Robert Irwin, an installation artist who started in the 1960s, is most closely tied to the light and space movement. His work deals directly with light and space. As he himself puts it: “It’s about everything existing in a context.” He believes that art plays a role in which it changes our perception. The goal he has in mind for his work seems to be to bring you (the audience and viewer) to awareness and focus you on every day things. It also seems that not only does he have an intimacy with art, but that he would like to share this intimacy with his audience as well.
In his more recent work, Irwin has used primary colors in abstract ways. His objective in this appears to be to suspend the viewer in an experience. He does this by taking these colors out of context and putting them into a completely different context of his own making. Irwin creates a context for these colors, which is unique to each viewer. By taking primary colors out of context and putting them into a vague context, he lets his audience create there own context for the piece.
Apr 20, 2010
Robert Irwin response
In the beginning of the video, Irwin lost me a bit while talking about color and light. He talked about white and black as primary and secondary colors in light. Black and White are better understood as achromatic values, as they lack hue. The most interesting part of this artwork to me was how Irwin formed a somewhat cohesive diagram of color mixing via reflection in a setting of immersion. As subtractive primaries, Red, Yellow and Blue are the essentially the first and simplest harmony, commonly used at full chromatic glory in educational or playful contexts to indicate childhood and vitality. It's always a treat to see the diffusion of that lively playfulness into the gallery space.
Although I do see an illustrative logic of this artwork, I wonder how the lighting/purity of light situation is handled, especially considering all the open doors and windows. I think it could have been pushed further in it's simplification of complexity, perhaps incorporating the 3 dimensions of color into 3 dimensional space. Or a moving form with an archetypal local color, to describe the relative changes in hue throughout such a physical landscape of reflected light. Or at least let the crowd walk on top of the piece (did he?). Actually, I think I would rather experience those than the work by itself, although I'd probably be impressed with the size of it all for a while.
Conceptually, I appreciate his views on context and scope, although I find them to be limited. His contextual decisions seem to be based on physical visual elements like scale or value without considering more fluid or dynamic possibilities.
Although I do see an illustrative logic of this artwork, I wonder how the lighting/purity of light situation is handled, especially considering all the open doors and windows. I think it could have been pushed further in it's simplification of complexity, perhaps incorporating the 3 dimensions of color into 3 dimensional space. Or a moving form with an archetypal local color, to describe the relative changes in hue throughout such a physical landscape of reflected light. Or at least let the crowd walk on top of the piece (did he?). Actually, I think I would rather experience those than the work by itself, although I'd probably be impressed with the size of it all for a while.
Conceptually, I appreciate his views on context and scope, although I find them to be limited. His contextual decisions seem to be based on physical visual elements like scale or value without considering more fluid or dynamic possibilities.
Robert Irwin
Irwin has a very unique aspect of how he looks at an object. I think that by doing this he broadens the limits of what an object should do corresponding to the space
in which it is in. In one of the exhibitions space he has what is called"Light and Space II" This installation is a bunch of florescent light bulbs
That are mounted at right angles in a non-repeating,formation.In this Installation Irwin plays with his idea that objects should not have an ending point. This particular one has no focal point.
Although Irwin does have focal points in which he would like the viewer link to his
work and they are Light, Architecture and Space.
"The presentation and placement of these works became as critical as the object itself, and in developing these ideas, Irwin sought to dissolve the distinction between the edge of the sculpture and its environment." quoted from a blogger
I find that a lot of the wok that he does is to eliminate that border between
what we see as the end and beginning an object.Irwin says that there is no such thing as an empty room. I never really thought of that but now that i think about it I suppose that it is true. I you think about what we see when we say its an empty room we say its empty when there are no objects in the room. Even a room with only a fan on the ceiling would be considered to be an empty room. But this would no be true because the fan itself is an object it just isn't taken into consideration but when you look at the room architecturally the walls and the fan are considered objects as well as the shadows that are made. A Shadow gives the perception that something is there therefore no longer making an empty room an empty room.
