The Everyday in Art

Andy Warhol (1928–1987)Campbell's Soup Cans 1962

Marcel Duchamp (1887–1968) Fountain 1917

The Everyday – Documents of Contemporary

Art, Edited by Stephen Johnstone

“Contemporary art is saturated with references to the everyday…”

“The rise of the everyday in contemporary art is usually understood in terms of the desire to bring these uneventful and overlooked aspects of lived experience into visibility…” Stephen Johnstone

“What Happens When Nothing Happens?” Paul Virilo, Interview on George Perec, 2001

• “The everyday might be the common ground experience that allows museum visitors to understand the effects of history on the private lives of those who were usually overlooked.”

• “The desire to confront things in the world at large rather that the world of art.”

• Linked to this is the assumption that the everyday is both authentic and democratic; where ordinary people creatively use and transform the world they encounter from day today.”

• “A turn to the everyday will bring art and life closer together.”

• “Most of the art presented here or discussed here may aspire to directness and immersion but it does not approach the everyday in any straightforward documentary way, most of it uses ruses and subterfuge to find ways of representing and engaging with the quotidian.”

• Authentic = genuine, real, bona fide • Democratic = equal, classless, open • Transformative = change something dramatically, undergo total change • Subterfuge = something designed to deceive • Quotidian = commonplace, done daily, recurring daily

Annette Messager – ‘a trickster and word thief’ http://www.theguardian.com/artanddesign/2009/mar/05/annette-messager-hayward

'I like to tell stories... children's stories are monstrous.’ Much of her work of the last four decades is based on toys and childhood. Remains II (Family (II), 2000.

In the 1990s, Messager began to work with soft toys, a replacement for the real taxidermy birds she used in the 1970s. In Fables and Tales, 1991, the soft creatures are cruelly squeezed between piles of books.

But despite its childlike themes, 'there is nothing innocent anywhere in Messager's work.’ Adrian Searle Detail from dependence-independence, 1996

'Messager's work can be obvious as well as secretive and strange,' says Searle. Articulated-disarticulated (2001-2) deals with mad cow disease, which ravaged France as well as the UK.

In 2005, Messager won a Golden Lion at the Venice Biennale for Casino, a theatrical interpretation of the Pinocchio story.

'She shares her theatricality, and her preoccupation with the play and fantasies of childhood, with artists as different as Mike Kelley and Susan Hiller.' Detail from Them and Us, Us and Them, 2000.

http://www.theguardian.com/artanddesign/audio/2009/mar/05/annette-messager-articulated-disarticulated

Annette Messager

• “Puppet Master Trickster, Tinkerer, Peddler, Practical Woman - the French artist Annette Messager has given herself many titles and created works in which cuddly toys merge with dangerous effigies. Her first major show in England goes into worlds that are both enchanted and demonic.”

• Siri Hustvedt, The Guardian, Saturday 21 February 2009

Fischili and Weiss

• http://www.theguardian.com/artanddesign/2012/jun/05/fischli-and-weiss-art-of-humour

• The Way Things Go 1987

"They had a profound influence on the way artists and curators saw art in relation to everyday life.” Jonathan Watkins

Swiss artists Peter Fischli and David Weiss have been collaborating since the late 1970s.

Their photographs, sculptures, installations and moving images explore extraordinary transformations of the commonplace through the radicality of a comic and childlike spirit and love of play.

The world of everyday objects is in a precarious balance, and an absurd chain of reactions between different objects colliding and setting off explosions constitutes their most well-known work – the film The Way Things Go (1987).

Their photographs Equilibres (1984–87) are chance encounters of objects.

In these images, gravity seems to work in reverse, creating states of suspension.

Sophie Calle

• http://www.tate.org.uk/art/artworks/calle-the-hotel-room-47-p78300

The Hotel, 1984

‘On Monday 16 February 1981 I was hired as a temporary chambermaid for three weeks in a Venetian hotel.

I was assigned twelve bedrooms on the fourth floor.

In the course of my cleaning duties, I examined the personal belongings of the hotel guests and observed through details lives which remained unknown to me. On Friday 6 March the job came to an end.’

Sophie Calle

• http://www.thewhitereview.org/interviews/interview-with-sophie-calle/

“SOPHIE CALLE IS FRANCE’S MOST CELEBRATED CONCEPTUAL ARTIST. HER HIGHLY AUTOBIOGRAPHICAL, MULTI-DISCIPLINARY WORK COMBINES THE CONFESSIONAL AND THE CEREBRAL, AND IS TYPIFIED BY THE IMPOSITION OF OFTEN BIZARRE RULES AND SCHEMES UPON HER EVERYDAY EXISTENCE. HER WORK – REALISED IN PHOTOGRAPHY AND FILM, WRITING, PERFORMANCES AND INSTALLATIONS – IS SIMULTANEOUSLY EMOTIONALLY WROUGHT AND CLINICALLY DETACHED, INDUCING IN ITS AUDIENCE A FURTIVE SENSE OF VOYEURISM AND INTRUSION.”

TateShots - Venice Special: Sophie Calle

Watch People Seeing the Ocean for the First Time‘Sophie Calle filmed elderly peoples first experience with the sea.’

The exhibit displays 14 short films on large screens. As we stand behind the men and women, we join them in bearing witness to the sea for the first time, their shoulders and subtle movements display their touching emotion. Each participant is directed to watch the sea for as long as they desire, and then turn to the camera. Some are in tears, some in joy. "When an old man or woman has never seen the sea," Calle says, "there is an element of drama to this."

