text for A Place Beyond Belief is a story the artist heard recounted on a radio programme commemorating the tenth anniversary of 9/11. A woman recalled the collective hatred and hostility directed towards a Sikh man. Feeling shame and sadness over how this man was received and treated, the woman noted that for New York to recover it needed to become ‘a place beyond belief’.

• Where is it actually sited?

In 2012 A Place Beyond Belief was installed in a park in Pristina, the capital city of Kosovo. Sitting beside an unfinished church built during the oppressive regime of former Serbian president Slobodan Milošević, the text can be read in a number of ways, including as a potential testimony to the misuse of religious belief. The work has also been shown in Freiburg Germany and at Haunch of Venison, a contemporary art gallery in London.

• Did this alter my response ?

My initial response to the piece was quite ambivalent, as it was hard for me to connect or develop feelings with something I could not fully understand. Once I had more information on the meaning of the text, I could feel more for the piece as well as the artist’s message.

• How my views changed after listening to Coley speak about it? If so, why?

Coley’s words changed my view entirely, as I was previously ambivalent towards his work. Hearing him revealed his insight and ideas, which really helped me further relate to his statements on tolerance, social activism, religion and justice.

“A Place Beyond Belief is multi-vocal,” he says, “it could even be read as antagonistic. At the same time, sited by the church that Milosevic started to build, it stands as a testimony not to religious belief, but the misuse of religious belief. It is also next to the library: between a beacon of hope and a beacon of destruction.”

I believe context & information should essentially be available in case one wishes to investigate an art piece following their viewing. However, despite the benefits of the contextual knowledge there is an equal pleasure in approaching this kind of art without any background knowledge. This allows viewers to make own analysts & meaning before discovering more about the artist intention. In conclusion, context info should probably be available, yet hidden from obvious site.

• A place Beyond Belief may initially seemed a simplistic text based sculpture, yet once we have revealed both the stories behind the message and chosen placed location. It achieves a great deal of criticism and contemplation on society, superstition, religion & activism. There is a space for each viewer to feel and create his/her own impression on Coley’s message. This was certainly the case for me.

•I can observe several repeating motifs in Coley’s work. There are several other contextual quote works similar to ‘A place beyond belief’, such as ‘You Imagine What You Desire’ and’The Same For Everyone’. All seem to make strong statements on social injustice, equality and religion. There are also multiple architectural and geometrical sculptures.

Pick two or three other pieces that look interesting to you. His site is comprehensive, with linked reviews and articles and often video clips which can give you a more realistic view of the siting of a piece

I enjoyed the extra details on his other works from the Haunch of Venison: ‘The Honours Series’ 2012, and ‘Unnamed’ 2012

Conclusion

Throughout my life, I never felt attracted to appreciating contemporary / conceptual art. I could say I was even slightly averted as certain aspects of modern art seemed pretentious and driven by artificial hypes and a money driven and commercialized of the modern art world.

As I decided to approach our course materials with an open mind, certain works showed me new complex emotional aspects of contemporary art. Which in general expanded my views and dissolved certain negative impressions I might’ve previously possessed.

Of the works we viewed and researched, I felt most inspired by Katie Paterson’s works: ‘Vatnajökull’ (the sound of) and Earth-Moon-Earth (2019). I enjoyed her original concepts, the connections she weaves between the natural world and science. Watching her videos gave the impression she seems very intuitive and full of primal curiosity. Which is probably the essence of being an artist,

Other works I enjoyed are Sam Taylor-Wood’s video art works, including ‘Still Life’. I enjoyed the framed of the works and that she managed to dissolve certain boundaries between painting and video art.

I hope that I have successfully expanded my research skills and ability. I look forward toward working on my first assignment.

Exercise 1 -The fourth dimension

My thoughts on time: Time is much like place, dynamic and relevant to our transient emotion & perception. That is the reason the same period of time can seem to differ in length under circumstance, which depend on our individual experience as well as state of mind.

Have you thought about time in relation to artwork before? Time exists as a dimension in every art piece, or story. Art can sometimes “capture” or “stretch out” a specific moment in time

Have you already come across pieces that explore what time is? As soon as I read the question, Dali’s melting clocks and watches came into mind. They seen to represent the paradox of time and memory, or the manner in which mechanical, strictly measured clock time transforming into something subjective, fluid and flexible through human perception and experience.

Long player – Notes and interpretation

Jem Finer’s ‘Long player’ is definitely an interesting, time related art piece, especially since it is an ongoing, ever changing song as well as a social as well as experimental art project. As well as it successfully combines various ideas, medias and philosophical concepts into a grandiose art project.

I found the overall execution and ideas behind Long player very impressive, technicalities involved are rather overwhelming,

Astral inspiration is clearly observed by the positioning of the bowls, which represents planets in their orbit. As Finer explains in video interview: ‘the project was inspired by the complexity of time & space’ and the fact that the stars we look upon today, in reality existed light years ago. (J.Finer for Payne C. [Documentally video] available on : https://www.youtube.com/watch?v=NhEI3FEvxU0, accessed 10/3/21). The spectators surround the installation while the project players actively participate in playing the bowls. The sheer size of the installation, within the site related atmospheric space of the light house seem an experience on its own.

