When does making begin and end and are there such artists that are makers and non-makers?
Maybe if we first consider the action or process upon a material, or the creation of an art object as the art itself, as our argument to start?
It is my belief that today’s wider culture is only now starting to catch up with the ideas of conceptual art of the early 50’s and 60’s and I feel the action of an artist applying paint to a canvas and an artist slicing, rubbing against or even smashing through the surface of a canvas such as Shimamoto, Klein or Murakami, should be classed as equals in an art history context.
However, all these artists do bring something else to the table- the theories of documentation. The documentation of the event and it’s worth as art is another argument to be made at another time, but there are aspects that need to be presented here and now.
Many artists such as Sophie Calle, Bill Drummond and Fischli and Weiss have used the documentation of an art event they have experienced as their work in many different ways. Nearly every big name artist has been in some form of book or film about his or her work. On the other hand, artists such as Calle and Drummond publish books of story-like poetry and posters, which represent their experiences during the time of the event.
Again, these artists are creating some form of object, surface or installation that reflect ideas of craft or action which is physical and therefore can’t be considered in this argument as I explained in Part 2.
I guess my next questions are now; can art solely exist as a memory in a world of digital history and footprints? If the art has to be an event, how do you advertise without seeming like a massive consumer company trying to sell a product as an idea of a social utopia? How can it take place without being captured through any form of documentation or even talked about? More importantly, what is the place of the artist in a world where the objectivity of the art may lower its contextual worth. Art can’t only exist in the minds of thinkers and not be presented to the worlds’ public? It is about communicating an idea, message or opinion. But now art doesn’t have to be something that you look at. If art is moving into the fourth dimension of interaction, I suppose the question should be, where’s next?
My work – Public Voice
Public Voice is an art piece where I walked around London’s Southbank area near the Tate Modern and Trafalgar Square while carrying a large wooden placard sign covered in black board paint. While walking around I invited the public to write their message on the board and present it however they wanted. Once they had finished, the message was wiped off and it was given to the next person.