Claude Cahun

I.O.U

A photographic collage based on herself. (What does she owe?)

Uses masking techniques of make-up to cover the eyes.

All four faces stem from one neck, which could symbolize that individuals have many different faces/emotions/personalities etc.

The image is broken up and placed back together, and is described as shattered and splinted-
"The image, making the viewer painfully aware that it is constructed in and through ideology."

Around the four heads reads
"sous ce masque un autre masque. Je n'en finirai pas de soulever tous ces visages"
(Beneath this mask, another mask. I will not stop removing all these faces.)

I found this piece in a book named Self Image by Amelia Jones.

"The photographic image, which seems to promise but ultimately evacuates the 'presence' promised (by postmodern ritual images)."

This sentence made me think about photography and how human figures are seen.
Does the photograph take away all living qualities of the figure?
If so then surely what we see are people that have passed away?
Is photograhy a weapon?- We say "shoot" when video recording, but what would happen if people actually died?

Removing all personality. Taking away inhibitions.
What would happen if you paint/change a persons appearance and then take a photo? Do they become that inigma?
If so the photographer becomes in charge, the creator.

Tearing through material to see the person underneath/wiping paint off of the body.
Contrasting imagery as the person would still seem living even after the 'presence' has been removed.

Pamela Reykjavik

Bow Human (2012)

Links well with my previous work of coverings.

Cardboard Artists

http://dbqp.blogspot.co.uk/2009/03/bbc-in-alb.html#!/2009/03/bbc-in-alb.html

http://telavivartdesign.blogspot.co.uk/2011/01/nina-lindgren-stockholm-new-realities.html

http://inhabitat.com/cartonlandia-incredible-cardboard-city-made-from-hundreds-of-recycled-cards-and-photographs/

http://www.flickr.com/photos/zimoun/5132580374/in/photostream/

Territory/Vunerability

"In addition to clarifying ownership of people and possessions, people jealously guard the space that immediately surrounds them. Humans create an invisible bubble around themselves in which they function. Placing objects between yourself and others, spreading your arms across your desk, and wrapping your arms around yourself are ways of guarding your personal space.
In normal circumstances, most people respect one another's personal territory. Sometimes, however, space invasion is unavoidable. When an invasion of your space occurs, you feel uncomfortable. Another person entering your space can penetrate your guard. Even when a persons space is invaded, they still find ways to limit the invasion as much as possible."

Ruvanti

How does the vulnerable human body experience the hard reality of steel and the physical power and the violence of the industrial machine ? What does the body feel inside the stressed, nervous industrial space ? The human body is connected to the body of the earth and alienates inside the industrial space. The human body feels by his nervous system. Copper is the nervous system of the earth. The performance "Body - Nervous System - Steel" consists of two parts.

In the first part the students are tied up to the machines of a steelplant while it is working. They are dressed in yellow ( nervous colour ) and are using copper wire ( nervous system ). While interfering in a symbolic way in the production process they feel the force, hardness, violence and weight of the steel and the machine.

During the second part four students are sitting motionless under a yellow cloth facing each other before a life audience in the hall of the steelplant. Only their heads are visible and motionless for the public eyes. The yellow cloth stands for nervous system. Their heads are enlarged by copper coloured hats. The form of the hats refer to the inquisition hats worn by heretics. The students are sitting between two videoscreens showing images of the first part. During the performance the students try to feel the vibrations connected to the industrial space. Under the cloth, invisible for the public, they write down their feelings.

http://aboiten.home.xs4all.nl/ad371.htm

http://users.telenet.be/ruvanti/artgallery7.htm

Proxemics

Proxemics is a type of non-verbal communication. It can be described as "the interrelated observations and theories of man’s use of space as a specialized elaboration of culture".
Communicating by gesture, touch, body languge, eye contact and facial expressions- they are used to send and recieve messages between people.
Proxemics is also about the space between the sender, and how the receiver of a message influences the way the message is interpreted. There are said to be four types of 'torritory' assosiated with proxemics:

1. Primary territory: This refers to an area that is associated with someone who has exclusive use of it. An example is a house that others cannot enter without the owner’s permission.
2. Secondary territory: Unlike primary territory, there is no “right” to occupancy of secondary territory, but people may still feel some degree of ownership of such space as they develop the custom of occupying it. For example, someone may sit in the same seat in church every week and feel irritated if someone else sits there.
3. Public territory: this refers to an area that is available to all, but only for a set period, such as a parking space or a seat in a library. Although people have only a limited claim over that space, they often extend that claim. For example, it was found that people take longer to leave a parking space when someone is waiting to take that space.
4. Interaction territory: this is space held by others when they are interacting. For example, when a group is talking to each other on a footpath, others will walk around the group rather than disturb their interaction territory.

Pebble Dashing

Roughcast or pebbledash is a coarse plaster surface used on outside walls that consists of lime and sometimes cement mixed with sand, small gravel, and often pebbles or shells. The materials are mixed into a slurry and are then thrown at the working surface with a trowel or scoop. The idea is to maintain an even spread, free from lumps, ridges or runs and without missing any background.

Roughcasting incorporates the stones in the mix whereas pebbledashing adds them on top.

Forniphilia

"The act of turning a woman into nothing more than a piece of functional furniture is the ultimate goal for many bondage enthusiast. Often completely immobile the woman finds that she is at least useful to her owner, perhaps performing the role of a table, chair or even hatstand."



Alan Jones


http://www.forniphilia.info/articles/2/forniphilia-the-art-of-human-furniture

Rebecca Horn

Weisser Körperfächer (White Body Compartments), 1972
The white fabric fans help to hide the body against the pale backgrounds.

In contrast to this, the clothing the person is actually wearing is black- exposing the body when the fans are slightly shifted.

Paradieswitwe (Paradise Widow), 1975
The body is hidden by a 240cm high instrument with internal wing braces that are matched to a woman's figure. Unable to see the figure for the covering, the only reason we know there is a body is due to the positioning of a mirror behind the piece.The mechanism can be moved to reveal parts of the body.






Im Dreieck (In The Triangle), 1973
Unable to find photographs...

Desiree Palmen

http://www.desireepalmen.nl/

FMP

SECTION ONE – Your Final Major Project

‘Covering the Body’ is about the body, the way it can be used to communicate with an audience and how it can be hidden or camouflaged.

In previous work, I have experimented with paint, food and camouflage on the body. I would like to broaden my knowledge and understanding by researching traditional or religious coverings such as a veil, alongside artists who explore the body and coverings in their work.

I want to learn more about the history of these cultures so that they can influence the style of my work and the way in which they can be viewed.

I am going to construct a series of wearable sculptures that highlight the link between people, their environment and their culture.

I would also like to focus on photography as part of my project as I find it very interesting. As well as this, I want to make coverings from found materials relating to the environments they were taken from.

SECTION TWO – Influences, Research, Sources and Ideas 

I am basing this project on my previous work, therefore I have already researched into artists who have used coverings on the body, for example, Boo Ritzen uses the body to paint on so that it is aesthetically pleasing, whereas Ana Mendieta uses her own body with an environment to outline political issues. I am planning trips to various galleries/museums such as The Imperial War Museum and the Manchester Art Gallery to help me research the reasons why artists have used coverings to hide the body. I will also be able to find information on the internet and also my local library will have many books that will help me.

I would like to research body language, proxemics and artists that use coverings/materials on the body.

All my research will be on my Blog.

SECTION THREE – Techniques, Processes and Timescale

I have constructed a plan for the upcoming eight weeks that will allow me the time to research, experiment and finalise my project.

I want to work with such materials as paper and wire, as well as natural matter.

After researching coverings, I am going to construct my own out of various materials that are specific to an environment. These ‘coverings’ can be worn but will also be a working sculpture which could also be included in the exhibition.

When I have constructed my coverings, I want to take photographs of a person draped in the covering in the original location. The idea behind this is that the covering will be modified so that it replicates the specific area it is placed in, to create a camouflage effect.

SECTION FOUR –  Method of Evaluation

I will receive a peer review through discussions and group critique. This will help me a lot because they are involved with both similar and different work as me, so I will be able to get a lot of varied feedback. I will also complete an ongoing reflective practice log.