When tuning to the music stream from the light house: I must admit that although I appreciate the project, I wasn’t very impressed with the sound produced. I love singing bowls, known for meditative and medicinal sound vibrations. I expected somewhat of a cosmic masterpiece, like this example by musician Lorelei : https://youtu.be/rTvGoqwYjxQ.

Bowls can sound amazing in numbers, yet in Long player, the unique sound of each bowl seemed lost, possibly even becoming slightly irritating, random pitched bowls are played, the sound isn’t very harmonic nor interesting.

Additionally, the beautiful Tibetan / Indian instrument felt somewhat a cultural appropriation and detached from its original purpose placed in a western, contemporary art piece. Long player’s music was slightly chaotic compared with the grand presentation, impressive concept and wonderful site-specific impression of the light house performance.

The outstanding length of the music is clearly a part of a carefully thought grand concept. A thousand years is a very long time frame considering the ongoing playing of the piece involves human participants and players

I feel skeptic towards some of the element involved: I am questioning whether the song algorithm truly repeats perfectly every 1000 years ? Who could even verify? and would they be able to recruit enough volunteers to sustain the project for that long ? How about during a pandemic ? Does it really matter as the composer, his children and grandchildren would all be dead before the end.

The choice of 1000 years, plus other overalls elements in this artwork seem strongly related to millennial era atmosphere, it takes me back to the social excitement and paranoia of the ‘year 2000’ and millennial turn. Remember the fears of ‘Bug 2000’?

I am left wondering whether the project would actually last more than 100 years, let alone the pretentious 1000, meanwhile I research and read that the project celebrated 20 years: McCabe K., (25/9/20) Time Out London [article] available at: https://www.timeout.com/london/news/a-musical-composition-designed-to-play-for-1-000-years-is-celebrating-its-twentieth-birthday-092520 accessed 10/3/20

These thoughts actually became a reflection on the far future, which became interesting thoughts: would the human race last 1000 years?

Exercise 2: Interpreting video art

Sam Taylor-Wood’s Still Life:

• Your initial response after first viewing.
• The media and form of the piece.
• Contextual information – what do you think has influenced this piece? Have a quick look at some of Taylor-Wood’s other work. Does this piece fit with those? Are there other artists working in a similar way?
• How does this piece comment on ‘time’?

My initial post viewing impression: The piece takes the viewer on a little time lapse tour, into the process of decay. Watching it sparks multiple emotions: ranging from curiosity and satisfaction to sadness & anxiety. There’s an unspoken understanding that although we are watching the decay of a fancy fruit bowl. It symbolizes the end of all living things, which eventually wither, die and decay.

Media and form comments: This is one of Taylor Wood’s signature video art pieces – Composed of extremely slow, time-lapse videos with slight gradual motion and movements. The videos are framed as paintings, creating the illusion of ‘living’ Venita paintings, as well as explore the boundaries between the mediums of painting and video art.

I believe ‘Still Life’, was influenced by Vanitas paintings as well as a reflection on the transiency of life. Wood’s had produced similar themed video art works including ‘A Little Death’, where we have the pleasure of viewing a rabbit corpse gradually decompose.

Video art is a great choice for the representations of animated Vanitas, as video images are capable of capturing subjects over a timeline and allows viewers to see the full process of death and decay. Leaving a detailed and slightly shocking perspective over the temporal nature of life. This piece manages to capture time and harness the effect of time.

Enjoying Taylor wood’s Vanitas inspired video art,, I continued my research and found more Vanitas inspired contemporary works. Here are some of my favorite artists: ‘Vanitas’ by Hans Op de Beeck, ‘Death Disco’ by Jimmy Galvin and ‘Nimbus’ by Hannah Matthews. Although the works are very different in subject and media. The resulting effect is similar to the one of the classic Vanitas paintings: A perspective onto the temporariness of momentary life and inevitability of death.

Exercise 3: Analysing and reflecting

For this exercise, I’ve selected Damien Hirst and his butterflies mandala piece “deity”

My reflection:

Exercise 5: My Study Space

This would be my main study area at my kitchen lobby. My house is all mine while my children are at school. I have an additional ‘messy play’ studio space in my front garden, where I intend to use for painting. Cambodia is always nice and warm, 25-35 degrees Celsius.

I intend to work 8-12 hours per week, from my home space and occasionally mobilize and work from nice local cafés.

Introduction: What is art?

“For somebody just to walk into an art gallery and expect to understand it straight away, it would be like me walking into, I don’t know, a classical music concert you know, knowing nothing about classical music and saying oh it’s all just noise. It is quite tricky sometimes to get into the position where you can start to understand because you can intellectually engage with something quite quickly but to emotionally and sort of spiritually engage with something takes quite a long time. You have to live with it.”
Grayson Perry, Reith Lecture 1, BBC, 2013

Notes on : Grayson Perry: Playing to the Gallery

A key textbook for Creative Arts Today, is:
‘Dean, T, and Millar, J. (2005) Place. London: Thames and Hudson.

