Section 1 (b); 2

8 Marks

(a)   What can you infer about the relationship between artworks and audiences from these photographs (Plates 3, 4 and 5)?

Plate 3: Photograph of audience viewing Jeff Koon’s installation, Puppy, 1996,

steel, live flowers and soil, 12 x 2.5 x 6.6m

Plate 4: Rosemary Laing, Groundspeed #2 (carpet forest floor), 2002,

C-type photograph, 110 x 205 cm, ed. of 15

Plate 5: Rosemary Laing, Groundspeed #17 (Rose Petal, carpet forest floor),

2001, C-type photograph, 110 x 205 cm, ed. of 15

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17 Comments

  1. tom house said,

    All three of these artworks are based under the assemblage process and all create an effect to the audience of humor. This humor creates the relationship, e.g Puppy is a work from Jeff Koons where it would attract a large audience of viewers due to the viewer relating to the work. It is a cute Puppy, which would lead to the relationship of the viewer. All three of these works create irony which leads to the humor created which is where the relationship is created.

    • partridgem01 said,

      Thomas this is way to short for a response to question 1b, you should be aiming for about 3/4 to a full A4 page.

      In your first sentence “All three of these artworks are based under the assemblage process” are you sure this is correct as the Rosemary Laing work is actually a digitally manipulated photograph.

      You have attempted to discuss the Puppy artwork however this needs further development, perhaps read through some of the other responses submitted by your fellow peers and see what you failed to mention. You have also failed to discuss the Rosemary Laing’s work at all.

      Thomas this is a poor effort and I expect that you will correct and add to over the next week.

  2. Bree Borg said,

    When looking at plates 3, 4 and 5 we can see that they are all connected to the audience due to the fact that they are outside. They draw the viewer in to observe the beauty and realistic features.

    Plate 1 is of Jeff Koon’s puppy (1996) installation. At the time this artwork was critiqued as it was not seen as a form of art.
    The main aspect of ‘puppy’ was that due to the fact that it was an installation and not inside the gallery it was not seen as real art. Because puppy was outside it made it accessible to all audiences, not just people who knew art and attended the gallery. Puppy is a form of parody and humor because it can be recognized by all people and most people of the audience can relate to it as it is a common household pet.
    Plate 4 and 5 are ‘groundspeed’#2 and #17 by Rosemary Laing. They are also both installations because they are not inside the gallery. Much like ‘puppy’ the audience can view the artworks even though they may not be attending the gallery.
    Having these works outside the gallery allows the audience to look at art in a new light.
    the main connection with all of these works is that they are all outside for anyone to see. none of them are permanent works and they are not protected by the natural elements. they must frequently be maintained if the artists wish for their works to remain there.

    • partridgem01 said,

      Breanna in your first sentence “When looking at plates 3, 4 and 5 we can see that they are” you have used first person ‘we.’ Remember no first person, rather say the audience or the viewer instead.

      In your second sentence “they are all connected to the audience due to the fact that they are outside” and a sentence further on “They are also both installations because they are not inside the gallery” are you sure this is correct as the Rosemary Laing’s work is actually a digitally manipulated photograph therefore it is not outside or an installation. These points are perfect when discussing Puppy but just be careful that you read the materials used to create the work as these can give you a deep insight into how the piece is constructed.

      Where you have stated that the “artwork was critiqued as it was not seen as a form of art.” you should try to use a quote to back up this statement, or even outline where this information was found.

      Never start a sentence with the word ‘because.’

      Great to see you integrate terms such as “parody and humor” linking your argument back to the postmodern frame.

  3. Bec Stead said,

    Within plates 3, 4 and 5 it is evident that each work has a strong connection with it’s viewing audience. Plate 3, Puppy by Jeff Koons is an installation of a monumental sized dog. The sculpture is placed within a public domain allowing passers by to view the piece and connect with it. It has not been placed on a plinth in the middle of an art gallery where it’s audience would be limited to art goers but instead it has been constructed somewhere were it’s audience has no limits and is open to anyone in the vicinity. Plates 4 and 5 by Rosemary Laing depict a forest floor covered by carpet. The audience is able to connect to the installation due to its location and positioning.

  4. Andrew Gangemi said,

    What can you infer about the relationship between artworks and audiences from these photographs (Plates 3, 4 and 5)?

