GMU:Provokative Architektur/Jeremy: Difference between revisions

Revision as of 19:09, 28 January 2013

Der Wanderer über dem Nebelmeer (Wanderer Above the Mist) by Caspar David Friedrich, 1818. Cover image from the 1902 English-language edition of Goethe's The Sorrows of Young Werther, translated by R.D. Boylan, Edited by Nathen Haskell Dole

My work, an untitled collection of objects, looks to explore ideas surrounding cultural and historic value. The construction of identity, place, politics and economy are implicated, as are references to museology, the Romantic and Classical periods, and contemporary art practice.

The collection takes form as a series of objects made from plaster, paper, and wax, and voice recordings (audible through headphones). The objects include miniature masks taken from statuettes of German cultural figures, as well as traces of other common items and imagery.

At once, these objects are significant to central Germany and the locality of Weimar, and yet they speak more widely to a negotiation of the dynamics of culture and history. The collection does not seek to fabricate or foster a narrative, instead remaining honest to the abject sense of irony it puts forward.

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 ''Der Wanderer über dem Nebelmeer'' (Wanderer Above the Mist) by Caspar David Friedrich, 1818. Cover image from the 1902 English-language edition of Goethe's ''The Sorrows of Young Werther'', translated by R.D. Boylan, Edited by Nathen Haskell Dole
-My work, an untitled collection of objects, looks to explore ideas surrounding cultural and historical value. I'm interested in objects and other forms of representation that appropriate cultural value as simply another material:
+My work, an untitled collection of objects, looks to explore ideas surrounding cultural and historic value. The construction of identity, place, politics and economy are implicated, as are references to museology, the Romantic and Classical periods, and contemporary art practice.
-The construction of identity, place, politics and economy are naturally implicated, as are references to museology, the Romantic and Classical periods, and contemporary art practice.
-The collection takes form as a series of small objects made from plaster-of-Paris, paper, wax, and voice recordings (audible through headphones). The objects include a number of miniature masks taken from statuettes of canonical German cultural figures, as well as traces of other common items and an image-based exploration of representations of exotic wildlife from the GDR.
+The collection takes form as a series of objects made from plaster, paper, and wax, and voice recordings (audible through headphones). The objects include miniature masks taken from statuettes of German cultural figures, as well as traces of other common items and imagery.
-At once these objects are particularly significant to central Germany because of the cummulative dialogue they foster, and yet they remain poignant more widely as part of an ongoing negotiation with the dynamics of culture and history and our relationship to them. The collection does not seek to fabricate or foster a narrative, instead remaining honest to the abject sense of irony it puts forward.
+At once, these objects are significant to central Germany and the locality of Weimar, and yet they speak more widely to a negotiation of the dynamics of culture and history. The collection does not seek to fabricate or foster a narrative, instead remaining honest to the abject sense of irony it puts forward.