Gillian Wearing

• http://bordercrossingsmag.com/article/the-art-of-everyday-illumination-gillian-wearing

http://www.whitechapelgallery.org/exhibitions/gillian-wearing

“The films and photographs of British artist Gillian Wearing (1963) explore our public personas and private lives. This Turner Prize winner’s remarkable works draw on fly-on-the-wall documentaries, reality TV and the techniques of theatre, to explore how we present ourselves to the world.”

Self Made a film by Gillian Wearing

Who are we – and who do we think we are? How do we make the selves we present to the world – and who are we really, underneath the social masks we wear every day? These are some of the questions posed by Self Made, an extraordinary debut feature by acclaimed British artist Gillian Wearing.

In 2007, Gillian Wearing placed an advert – in newspapers, online, in job centres and elsewhere. It read: “Would you like to be in a film? You can play yourself or a fictional character. Call Gillian.” Of the hundreds of people who replied, seven – chosen through an extended process of auditions, interviews and workshops – ended up appearing in Self Made. http://selfmade.org.uk/about/

Allen Ruppersberg

• http://www.artpractical.com/column/allen_ruppersberg/

Al's Cafe, 1969; installation view. Courtesy of the Artist.

“Allen Ruppersberg moved into what was once the Seahorse Inn Restaurant and gathered the things that had been abandoned there: chairs, tables, display cases, circus tents, and signs.

He brought things he scavenged to a rented location in downtown Los Angeles where he installed a temporary restaurant, Al’s Café (1969).

Guest at the café were served inedible, pieces of assemblage, inexpensively priced, and served with beer. Al’s Café meddled with the art-object status of assemblage by bypassing art institutions and the verification they provided.

Diners became performers who authored a plot simply by behaving as they normally would in a restaurant. Without demanding anything extraordinary, Al’s Café offered the opportunity to encounter a familiar thing in an altered state and to participate in its production by placing an order.

The restaurant operated once a week for about three months, increasingly under the surveillance of plainclothes police until they came with uniforms, shut it down, and arrested the artist and the waitresses.

The arrests testify to the piece’s existence at the edge of what was recognizable as art and acceptable comportment.”

Gabriel Orozco

• http://www.tate.org.uk/context-comment/video/gabriel-orozcoorozco

• http://uk.phaidon.com/agenda/art/articles/2011/march/07/damien-hirst-and-gabriel-orozco-two-conceptual-artists-create-two-very-different-skulls/

Creative, playful and inventive, Gabriel Orozco creates art in the streets, his apartment or wherever he is inspired.

Born in Mexico but working across the globe, Orozco is renowned for his endless experimentation with found objects, which he subtly alters.

His sculptures, often made of everyday things that have interested him, reveal new ways of looking at something familiar.

A skull with a geometric pattern carefully drawn onto it, a classic Citroën DS car which the artist sliced into thirds, removing the central part to exaggerate its streamlined design, and a scroll filled with numbers cut out of a phone book are just some of his unique sculptures.

Damien Hirst's 'For Heaven's Sake' (1998)

Gabriel Orozco's 'Black Kites' (1997)

Hans Peter Feldmann

• http://www.serpentinegalleries.org/exhibitions-events/hans-peter-feldmann

• Hans-Peter Feldmann: Kunstausstellung at Johnen Galerie, Berlin

“Often presented in the form of books, posters, postcards and installations, these collections link Feldmann's life-long fascination with collecting elements of visual culture.”

His Time Series, produced during the mid-1970s, expanded upon this, chronicling the most banal events frame by frame, thereby effectively slowing down the passage of time.

The artist purchased a number of ladies' handbags along with their entire contents, filling museological vitrines with credit cards, mobile telephones and address books, making passing fashions and lifestyle choices the object of display and public discussion.

Hans-Peter Feldmann, Ursula + Hans-Peter.

Bernard Frize

• http://www.tate.org.uk/art/artists/bernard-frize-2388

“Process based paintings frequently produced using commonplace tools such as a roller or ad-hoc painting devices such as four brushes tied together to produce rhythmic paintings that embody the passage of time.”

Brosilla (2013). Image courtesy of Galerie Perrotin Seplia (2013). Image courtesy of Galerie Perrotin

Lindsey Mann Study of Gorthorpe House

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Marks left behind

Possessions of Mr B

Common Space

Study of Residents

Flat 42http://lindsay-hayre.com/https://www.saatchiart.com/lindsaymmann

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Task 2:

1. Blog Post 3. Make your first post about an aspect of ‘The Everyday in Art’ Lecture  You can download the WordPress app and blog using your phone.  Include images and links to your research sources.

2. Blog Post 4. Make a post about an aspect of your own creative practice.  This could be the beginning of an idea or a piece of work you have made.

3. Keep up to date with tasks week by week.

Last weeks tasks 1. Create your own WordPress Blog.

2. Follow the Foundation CATS blog Foundation CATS Blog Link3. Blog Post 1. Make your first post about an aspect of ‘The Fallen Self’ Lecture  You

can download the WordPress app and blog using your phone.  Include images and links to your research sources.

4. Blog Post 2. Make a post about an aspect of your own creative practice.  This could be the beginning of an idea or a piece of work you have made.

5. Keep up to date with tasks week by week.