Tim Hawkinson Research Paper

Michael Thomas a 23-year old, 6’3, 209 pound dynamic wide receiver out of Ohio State. Look at any mock draft, any big board, or any prospect rankings and look for Thomas. What do you see? I looked at a combination of over 100 different mock drafts, big boards, and player rankings, and much to my surprise, on average Thomas was rated as the sixth best receiver in the draft.

Both of the photographers are concerned with questions about our collective responsibility in shaping the environments we live in, which reflects in their work. Although they have similar thoughts and ideas, How do they both create a unique style and maintain relevance, status and professionalism in their genre?

“Artists today explore ideas, concepts, questions, and practices that examine the past, describe the present, or imagine the future.” Contemporary artists use a dynamic combination of media and technologies, methods, concepts, and subjects to create works that reflects The Human Condition in modern culture and society. Three contemporary artworks that utilise these artistic practices to express The Human Condition are Michael Parekowhai, Tracey Moffatt and Vernon Ah Kee. Each artist has used artistic devices to express the contemporary significance of The Human Condition by creating works that reflect back to their own experience and the history of their nationality.

Jeremy Melton had been holding in a grudge for a long time, it all began at a high school dance on Valentine’s Day in nineteen eighty-eight when Jeremy, a nerd, got the courage to ask a group of popular girls to dance. Each girl rejected him in a very harsh way except for one girl who kindly refused, Kate. Dorothy; an overweight girl part of the group was also asked to dance and she accepted. Later on, both Dorothy and Jeremy were spotted making out by a group of bullies, Dorothy’s reaction was to put the blame on Jeremy by saying he attacked her leading the bullies to embarrass and hurt him.

The three works that will be compared are Marcel Duchamp’s Bottlerack, Barnett Newman’s Eve and Ana Mendieta’s Silueta. Placed together the pieces show us three varying genres, each from different periods in the twentieth century. Between the artists we also see obvious connections in how they have challenged the spectator, and the art world alike, in viewing their art. All artists removed ‘something’, be it a body in Silueta or the ‘purpose’ of the Bottlerack and Eve’s figurative form or vanishing point. All were met with a critique of the processes in which their work were produced and likewise they also received admiration for their forward thinking, progressive art.

Jeff Koons builds on the Duchampian tradition of ready-made materials in the production of art. Koons brings the art objects out of mainstream culture and pushes them to their ultimate limit, compared to the ordinary and frequently mass produced objects that Marcel Duchamp reimagined as art objects such as the bicycle wheel and the urinal. For Duchamp however, this act was one of supreme skepticism. As the New York Review of Books art critic Jed Perl explains in his critique of Jeff Koons’ Whitney Museum Retrospective “The Cult of Jeff Koons,” Duchamp differs from Koons in that Duchamp’s production of ready-made objects was a result of a need for art to become understood on a deeper level by questioning its function in the sphere of history.

Prominent for their work in the 1970s’ Andrew Goldsmith and Robert Smithson when they presented their unique brands of art styles to the public. Considered Postmodern artists due to their unconventional working methods and uses of non-traditional materials. Both artists use nature and natural elements as media in their work as well as often presenting their art in unconventional places.

Monterey printer Dave Christensen was among the first to see the manuscript for Alexander Weygers’ final book, Sculpture, Form and Philosophy, which explained the thought process behind his art. Published after Weygers’ death, the project became a labor of love for all involved.

A number of modern day artists are transforming common, everyday trash into notable works of art. Sayaka Ganz hopes to reduce waste through creative use of discarded objects. Paul Villinski collects discarded beer cans from New York streets and transforms them into cross-cultural symbols of rebirth. Ann P. Smith creates animal works of art from broken electronics and machine parts. However, the concept that lies behind all these artists’ work is nothing new. Jesus has been practicing the exact same kind of artistry for thousands of years.

Stuart Myers has inspired many people in his lifetime and he didn't fail to impress the Dyke House students on 11th January. The 34 year old, who lives in Marske, has faced many challenges in the past due to a rare default at birth: Stuart was born without arms. Everyone panicked but Stuart simply accepted it.

He creates sculptural pieces that contrast the ideals of feminine and masculine qualities. He uses different media’s to create this and has been awarded acknowledgement in the textiles industry as well as the art despite creating sculptures. Like Moore he has created a drawing that is being studied in this essay. It is a single finished drawing. It is composed of layers off Tea stains and Thread, juxtaposing colours and using the thread to tell a story of the human inners and old folk tales. It isn’t an obvious piece and requires a description to know the history behind the

I like the fact that he takes cheap objects that he finds and uses them to create these wonderful art pieces. When I was looking at Jeff Koons artworks, I thought back to our tutorial discussions/debates where we were arguing back and forth about what is art and what is not art. Many people believe that Jeff Koons artwork is not considered art, however I believe that his artworks are considered art because its his own creation and it is a new kind art that we have not seen much of. From our lecture, Professor Brandon Vickerd talked a little about Jeff Koons, and he stated that “Some people would look at his work as pioneering and of major art-historical importance, while others view his work as kitsch: crass and based on cynical self-merchandising.” (Taken from PowerPoint). By researching this artist, I found that basically anything could be considered art as long as you make it your own, original and make it look interesting.

Donald Judd was one of the key minimalists living and working in New York in the 1960s. The sense of importance is ever so present when looking at the vast majority of Judd’s body of work. But even more so is the underlying almost spiritual feeling a person stumbles upon when viewing the work in the right context. The elements around the pieces are exactly as important as the perfect and seamless geometric sculptures, without its context they lose a little bit of their brilliance. A photograph can’t even begin to explain the vast sensibility in his work. As groundbreaking as his movement was, he challenged dated conventions. The conventions which stretched all the way back to the ancient Greeks, about how sculptures needed to be put on a pedestal

Part from his exchange with painters, sculptors and conceptual artists, part from his direct engagement with ordinary techniques of construction in which he found extraordinary possibilities of expression.

Roger Hiorns prominently contributes to the themes showcased in the ‘Private Utopia’ exhibition and demonstrates the broadening definition of what art can be. Hiorns was born in 1975 in Birmingham, England and currently still lives there. He studied at University of London Goldsmiths College and Bourneville College of Art. He was also nominated for a Turner Prize in 2009. Hiorns is sculpture and instillation artist. His primary interest is to manipulate materials or to make them react in unexpected ways. By using materials he creates