“Raw exposure and extreme vulnerability” seems to have been Kiki Smith’s focus in a series of sculptures from the early 1990`s. One of Kiki Smith’s untitled sculptures from 1992 shows a figure bent over with elongated arms stretched out, palms turned up and eyes faced downward (Anon, 2015). Does this particular figurative pose force us to look at the idea of “extreme supplication”(Posner, Smith and Frankel, pg.21, 1998)? When putting Kiki Smith’s work in context we know that she worked heavily in the 1990 `s on femininity issues using the female body as a battleground and latter moving more into mythology and spiritual issues. Today our social environment has changed so does this pose still communicate supplication or something else now?
Anon, (2015). [online] Available at: http://pacegallery.tumblr.com/post/24557014533/kiki-smith-untitled-1992-bronze-with-patina-19 [Accessed 2 Nov. 2015].
Posner, H., Smith, K. and Frankel, D. (1998). Kiki Smith. Boston: Bulfinch.
Peer Review 2
“The narrative method is a collaborative method of telling stories, reflection on stories, and (re) writing stories” (Leavy, 2009,pg. 27). Are we collaboratively engaging here to rewrite a story? Can this piece be used to provoke arts based research in an educational environment via qualitative research? Knowles and Thomas (2002) found they could design a visual arts-based participatory method to effectively study “subjective experiences within a specific social setting” (Leavy, 2009, pg. 229).
Knowles, J. G., & Thomas, S. (2002). Artistry, inquiry and sense-of-place: Secondary school students portrayed in context. In C. Bagley & M. B. Cancienne (Eds.), Dancing the data, Lesley University series in arts & education, v. 5 (pp. 121–132). New York: P. Lang.
Leavy, P. (2009). Method meets art. New York: Guilford Press.
Peer Review 3
There are modes of gesture and writing used as mark making with traditional media in a traditional artistic format. The “gesture is in the logic of space and time; writing to some extent also” (Kress, 2003, pg.46) however the writing here is not legible but does engage the viewer to look deeper for a sequence in order to find the narrative. We are connected to the artist’s hand, movement and temporality. Does this piece engage us into a form of investigation searching for “interaction”, “continuity” and “situation” (Clandinin and Connelly, 2000,pg. 58)?
Clandinin, D. and Connelly, F. (2000). Narrative inquiry. San Francisco: Jossey-Bass Publishers.
Kress, G. (2003). Literacy in the new media age. London: Routledge.
Peer Review 4
Is this art about the process of ritual; doing, undoing, redoing or about creating spaces to be experienced by the viewer/participant? Is the photo the finial product or the object? The knowing of the scale would also seem to change the viewer’s perception of the piece. Small, the object appears to take on a hand held intimate objectification but if large it could be an inviting object in which we must experience like in Richard Serra’s Sequence installation (Stanford University, 2015).
Baldacchino discusses Serra’s Sequence installation wherein “responsibility for learning is placed on us as active participants” (2004, pg.9). Baldacchino also argues that art forms where the viewer must experience a specific space alone as well as amongst other creates a situation where “art’s pedagogical implications are found in the (heretic) choices that art gives and not in the didactic “message” which many would expect art to give” (2004, ppg.8-9). What choices to we make here as a participant?
Baldacchino, J. (2004). Willed Forgetfulness: The Arts, Education and the Case for Unlearning. Springer Science+Business Media Dordrecht 2012
Stanford University, (2015). Richard Serra's mammoth 'Sequence': finally in open air and open to the public July 27. [online] Available at: http://news.stanford.edu/news/2011/july/cantor-serra-sequence-072611.html [Accessed 2 Nov. 2015].
Peer Review 5
Are we problematising identity here and critically engaging with “developing social contexts”(Atkinson, 2005, pg.229)? Atkinson argues that the heighten level of technical communication in our multi social and culture society has created a “highly complex social space in which boundaries and representations of identity are constantly shifting so that once reasonable stable essentialist myths of identity concerning ourselves, others, group, communities or nations have been severely disrupted” (Atkinson, 2005, pg.229).
Is the symbol of a cross in melting ice a critical engagement with western religion’s changing identity? Does the melting represent temporality and the red colour a bleeding or a loss of identity? Why is the cross made of twigs or vines rather than using a real cross like in Andre Serrano’s 1987 Piss Christ?
Atkinson, D. (2005). Approaching the Future in School Art education: Learning How to Swim. In: D. Atkinson and P. Dash, ed., Social and Critical Practices in Art Education, 1st ed. London: Institute of Education Press, pp.21-30.