Serialism

I started to look at the constraints of human decision which can sometimes prevent us from breaking through artists barriers which we from through rituals.

‘Untitled 1985’ by Donald Judd

Donald Judd starts to explore how we can create methods of breaking these habits of human nature by using mathematical algorithms or rule to change our making process- inviting an external dictatorship.  ‘Untitled 1985’ shows a series of objects made in different variations. His work is a reaction against individualism, where all decision making is down to the artist- such as Clifford Stills work. The work is traditionally completely under the artist control. Therefore the artist self is the core source of the making of an article. The artist is the creative one. Much of the control held by the artist was celebrated in the romantic period as an opportunity for self discovery, which was seen as a liberation.  In 1960’s artists consider what an artist does when they produce art and start to challenge that the focus on the ‘self’ might actually be a limitation. Therefore some forms of art could go beyond the idea of self.

Italo Calvino discusses the need to break outside of self and starts to think about that need to create other rules to break from own decisions: “Think what it would be to have a work conceived from outside the self, a work that would let us escape the perspective of the individual ego, not only to enter into selves like our own but to give speech to that which has no language…

(Italo Calvino ’Multiplicity’ in Six Memos for the Next Millenium 1988)

‘Flat Waste’ 1975-92 by Dieter Roth
‘Flat Waste’ 1975-92 by Dieter Roth

The idea of allowing another force to come into the work might give a new intensity to the piece. Dieter Roth ‘Flat waste’ collection of all of Roth’s waste over a 17 year period makes you consider what a human beings life is by looking at the gathering detail of remains of a human life. There is a decision made at beginning which carries an intensity as Roth chose to continue to meticulously collect his waste. Tehching Hsieh One Year Performance becomes an obsessive project which he keeps. The work discusses the human capacity to submit as he take a photo every hour of his life for a year.

‘One Year Performance’ (Time Clock Piece) 1980–1981 by Tehching Hsieh

These external rules start to question the artists role as not making a compete work but as something which starts a process. I’m interested in how I could apply this repetitive nature to my work. I think when discussing detention camps I could enforce a time period of working following a rule. As I have meticulously have been chopping up images I could set time limits on the work, or systems to be followed and produce a body of work who’s scale is emotive, commenting on child exploitation in these locations. This could become laborious work which reflects that which might be forcibly set on detainees as work during their time in a detention camp.

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