    As you can see in plates 3,4 and 5, some artworks are produced at a bigger scale to your average canvas sized artworks. These artworks infer a stronger relationship with audiences from every aspect of society, not only art enthusiast. A pure example of this stronger relation ship between art and audience would be the image in plate 3.

    Plate 3 is a photograph of a giant puppy and an audience viewing the oversized puppy. This artwork can appeal to everyone in society because of many factors. One, it is a giant puppy, two, it is very outrageous and entertaining to view as a piece of art on the side of a street and three, who doesn’t think puppies are cute. To many artists, this type of installment art can be seen as a greater means of expressing art and producing art on a wider scale to reach all audiences.

    Plate 4 and 5 are both artworks of bigger scale but are produced in more secluded areas then plate 3. This does not mean it does not have a strong relation ship to the audience. These can still produce a very strong connection with the audience through creating brilliant and mystical landscapes that are not just painted. But are real.

  5. Clare said,

    Many artists’ purposes is to engage the audience with their artwork. In doing this postmodern artists don’t usually have traditional artworks that hang in a gallery. This is particularly true of Jeff Koons’ installation ‘Puppy’ (1996) and Rosemary Laing’s ‘Groundspeed #2 (carpet forest floor)’ (2002) and ‘Groundspeed #17 (Rose Petal, carpet forest floor)’ (2001).

    These three artworks have been designed in such a way to capture the audiences’ attention. Not just audiences from the art world, but also the general public. This is highly due to the fact that particularly Jeff Koon’s Puppy, is 12 x 2.5 x 6.6m and contains live flowers. The huge structure of an artwork easily attracts audiences attention and the viewer may feel personally connected with it, or else puzzled by the unique idea and form of the work.

    Rosemary Laing, however created artworks what are photographs. Although the viewer may not be as connected with a photograph, at one point they had to be composed in some way or another. The idea that a forest could be carpeted with rose petals, is a unique idea and there is therefore a strong relationship between the viewer and the artwork. Rosemary Laing has managed to capture the audience through her unique ideas.

    These unusual ideas of these artists challenge mainstream audiences and questions what art really is. The idea that art doesn’t have to be a traditional artwork in a gallery shocks the viewer and yet makes a connection with themselves and the artwork.

  6. Joanna said,

    The artworks Plate 3, Jeff Koon’s installation, Puppy, Plate 4 Rosemary Laing, Groundspeed #2 and Plate 5 Rosemary Laing, Groundspeed #17 convey the idea of man made nature. Plate 3 shows how Jeff Koon has taken a part of nature and manipulated it into man made arrangement of plants and flowers. Within Plates 4 and 5 the idea of man made nature is conveyed again through the use of man made carpet being place in the original place of the forest floor. This technique in which Rosemary Laing has used has made her audience view nature in a different light.
    All three Plates are challenging the mainstream idea of not only what art is but also what nature really is. Therefore causing their audiences to question their beliefs of nature and the world surrounding them.

  7. Chelsea McDonald said,

    Each of the plates above are located in a public, outdoor area. This is for all people to see and experience which changes the perspective of the artwork because they are not presented in such a way as not being behind security in an art gallery.

  8. Kim said,

    The works of Jeff Koons and Rosemary Laing are installations in which have presented to the audience to receive reaction and interaction. In the Jeff Koon’s puppy, he has appropriated the image of a normal puppy by creating a much larger version as well covering it with flowers. This in terms of the audience’s relationship with the work stirs up connotations of lovable and companionship that a normal dog would have, therefore the audience views the puppy with affection and love, as well as amazement and awe to this huge, flower covered dog. From the photographs, the puppy is flocked with people, the role of the dog is appropriated as we are not the ‘masters’ or more powerful than this dog, but rather belittled and awed at the position of powerlessness we are put in while viewing it from a low perspective. Furthermore, because of the use of bright colour through the growing flowers, it’s size and it’s location, attraction is gathered because of it’s abnormality and pleasing aura of a puppy and flowers.

