1. Chalayan’s works in clothing, like Afterwords (2000) andBurka (1996) , are often challenging to both the viewer and the wearer. What are your personal responses to these works? AreAfterwords and Burka fashion, or are they art? What is the difference?
I personally believe that 'Burka' is more on the art side whereas 'Afterwords' is more fashion. I believe this because art has more of a meaning or message behind but fashion is more about pushing the limits rather than portraying an idea.
2. Chalayan has strong links to industry. Pieces like The Level Tunnel (2006) and Repose (2006) are made in collaboration with, and paid for by, commercial business; in these cases, a vodka company and a crystal manufacturer. How does this impact on the nature of Chalayan’s work? Does the meaning of art change when it is used to sell products? Is it still art?
It makes it more mainstream and almost makes the artist a sellout. Pure artists make work for themselves not others, by doing work for companies it constricts them to boundaries or demands made by that company so its not a true piece to Husseins full potential. It still would be art but now classified as commercial art.
3. Chalayan’s film Absent Presence screened at the 2005 Venice Biennale. It features the process of caring for worn clothes, and retrieving and analysing the traces of the wearer, in the form of DNA. This work has been influenced by many different art movements; can you think of some, and in what ways they might have inspired Chalayan’s approach?
I believe that fashion/wearable art would of been a major influence on 'Absent Presence' by Hussein because it shows how much people care for their clothes in the modern life and how much a few pieces of fabric can mean to a person.
4. Many of Chalayan’s pieces are physically designed and constructed by someone else; for example, sculptor Lone Sigurdsson made some works from Chalayan’s Echoform (1999) and Before Minus Now (2000) fashion ranges. In fashion design this is standard practice, but in art it remains unexpected. Work by artists such as Jackson Pollock hold their value in the fact that he personally made the painting. Contrastingly, Andy Warhol’s pop art was largely produced in a New York collective called The Factory, and many of his silk-screened works were produced by assistants. Contemporarily, Damien Hirst doesn’t personally build his vitrines or preserve the sharks himself. So when and why is it important that the artist personally made the piece?
It is important for the artist to produce a piece of work when its
i think some of your blog is missing kelly?
ReplyDeleteI have mixed opinions about artists getting other people to make their own work. I think that since it is their idea and their designs they are entitle to call the work their own. without there creativity and thoughts those art works would not exist. However i think that the artist is a lot more respectable and professional if they construct the work them self. This is because it shows they have more than 1 talent and that they are very skilled at what they are doing. take for example if Chalayan made 'afterwords' without any help hey would be recognized not just as an artist but an engineer of art which to me sounds a lot more professional. I give a lot of credit to the artist and the person who helps make them because with out each other they would not be able to make some of the exceptional things we see today. I think as we head further into the future artist will need more help to express there ideas because technology will get very advanced. But i am a strong believer in D.I.Y and hard work haha
I agree with you that the Burka is art rather than fashion because of the meaning and statement behind it. I think this work may have been offensive to some but i would defiantly say that it gets the meaning across than woman should be free to decide how they portray themselves. I like what you have said about selling art and how it 'constricts them to boundaries or demands made by that company'. It is true as they have to have the opinion and get the OK from the company which stops the artist from making the work truly theirs.
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