Priscilla Zavala
in which it is in. In one of the exhibitions space he has what is called"Light and Space II" This installation is a bunch of florescent light bulbs
That are mounted at right angles in a non-repeating,formation.In this Installation Irwin plays with his idea that objects should not have an ending point. This particular one has no focal point.
Although Irwin does have focal points in which he would like the viewer link to his
work and they are Light, Architecture and Space.
"The presentation and placement of these works became as critical as the object itself, and in developing these ideas, Irwin sought to dissolve the distinction between the edge of the sculpture and its environment." quoted from a blogger
I find that a lot of the wok that he does is to eliminate that border between
what we see as the end and beginning an object.Irwin says that there is no such thing as an empty room. I never really thought of that but now that i think about it I suppose that it is true. I you think about what we see when we say its an empty room we say its empty when there are no objects in the room. Even a room with only a fan on the ceiling would be considered to be an empty room. But this would no be true because the fan itself is an object it just isn't taken into consideration but when you look at the room architecturally the walls and the fan are considered objects as well as the shadows that are made. A Shadow gives the perception that something is there therefore no longer making an empty room an empty room.
Priscilla Zavala
Robert Irwin's Colors
Colors are made with the trickery of your eyes. Finding the right alignment within the light spectrum shows you your yellows and blues.
This artist Robert Irwin, seems to be a man who is intrigued with the concept of complementary colors affecting an environment with light. His impression in the art world started with the works of abstract paintings. When I looked at these paintings, I really did not understand the full context of what he was trying to do. However when Irwin started to explore the more fundamental aspect of what color is, is when minimalistic qualities of his installation art started to become expressive as a massive whole.
He makes on-going attachments with quotes like “Context, existing in a context” or “Art as a conditional activity.” However, I felt his works are in the minimalistic qualities that set forth his abstraction to the world.
This artist Robert Irwin, seems to be a man who is intrigued with the concept of complementary colors affecting an environment with light. His impression in the art world started with the works of abstract paintings. When I looked at these paintings, I really did not understand the full context of what he was trying to do. However when Irwin started to explore the more fundamental aspect of what color is, is when minimalistic qualities of his installation art started to become expressive as a massive whole.
He makes on-going attachments with quotes like “Context, existing in a context” or “Art as a conditional activity.” However, I felt his works are in the minimalistic qualities that set forth his abstraction to the world.
Robert Irwin's Unknowns
What I thought to be the most interesting part of the documentary on Robert Irwin was the idea of unknown result (the way I called it). In the film, Irwin states that he has no clear idea about the way his installation will look like when it’s finished which as he puts it “involves a lot of guessing”. For a long time now I was thinking of how to teach myself to be a thorough thinker and see the result of my work before I actually start it. Due to my little attention span and overexcitement when I encounter elements that I did not think/know of, I can never follow my initial route. For some reason I thought that having a clear vision of accomplished work is something crucial if one is to try him-/herself as an artist. After watching documentary on Irwin I realized that there can be many solutions to solving a problem as well as many ways to achieve the goal. In fact the goal can be a surprise, rather than a present that one finds in the catalogue two month before the holiday.
Apr 19, 2010
Stelarc
Stelarc's art is very, very peculiar. He uses the human body as his main focus and finds ways to manipulate it or combine it with technology to make it work differently. I feel that most of his work is in a way disrespectful to the human body, for example the ear on arm. There is no logical reason to want to have/ grow an ear on someone's arm. He is toying with science and engineering to see how far he can push it and what he can get away with. I just feel that he could use this knowledge for better and more humane things than his wacky experiments. But i guess that's what made him famous.
Apr 18, 2010
Robert Irwin response
Robert Irwin own themes and works doesn’t feel too knew to me but interesting. He’s able to show the primary colors in color theory and focus it as an installation instead. Installations like Primaries and Secondaries exhibition was pretty complex and simple just by showing the color strips on the floor and hang the same ones on top that reflects. I can see that, how he put it, uses a more “architecture technique”. In fact, I’ve seen this kind of art installation like the IKEA stores or Apple stores. I wouldn’t say it’s not like art but definitely resembles something more architectural and designing interiors.
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