    Similarly, Laing’s Groundspeed works are awkward appropriations of this that are familiar but have taken a new dimension. By mixing both the homely and the outdoors, Laing has created works that would not necessarily be seen physically but audiences but as an impermanent installation be viewed from a photograph. Here we see differences in the relationship between the audience with the Puppy and with groundspeed, as with Puppy there is physical interaction with the senses, where as the Groundspeed works are only experienced with sight.
    Nevertheless, the relationship with the audience is again of amazement and oddity of the groundspeed works as they present the audience with an unfamiliar situation – carpet on a forest floor but providing visual ‘proof’ of this situation the audience is connected with thoughts of curiosity and striking of imagination if carpet was really the cover of the forest floor. By taking the ideas of the ‘forest floor’ or the ‘carpeted forest’ and making it literal, the audiences can view this as reality. This reality of the mingle between the odd, the outdoors and the indoors creates an atmosphere of ‘nothing is impossible’. However, because of it’s location in the forest, this event if did occur would not be encountered by many or even, none at all. Such a wonder beheld by public eye but rather a little secret of the artist draws curiosity and amazement.

    Both works evoke extreme reaction from the audiences, ‘Puppy’, through positive connotations and grandeur size and ‘Groundspeed 2’ and ‘Groundspeed 17’ through peculiarity and appropriation of the familiar. These post-modern works as unconventional subject matter and revolutionary depiction of ideas create a relationship of awe, amazement and light humour and enjoyment with the audience.

  9. Luke S. said,

    These three images show art that has a 3-dimensional and physical characteristic. This then gives the audience the opportunity to fully appreciate the artwork on all levels and angles, which in turn leads to a greater appreciation of the art and the hard work of the artist. Although, even if a piece of art is on canvas, these three images still show the viewer that all forms of art have the ability to speak to the audience and involve them in the image, allowing each viewer to find an individual story they can relate to in the work. This successively leads one to the conclusion that art has the ability to engage in a relationship with the audience, both on a physical a mental level.

  10. olivia moore said,

    Plates 3, 4, and 5 all provoke strong connections with the audience, and engage their attention in various ways. Plate 3’s monumental size and unusual location allows it to engage an unlimited audience. It is open to be interpretated by the general public and the installation innovative qualities demand the audience to connect and develop a relationship of intrigue and awe. Plates 4 and 5 have the ability to place the audience to feel as if they are among the subject matter and scene that is portrayed. Both photographs are taken from different perspectives. Plate 4 is taken from a low perspective allowing the audience to feel as if they are observing the scene from a natural perspective, they develop a relationship of belonging with the work. Plate 5 however is taken from an eye-level perspective allowing the audience to feel they are observing the environment rather then actually being a part of it like Plate 4.
    All three works infer vast relationships with their audience and this ability to engage people is how they successfully convey their meanings.

  11. Hannah said,

    Without a viewer there would really be no point for art. These photographs all depict contemporary and postmodern works that shock their audience. These photographs show that the audience doesn’t always have to understand the artwork but it is still important for them to view it and make their own assumptions about it.

    Plate 3, Jeff Koon’s ‘Puppy’ (1996) is a massive piece that is displayed in such a way that its audience unintentionally views the work due to its size and where it is exhibited. Due to the fact that there is an abnormally large puppy in the middle of the street, people are forced to view the work. This shows that an audience doesn’t always have to be looking for artworks to view and gives the audience a closer relationship to the work due to how it is exhibited and the way they can interact with it.

    Plates 4 and 5 by Rosemary Laing, ‘Groundspeed #2’ and ‘Groundspeed #17’ are very unconventional artworks. Here the audience doesn’t view the actual piece but photographs of the work. This doesn’t allow the viewer the close relationship they have with plate 3. Due to the nature of the work allowing people to walk around to view the work would ruin it. Because of this it makes more sense to take photgraphs of the work and exhibit them. This also retains the peaceful, tranquil mood of the work which would be lost if people were walking through to view the work.

    Often the way we view a work has much to do with how it is exhibited, whether this is outside in the street or in a gallery. The artworks in plates 3-5 show us how audiences can view artworks in very different ways and how this would change the relationship they have with the work.

  12. Lauren Sillato said,

    All three works are linked through their concepts of the environment. The works are not enclosed or hung in a gallery but are outside giving their art a naturalistic connection with the environment. Each work brings a loving sense of the environment to its audience; the works all symbolize nature’s natural beauty and much like the impressionist movement where artists aimed to capture the natural fleeting moment of the outdoor scene, these works move beyond the traditional captured image and allow their audience to experience their art in a true living form.