Tutor feedback will also help me as it will be another point of view I can work with.

Sarah Lucas

Nuds
http://dollycreative.wordpress.com/2009/11/02/sarah-lucas-nuds/

Kate Buckley

http://www.katebuckley.net/

Joana Cifre Cerdà

Wool Over My Eyes
http://www.joanacifrecerda.com/page21.html

Home (Bitter) Sweet Home
http://www.joanacifrecerda.com/page22.html

Alexa Meade

"When photographed, the representational painting and the subject being referenced appear to be one and the same as the 3D space of her painted scenes becomes optically compressed into a 2D plane"

Links with Kindersley's work due to covering the face/body. The effect it has is amazing. Colourful paints are used. Confuses the reality by adding something surreal into a normal environment.

Joshua Hoffine

Mainly works with horror scenes.


http://www.joshuahoffine.com/#/6/3

Richard Burbridge

I came across Richard Burbridge, a fashion photographer whilst searching for masked faces in photography.

The bellow images are from a shoot for a Swedish magazine.

I love the contrasts between the soft, smooth skins and the rough edges of the props.

History of Masks

A mask is an object normally worn on the face, typically for protection, disguise, performance or entertainment. Masks have been used since antiquity for both ceremonial and practical purposes. They are usually worn on the face, although they may also be positioned for effect elsewhere on the wearer's body, so in parts of Australia giant totem masks cover the body, whilst Inuit women use finger masks during storytelling and dancing.


Masks in Performance
Throughout the world masks are used for their expressive power as a feature of masked performance - both ritually and in various theatre traditions. The ritual and theatrical definitions of mask usage frequently overlap and merge but still provide a useful basis for categorisation. The image of juxtaposed Comedy and Tragedy masks are widely used to represent the Performing Arts, and specifically Drama.


Ritual Masks
Ritual masks occur throughout the world, and although they tend to share many characteristics, highly distinctive forms have developed. The function of the masks may be magical or religious; they may appear in rites of passage or as a make-up for a form of theatre. Equally masks may disguise a penitent or preside over important ceremonies; they may help mediate with spirits, or offer a protective role to the society who utilise their power.


Masks in Theatre
Masks play a key part within world theatre traditions, particularly non-western theatre forms. They also continue to be a vital force within contemporary theatre, and their usage takes a variety of forms.


Contemporary Theatre
Masks and puppets were often incorporated into the theatre work of European avant-garde artists from the turn of the nineteenth century. Alfred Jarry, Pablo Picasso, Oskar Schlemmer and other artists of the Bauhaus School, as well as surrealists and Dadaists, experimented with theatre forms and masks in their work.


Functional Masks
Masks are also familiar as pieces of kit associated with practical functions, usually protective. There has been a proliferation of such masks recently but there is a long history of protective armour and even medical masks to ward off plague. The contrast with performance masks is not always clear-cut. Ritual and theatrical masks themselves can be considered to be practical, and protective masks in a sports context in particular are often designed to enhance the appearance of the wearer.
Used in such areas as: medical, protective, occupational, sports, disguise, punitive, fashion and in horror films.

Paul Kindersley

http://www.paulkindersley.co.uk/

Pornography and Objectification

"A concern with the power of images, already established in contemporary Western cultures and newly significant in the feminist cultural politics of the 1980s, has also underscored pornography’s apparent importance for an understanding of the connections between representation and reality. Pornography has become “overburdened with significance” (Segal 1992, p. 65), as a culturally established way for speaking about sex, power, and regulation, as a kind of shorthand for women’s discontents, as an emblem of misogyny and as a symbol of the power of the image. It is partly for these reasons that the anti-pornography feminist position still retains its power for many feminists, and indeed for many women who do not otherwiseassociate themselves with feminism. For them, developments within the pornography debate may not provide a satisfactory or persuasive resolution to the claim that pornography harms and humiliates women, either by providing a template for male sexual behaviour, or as a representative cultural statement of woman’s purpose as a ‘thing’ for men. "

FEONA ATTWOOD