Art Analysis: Less Than Art

1565 Words7 Pages
Less Than: Art and reductionism and Denise Green: Beyond and Between – A painter’s journey. A comparative Essay written by Thomas Brooks, Benjamin Dutton, Jasmine Smith and Megan Thomason. Collection displays inhibit the ideologies of a singular conceptual premise under the constraints of the viability and range within the institutions collection, whereas the tasks involved in composing a monographic show, including the original parameters of an institution͛s collection, result in further curatorial concerns (George 2015, 39). How does the curatorial rationale and exhibition design influence the artworks displayed within a collection based exhibition? This essay will critically…show more content…
Selected artworks from the institutions collection will be exhibited for nine weeks commencing 18th of March at the Queensland University of Technology Art Museum. In comparison, The University of Queensland Art Museum is displaying a monographic show in the format of a retrospective from their own collection entitled Denise Green: Beyond and Between – A Painter’s Journey, available to view for twenty weeks concluding on the 2nd of April. When facilitating an exhibition, the curator takes on the role of both a cultural producer and the custodian of artworks (Charlesworth 2008, 92), an approach to the coordination of artworks that blurs the fine line between curator and artist (O͛Neill 2012, 1). This can be seen in the exhibition Less Than: Art and Reductionism curated by Katherine Dionysius as she investigates the cultural phenomenon of reduce, reuse, recycle along with associations involved in the artist͛s pursuit of less (Less Than: Art and Reductionism 2017). Dionysius first identifies ͚the niche͛inside the institutional collection by discovering artworks from as early as the 1960's pertaining toa reductionist͛s aesthetic and approach…show more content…
The audience is inclined to take in Green͛s practice at large rather than gaining a deeper insight into each piece͛s individual context (George, 2015, p. 39). Both curators convey their intentions through the connections linking artist, content and context. This revised insight into the artists͛ practice is transformed due to the associations drawn by the curator and presented to the viewer through the exhibition rationale. The correlation between both showcases͛ intended premise combined with the curators͛selected pieces, assist the viewer in engaging with the artworks in a reinterpreted manner from their original context. Due to the extensive assortment of practices incorporated in Less Than: Art and Reductionism, the artists͛ intended meaning is adapted to fulfil the premise of the exhibition. This is evident in Daniel McKewen͛s Kafka On the Shore (2014) which explores capitalism through the use of a financial algorithm depicted in the form of three over-sized gypsum and acrylic polymer letter-forms mounted to the wall (QUT 2016). The conceptual premise of the work is hidden from the viewer once placed within the context of the rationale, reductionism. At first the viewer can visually relate this work to the premise of the exhibition due to its
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