  13. Anna said,

    As depicted in the title, Puppy by Koon, is a large sculpture made of steel but covered in bright colourful natural elements to create a figure of a puppy. This sculpture reflects the inspiration behind the artwork, which is to entertain and to be recorded. As represented in Laing’s Plate 4 and Plate 5, and also Puppy, the artworks are not possible unless there is an audience to see them. In each case, the artworks are not permanent and the only way for them to survive is if a historian, critic or another member of the audience records the artwork.

    Plate 2 and 3 by the artist Laing involves your senses of sight; touch and even sound or smell for it is an interactive artwork that involves the forest and its creative carpet-laid ground. The audience is an important aspect for both these artworks and also Plate 1 because it involves the entertainment and appeal of audiences, and it was the artists’ concept to interact with the people viewing the pieces.

    The materials and structure of Plates 1, 2 and 3 are important when interacting and appealing with audiences, especially audiences of younger ages. For example, the sculpture, Puppy has a playful connotation with bright materials to help attract younger people to view and interact with the artwork.

  14. Courtney :) said,

    Jeff Koon’s (plate 3, photography of ‘Puppy’, 1996) and Rosemary Laing (Plate 4 ‘Groundspeed #2’ and plate 5 ‘Groundspeed #17) are two artists whose artworks (plates 3, 4 and 5) relate to each other in various art making practices and different stylistic techniques.

    As seen in the artworks, Jeff Koon’s and Rosemary Laing’s artworks are heavily based on nature. The natural influence is evident through the subject matter of Rosemary Laing’s artworks being a natural forest landscape covered in a forest floor of flowers (both plates 4 and 5) Jeff Koon’s shows this influence of nature through both subject matter and materials used, the subject matter being a dog, which is usually seen as a domestic animal but nevertheless still a living thing under the classification of being natural. Even though the subject matter of a dog is a natural aspect, it does not fully relate the artworks.

    The monumental sizes of all three artworks can be unescapable to the audience, especially Jeff Koon’s ‘Puppy’ as it is in a public place. This creates an atmosphere where the viewer has no choice but to view the artwork, and the large size of Jeff Koon’s and Rosemary Laing’s artworks can also make the audience feel almost intimidated just by the sheer size of the artworks. Wendy Laing’s artworks when displayed on a wall can make the audience feel small in comparison to the natural world around them (as shown in the Plates 4 and 5).

    The bright colours used in both Koon’s and Laing’s artworks are relevant to each other as they create this effect using bright flowers from all different colour ranges. Koon’s ‘Puppy’ uses random coloured flowers whereas Laing’s artworks have a mono coloured flower layout (red and white). The use of colour has been used in all three artworks to capture the true beauty of nature and to capture the interest of the audience.

  15. Lauren said,

    There are several factors which determine the way audiences may respond or relate to a particular artwork, and one can infer by viewing these artworks that a unique relationship is evident between the works and the audience. Plate 3 depicts Jeff Koon’s ‘Puppy’ (1996), an installation which utilizes the peculiar medium of live flowers and soil upon a steel frame to create a gargantuan sculpture of a 12×2.5×6.6 m puppy which captures audience attention in several different ways. Firstly, Koons was quite unconventional in his approach by incorporating live materials into art encapturing the contemporary attitude of explorative expression within artistic practice whereas traditional art was often confined to a limited range of mediums. This disregard for convention also applies to the viewing space of puppy, as situated in a public area this would have allowed it to obtain wider range of audiences than if it were confined to a gallery space where only the artistically inclined would have freely viewed it. Size and subject matter also play a huge part in audience appeal, as puppy itself being larger than life and embodying playful spontaneity practically advertises itself to be viewed, hence the large crowd that surrounds it. Plate 4 and 5 also depict artworks that convey a special connection with their audiences- Groundspeed #2 (2002) and Groundspeed #17 (2001) are each separate c-type, 110×205 cm photographs which depict extraordinary natural phenomena that the artist, Rosemary Laing decided to preserve using the photographic medium. Groundspeed #2 shows vibrant contrast between the stark crimson of the forest floor and the surrounding greenery, while the forest floor within Groundspeed 17 is quilted with roses and wild flowers. Each scene evokes an almost surreal sense of beauty and tranquillity within the audience, and connects on a deeper level of meaning as they convey the ephemeral, transitory state of the natural world creating an appreciation and wonder like an artwork of permanence never could.

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