Art and destruction by Jennifer Walden

By Jennifer Walden

Such a lot speak of and writing on paintings is ready its courting to construction and creativity. This after all takes a number of types, yet eventually the artistic act within the making of paintings works is a key factor. What occurs once we prepare artwork and destruction? This has been referenced in a few significant parts, akin to that of paintings and iconoclasm and auto-destructive artwork pursuits. much less obvious are debts of extra intimate, smaller scale 'destructive' interventions into the area of the made or exhibited artwork item, or extra singular and particularised methods to the illustration of mass destruction. This quantity addresses those lacunae via bringing jointly a few specified and extremely diversified parts for enquiry which, however, percentage a subject of destruction and percentage an emphasis upon the heritage of 20th and twenty-first century paintings making. students and makers have come jointly to supply bills of artists whose making is pushed by way of the breaking of, or breaking down of, subject and medium as a part of the artistic materialisation of the belief, reminiscent of Richard Wentworth, Bourke de Vries, Cornelia Parker, to call a few of these artists represented right here, and, certainly in a single case, how our very makes an attempt to put in writing 'about' such practices are challenged by means of this making strategy. different views have engaged in severe learn of varied damaging interventions in galleries. a few of these, no matter if as genuine staged activities in actual time, or filmic representations of precarious items, are understood as creative acts in and of themselves. while, an account integrated during this quantity of definite modern iconoclasts, defacing or another way effecting damaging makes an attempt upon canonised exhibited paintings works, displays upon those harmful interventionists as self-styled artists claiming so as to add to the importance of 'works' through acts of destruction. but different chapters offer a clean outlook upon exact and weird methods to the illustration of destruction, when it comes to the bigger scale and panorama of inventive responses to mass destruction in occasions of battle. This ebook could be of curiosity to readers prepared to come across the diversity of nuance, complexity and ambiguity acceptable to the bringing jointly of artwork and destruction

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The conscience suggested by the title indicates the inner sense of right and wrong, while the word consciousness points to the state of being aware of one’s own existence that is perhaps heightened during the destruction of the work. Yet this is no senseless destruction, instead the work seems more redolent of a sense of individual human enquiry as the foot and weight of the body is shifted onto the delicate china tile. The effect of so many feet ground the tiles to dust, a material subsequently used by Twomey, which is possessed of strong associations with ephemerality, memory and loss.

Issue 17, Autumn 2009 Moore, Gregg. 5. , Issue 17, Autumn 2009 2 Thing/Thought: Fluxus Editions 1962-1978, MOMA New York, 21 September 2011 – 16 January 2012 3 Give & Take, Serpentine Gallery, London, and Victoria and Albert Museum, London, 30 January – 1 April 2001 42 4 Chapter Two Neil Cummings interviewed by Janet A. Kaplan, ‘Give & Take Conversations’, Art Journal, Summer 2002, p. 75 5 Dropping the Urn: Ceramic Works, 5000 BCE – 2010 CE, Victoria and Albert Museum London, 15 October 2011 – 18 March 2012 6 Gregg Moore and Richard Torchia, ‘Doing ceramics’, Ai Weiwei: Dropping the Urn; Ceramic Works, 5000 BCE – 2010 CE, Arcadia University Art Gallery, Pennsylvania, 2010, p.

That could not happen to the objects kept in trust for the public by the V&A. By bringing traces of overt destruction into the museum space, the museum reawakens not only the value we place on the objects in the museum but also our awareness of the museum’s unique role in preserving them. It presents us with the possibility of the alternative. Finally, let us turn to a project in which the museum in question apparently did do the unthinkable – offer up the objects in its collection to an artist, for potential destruction.

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