Exercise 1: Fountain

Marcel Duchamp, Fountain, 1950 (replica of 1917 original) (porcelain urinal), Image available at https://www.oca-student.com/sites/default/files/oca-content/course-pdfs/cg_ca4cat_270319.pdf accesses 12/2/2020

My impression: I can observe the type of art piece intended to confront the viewers with their own reflection, senses and emotions. I am not personally revolted by bodily functions, so my feelings are neutral, though I’m neither impressed nor moved while looking at it.

• Is technical skill an important quality in an artwork? There are many types of art and artistic expressions. Certain contemporary art is based on perspective and questioning from the viewer’s perspective, not necessarily involving a display of technical skill.
• Do you think art needs to move you emotionally? Basically yes. It should have some type of effect, yet not all art would affect people in a similar way. Viewers would and should have different responses as not everyone feels in the same manner.
•Does art have to be unique? Almost every art work produced is unique in some way, as there are multiple ways for interpreting the essence and definition of unique.

Exercise 2: What is art?

• Art is any form of displayable creation or installation. .
• We know it is art – by judging whether it had been produced in order to be viewed, if the answer is yes, it is probably art. There are infinite art forms and infinite artistic intentions, yet what they share in common is that all were produced as a personal expression to be seen, heard, felt and processed by others.
• Who decides what is art? Art is a complex and a limit-less communication language. I believe anything could qualify, as long as it’s been created or performed in order to be displayed or seen, if it makes another ( the viewer ) feel any response at all, it could be a form of art. We could even find definitions of art in the animal kingdom: For example: Displays such as mating dances, or a fancy nest construction could qualify as animal produced art.
• Is it enough just to display a found object and say ‘this is art’ because it’s in an art gallery? As long as the displayed object had been produced or placed to be viewed and processed by others, yes, it could qualify as art.

• Duchamp said he wanted “to put art back in the service of the mind”. What do you think he meant by this? Duchamp’s piece : “Fountain” is completely open to individual interpretation. Being composed of a banal, everyday object – It can spark random emotions or associations and which activate the mind & individual feeling of the viewers. This seems to have been a part of his intention.

Exercise 3: Reading about art:

Reference Note:Art History: The Basics by Grant Pooke and
Diana Newall (2008, Abingdon: Routledge). The first few pages (pp.1–8)

Reading notes & glossary:

Duplicity ( Deceitfulness)

acquiescence ( the reluctant acceptance of something without protest)

arbitrary ( Based on random choice or personal whim rather than any reason or system)

“There really is no such thing as Art. There are only artists.” p 4 (Gombrich 1984: 4)

Fine art: Traditionally been used to distinguish arts
promoted by the academy, including painting, drawing and sculpture.

Decorative arts: Works created for a function – such as ceramics,
jewelry, textiles, needlework and glass work.

A broader definition of art : Encompasses those activities
which produce works with aesthetic value, including film
making, performance and architecture.

Contemporary definitions of art are not medium specific.

It recognizes that art can be a term designated by the
artist and by the institutions of the art world, rather than by
any external process of validation.

ll definitions of art are mediated through culture, history and language. To understand these differing concepts of art, we need to look at their social and cultural origin.

Exercise 4: Looking at context

• My your first reaction to the piece: It is impressive and emotional. I feel saddened by the use of wildlife in this piece, it could’ve been replaced by a replica.
• Do you have an emotional response to it? The shark looks very much alive, which sets an emotional alert as a response. While the rational mind contradicts with the notion of the shark’s absolutely confirmed death.
• What do you think it’s about? It seems to me that the direct emotional contradiction is a bit of a “gimmick”. But it absolutely works in setting in philosophical questioning on life, fear and death.
• What do you think about the title? It is an important part of the piece. Interesting and befitting, it helps direct us in the intended course of thought.

Exercise 5: Finding out more

Whilst making your notes listen for information about:
• Hirst
• The piece
• Hirst’s other work
• Information on other artists whose work is concerned with mortality
• References to ‘time’.

Contextual information is data that gives context to a person, entity or event. In other words, context-awareness is the ability to extract knowledge from or apply knowledge to information.

Damien Hirst is a very well known contemporary artist. He’s produced famous, revolutionary/ shocking and debatable art work.

The piece exists in both the physical form and philosophical form. The name is a large part of it’s essence and questioning. It’s scary to look at while raising profound questions.

Damien Hirst regularly uses animal bodies in his other artwork: Sheep, butterflies and more. He’s unpopular with certain viewers who are also animal rights activists.

It makes your mind jump back and forth as well as raise philosophical ideas and primal fears.

The original shark decayed despite Hirst’s preservation attempts. It is unclear if that was intended or not.

Many art works are a form of attempt to transcend life ( beyond death ). Starting in ancient times, the mummies of Egypt for example.

In today’s modern art world: There are profound philosophical questions being asked, sometimes there are certain aspects of cynicism, or intentional shock. Certain viewers might speculate a grand joke might be played.

1. My location – due to my geographical location, I may have limited access to physical libraries, which may hinder my research options. Can my tutor suggest ways of overcoming this problem?

My learning cycle analysis:

What Is Research and How to perform Research ?

https://www.wikihow.com/Conduct-Academic-Research