Art History - S2 week 13

https://www.youtube.com/watch?v=TxcwYt-cCww

This was a very interesting episode, though it was a bit all over the place at first it did structure out nicely, everything was backed up with facts and evidence to explain in further why this was happening or what caused the artist to do what they have done. All the social issues that have earured to make this happen and make the artist decided to do what they have done. I think this was a very good way of documenting what artists do to create a voice for others, and for themselves as that's what art should be about making a voice for those who don't have the opportunity to have one or can't have a voice.

Not only has this intrigued me more to looking into these artist and see what else they have done, but it has also reminded me of why I do art and what I can do with my art to help others and stand up and give a voice for those who don't have one or struggle to have a voice.

Art and Protest

A conceptual artist who fight equality

Michele houses - homes homeless people in crisis.

A living wage,

Artist gathers power and moves together.

Art school is looking at other schools to call them for less power.

part-time = no security, on benefits

a concurrent rise in the bureaucracy of teaching institutions

1970 is coast around 10000 a year students on average to go to school more than doubled now

quadrupled for prived art schools.

over 40000 a year to go to call arts

students are being overcharged, and being trained to become part of the facility.

They also have this large loan they need to pay off that's if they can pay it off.

Arts and workers get a voice, as well as students as a lot of students, were present at this.

people are tied to intentions and being underpaid,

people who are in the workforce that are being underpaid and students who are overpaying.

Larger national problem

this situation can be fixed and changed

2007 started college, and in 2008 was the economy crashed

didn't want people to not go to school because they didn't have money

opututinity to help other people

it was a personal problem, but after a while, it started to show that it was more a social problem and was everyone's problem.

students would love to have my job but they can't have it because they can't pay off their student loan.

If you want to make change you need to be organized.

think tank session, looking at ways to deal with student debt.

value of education, not having value after educations, is education valued.

Noah Purifoy's Desert Art Museum.

Noah was in his 70s when he didn't have enough money to stay in LA and live, so he moved to the desert.

It's more like a theme park for adults to see art.

He was the freest in the desert

Nature affects process, light, shadow, heat affect what you do in the land

Artist had finical support, and galleries to display and sell in. which wasn't Noah's reality.

confrontation of the American dream vs his reality.

He was a migrant

a greater sense of African retention because of its proximity.

Due to the time period, it could have been a lot to do with racism as well.

He wanted to be a teacher and studied history.

1950 La, was working as a social worker and county hospital and walked out

1964 watts tower art center.

working with the community to make installation and sculptures with found objects.

Simon Rodia had use found objects.

As soon as he stepped in there was a raise rebellion and it was the most violent events of the 60s

August 1965 went out into the streets, collecting the debris.

Have a different view of who you are and where you fit when you are by yourself in the desert, and that was his reactions.

gathered 8 other artists, 66 singes of neon.

A statement as a tool to talk about social issues.

Art is not just something to look at.

1972 left out the art world because of how little change had happened.

works with the art council for about 10 years.

develops programs

push and pull between art and activism.

1987 he gets older, wants to retire to his art studio but couldn't because of finical backing.

aesthetic statement and talking about formal problems.

People being kicked out of mental institutions and being put on the streets of LA.

The idea of taking things and them having meaning, then putting them into a new location and giving it a new meaning.

Philosophy fueled him as an artist.

http://www.noahpurifoy.com/joshua-tree-outdoor-museum/

"Born in Snow Hill, Alabama in 1917, Noah Purifoy lived and worked most of his life in Los Angeles and Joshua Tree, California, where he died in 2004. He received an undergraduate degree from Alabama State Teachers College in 1943 and a graduate degree from Atlanta University in 1948. In 1956, just shy of his 40th birthday, Purifoy earned a BFA degree from Chouinard, now CalArts.

His earliest body of sculpture, constructed out of charred debris from the 1965 Watts rebellion, was the basis for 66 Signs of Neon, the landmark 1966 group exhibition on the Watts riots that traveled throughout the country. As a founding director of the Watts Towers Art Center, Purifoy knew the community intimately. His 66 Signs of Neon, in line with the postwar period’s fascination with the street and its objects, constituted a Duchampian approach to the fire-molded alleys of Watts. This strategy profoundly impacted artists such as David Hammons, John Outterbridge and Senga Nengudi. For the 20 years that followed the rebellion, Purifoy dedicated himself to the found object, and to using art as a tool for social change.

In the late 1980s, after 11 years of public policy work for the California Arts Council, where Purifoy initiated programs such as Artists in Social Institutions, which brought art into the state prison system, Purifoy moved his practice out to the Mojave desert. He lived for the last 15 years of his life creating ten acres full of large-scale sculpture on the desert floor. Constructed entirely from junked materials, this otherworldly environment is one of California’s great art historical wonders."

star apartments

New housing projects for formally homeless people

skid housing trust

architecture getting feedback openly and asking for t to learn what do better

changing opinion on what housing for the homeless could be

city becoming denser and denser

how do you transform?

La doesn't have public housing history

move away from single house viewing

not importing models from other cities invent a communal living

looking for balance

create for realistic spaces

people don't know we're housing conical homeless and homeless people

not having little things you taking granted

an architect can be viewed as wasteful spending by the public

can be a difference between functional architecture and aesthetic

organize space between a building to facilitate

El Mac's border murals

street art and graffiti

reversing what is happening in the art world

art of the people

touching people in a way it hasn't done before because of social media and everyone can get involved.

portraits on two different sides of the border wall, to show different stories of two different people.

El Mc's website - https://elmac.net/

"EL MAC (Miles MacGregor) is an internationally renowned artist born and based in Los Angeles. He began painting both smaller indoor works as well as public murals and graffiti in the mid '90s, and since that time has developed his unique visual aesthetic and rendering style which utilizes repeating contour patterns. His work draws on influences from classical European art, social realism, symbolism and devotional art, as well as the Chicano and Mexican culture he grew up around. He is best known for his meticulous paintings and large-scale murals exploring feminine beauty and honoring ordinary, overlooked, or marginalized people. He has been commissioned to paint all over the world, for museums, universities and other cultural institutions, including the Groeninge Museum (Belgium), San José Museum of Art (California), Northeastern University (Boston), University of California (San Diego), QAGoMA (Brisbane), Fondazione PRADA (Italy), and the Mexican secretariat of Foreign Affairs, as well as murals in Belgium, Cambodia, Cuba, Denmark, England, Germany, Ireland, Morocco, Puerto Rico, Singapore, South Korea, Spain, Sweden, and Viet Nam. For over twenty years he has aimed "to uplift and inspire through careful, perfectionist renderings of both the sublime and the humble"."