Surveillance Bed, 1994, bed, cameras
Security, 1989, cameras, desk
Superdesk, 1993/2001, cameras, desk
The Water Hole, 2000, wax, gelatin, plexiglass, plastic, crazy glue, wood, chips
American Fibroids, 1996, wires, speakers, table
I chose Julia Scher because of her unique use of play with public vs. private places. She challenged places that are usually private, such as a bedroom and making them public with the use of surveillance cameras. The surveillance cameras create a sense of eeriness and anxiety since the purpose of those cameras are to watch people for their actions. The cameras make people feel like they are being watched while being in a place that is supposed to be comfortable like a bedroom. The contrast of these ideas is extremely interesting because with the changes in contemporary interactions with public private with new ideas such as reality TV, these blurred lines are also being confronted and expressed in contemporary art.
St. Cecilia 2007, paper
Bluberry Surprise, 2003, ink and paper
The Information Economy, 1996, mixed media
White Noise, 2011, paper
Joseph Grigely was deaf since his childhood and that inspired him in creating his pieces. He had a way of having a conversation with people through his work. Grigely had a habit of writing down all of his thoughts on any pieces of paper he had laying around. With this enormous collection of thoughts on pieces of paper he decided to use them in his installations. In his installations, Grigely would install a large selection of his writings and thoughts onto a wall or across a large surface in an entire room. The pieces of papers do not have a particular order and the viewer is left to read all of these thoughts, clueless as to how these phrases and thoughts fit together. Although sound has been eliminated from the room, the feeling of verbal flow and the intimacy of humans interacting is still present. It is a feeling of being overwhelmed in terms of conversation and the abundance of words.
„Gallileo“ Dresdner Bank, Frankfurt a/M
Translocation / Pittsburgh
Her work stands somewhere between Land Art, a pure concept, object and architecture. Mystification, confusion of the senses, the challenge of human behavior, even in matters cultural, historical and ecological are imprinted on all projects Magdalene clover.
Magdalena, born in the former Czechoslovakia, is another artist who has looked at connections between place and time in reference to German history. Jetelova’s photographic project Atlantic Wall (1995) examines how enormous concrete bunkers erected by the Nazis along the Atlantic Coast from Norway to Spain during World War 2 have been reduced to crumbling ruins by fifty years of powerful ocean tides. Before photographing, she projected lasers onto the structures to form texts from French philosopher Paul Virilio’s book Bunker Archaeology, encapsulating his views on the significance of the Atlantic Wall fortifications in relation to the history of military technology and space and the use of images and information to affect perception of times.
From Wikipedia and Themes of Contemporary Art: Visual Art after 1980 by Jean robertson and Craig Mcdaniel
Newshound, 1991, photo-etching on white heavyweight Rives paper
She Can’t Catch Up, 1998, Watercolor
The Veal Skinner, 1991, lithograph
What a Golden Beak! (They Want War), 1999, Aquatint and etching, with hand coloring
Murder in the Gulf, 2010, graphite, gouache, watercolor, and oil
Sue Coe is an artist whose works are highly tied to activism. Her artworks are highly political and controversial, commenting on war, the media, animal rights, and current events, as seen in Murder in the Gulf, which is about the BP oil spill. Her style is dark and gives a disturbing feel, with a strong and almost violent message. She grew up next to a slaughterhouse, which is what sparked her animal rights activism and desire to expose the places of animal cruelty, and will often sketch on location (source: http://veganismisthefuture.com/sue-coe-artist-vegan-animal-activist/).