art

FINAL ACT (2013) – Ian Strange | World

2011 Christchurch Earthquakes- soil liquefaction left entire suburbs unsuitable for living

FINAL ACT (2013) – Ian Strange | Artist Intentions + Actions

Intentions
Examine how natural disaster can shatter expectations of stability regarding the home
Provide a dignified final farewell for ruined houses + document them

FINAL ACT (2013) – Ian Strange | Artwork Evidence

Carefully restored gardens and houses before cutting geometric shapes into them and lighting up at night. Memorialised through picture and film, worked with cinematographer Alun Bollinger

FINAL ACT (2013) – Ian Strange | Audience

Viewers invited to become mourners for the demolished suburb.
Some members of audience lived in the houses
Audience became participants through volunteering during construction and cleanup

DALISON (2022) – Ian Strange | World

Suburb of Wattleup rezoned for Latitude 31 industrial park – homes compulsorily acquired and demolished.

DALISON (2022) – Ian Strange | Artist Intentions + Actions

Intentions Reveal conflict between industrial advancement and historical/community preservation Memorialise and honour the Cukrov family, who resided there for over 60 years

Demonstrate that domestic spaces are vulnerable to political, economic and corporate interests

DALISON (2022) – Ian Strange | Artwork Evidence

260 square meter screen acts as a ‘scalpel’ cutting building out of surroundings, mirroring feeling of disappearance as Cukrov’s neighbours left

Soundtrack by Trevor Powers features warped electronics and glitched classical motifs to mirror feeling of community being scrubbed away

Documented in film and photo

DALISON (2022) – Ian Strange | Audience

The light show was played once for members of the Cukrov family and their neighbours
Cukrov’s families memories immortalised through the work

Guernica (1937) – Pablo Picasso | World

Cubist movement broke notion that a painting should represent a single, fixed viewpoint

Bombing of Basque Town of Guernica on April 26, 1937

Newspaper photographs inspired imagery

Guernica (1937) – Pablo Picasso | Artist Intentions + Actions

Send an antiwar message, capturing the atrocities of the bombing with universal symbols instead of narrowing it down to one meaning

Inverse of Peter Paul Rubens An Allegory Showing the Effects of War

Guernica (1937) – Pablo Picasso | Artwork Evidence

Horse represents innocent people of Spain
Bull - Spains national animal and symbol of brutality and fascism
Woman holding child parallels Michelangelo’s Pieta
Oil lamp shines light on devastating atrocities
Dove symbols destruction of peace during bombing
Monotone colour scheme highlights sombre nature of the work

Guernica (1937) – Pablo Picasso | Audience

Revealed at Paris World Fair in 1937, confronted audiences about Franco’s atrocities

Picasso kept it outside of Spain whilst under Franco’s rule

Covered by a curtain in 2003 at UN when US secretary of state gave speech advocating for War in Iraq

Anti war message still prevalent today

Mountains at Collioure (1905) – André Derain | World

Invited to the south of France by Henri Matisse Wrote that local light was “potent, ferocious, and victorious”, flattened light and left no shadow

Mountains at Collioure (1905) – André Derain | Artist Intentions + Actions

Defiance against the Salon and its practices e.g. 3D, atmospheric perspective

Translate physical heat and glare of Collioure into visual energy

Mountains at Collioure (1905) – André Derain | Artwork Evidence

Bright blues and oranges Oil paint applied quickly and left unblended Thick, short brushstrokes used for tree leaves that imitate Van Gogh

Flattened foreground and background, no shadow

Mountains at Collioure (1905) – André Derain | Audience

Exhibited with Henri Matisse in 1905, art critic Louis Vauxcelles dubbed work as les fauves or ‘the wild beasts’ which was adopted as the name for the movement.

Charing Cross Bridge London (1906) – Andre Derain | World

Tube paint from industrial revolution allowed artists to paint en plein air
Law of simultaneous contrast

Charing Cross Bridge London (1906) – Andre Derain | Artist Intentions + Actions

Reject Monet’s muted, foggy grey palette in favour of fauvist colour theory

Charing Cross Bridge London (1906) – Andre Derain | Artwork Evidence

Thames brown replaced with yellow, blue and green

Smoggy grey replaced with bright pink, blue and yellow

Charing Cross Bridge painted in blue and red

Charing Cross Bridge London (1906) – Andre Derain | Audience

Commissioned by art dealer Ambroise Vollard to travel to London to reinterpret familiar landscape