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Echo Studies Educ Guide

Echo Studies Educ Guide

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Published by Jorge Vargas

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Published by: Jorge Vargas on Oct 27, 2012
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V
ARGAS
M
USEUM
E
DUCATION
G
UIDE
P
AGE
1
OF
6
Echo Studies
Maria Taniguchi
GF Lobby and West Wing GalleryVargas MuseumExhibition runs until 28 May 2011
A
BOUT THE
E
XHIBITION
 Echo Studies
reflects Taniguchi’s practice in the “sublimation of the intersections in informationsharing and research”. It focuses on how the researcher’s decisions, sensitivities, and processcontinuously challenge scientific objectivity in the creation and manipulation of data. Employingsound, video, painting, drawing, and installation, the artist probes relationships among subject,representation, and process. Taniguchi brings in this exhibition two large-scale geometric abstract paintings,
Untitled (Mirrors)
rendered meticulously with black brick-like designs revealing the potential of pattern to “reflect information”.
 Echo Studies
also foregrounds the artist’s notion of thetropics through a recent work in Romblon, an island south of the Manila known for marble production.
A
BOUT THE
A
RTIST
: M
ARIA
T
ANIGUCHI
Maria Taniguchi (b. 1981) graduated from the University of the Philippines with a degree in FineArts, major in sculpture. She took her MFA Art Practice in Goldsmiths London in 2009. In the sameyear, Taniguchi was accepted in the LUX Associate Artists Programme, an arts agency supported byArts Council England. Taniguchi has exhibited extensively both locally and abroad. Her recentexhibitions include Roving Eye: Video from Southeast Asia (SorlandetsKunstmuseum, Norway);JUMP CUT Dialectic Dream (The Barber Shop, Lisbon); Complete and Unabridged (Osage, HongKong and La Salle, Singapore); +Pyramid (Green Papaya Art Projects, Manila); and VIDEO eidentidad cultural en Filipinas (CAIXAFORUM, Barcelona).
U
SING THE
E
DUCATION
G
UIDE
 
This guide is designed to help facilitate discussions and activities on the exhibit for Humanities, ArtStudies, or Fine Arts classes. Suggested topics for this exhibition include:
Conceptual Art,authorship, process,
and
representation
. This Education Guide includes write-ups (bordered bygray boxes) and appendix that can be used as reference. Important art terms are underlined for emphasis. Teachers may opt to elaborate on these terms in class.It is highly encouraged that course tutors / teachers have a pre-visit to the exhibition before the class’sactual visit. The guide questions and suggested activities are designed for pre-visit, during or actualvisit, and post-visit. This module aims to deepen the students’ encounter with the exhibition andstimulate their appreciation for art. The questions are intended to help students situate it within alarger context and relate to other disciplines such as history or philosophy. Aside from classroom or gallery-based discussions, this education guide also maximizes other learning platforms such as socialnetworking sites.This education guide may be reproduced. Images of the works in the exhibition are available for classroom use upon request.
 
V
ARGAS
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USEUM
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DUCATION
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UIDE
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 V
ISITOR 
I
NFORMATION
 
For pre-visits, please obtain reference materials about the exhibition from the Front Desk andcoordinate with the Museum Assistant to schedule a group visit. Please inform the Museum at least 24hours in advance. Group visits may be guided by a museum staff, by the teacher (the galleries may beused as classroom upon advance notification), or unguided (students may view the exhibition at their own pace). For information about the museum hours and entrance fees, please log on tohttp://vargasmuseum.upd.edu.ph.
W
HAT IS
C
ONCEPTUAL
A
RT
?
Conceptual Art is a term applied to works produced from the mid-1960s that stresses engagementwith ideas rather than a purely perceptual encounter with objects. In conceptual art, ideas are centralto the work. Conceptual artist Sol LeWitt emphasizes that concept is actually the “most importantaspect of the work” and that execution responds to its priorities. LeWitt further articulates that it is theresponsibility of the artist engaged in conceptual art to make the work “mentally interesting to thespectator”.In most conceptual works, artists proceed with investigations or propositions. Traditionally, there is aline that separates the role of artists and critics. The responsibility of interpretation and perhaps anelaboration of the artists’ works is delegated to the critic. In conceptual art, however, artists take onthis dual role by imparting their own ideas, inquiries, and analyses. According to the writer UrsulaMeyer, an essential aspect of conceptual art is self-reference. Artists define their intentions as part of their art.
What is Conceptual Art like? Could a urinal be called ‘Art’?
French artist Marcel Duchamp challenged notions about the formal aspects of art, artistic process, andits commodification. In 1917, he shocked the art world by presenting a urinal—a commercially produced, everyday object. He presented it as ‘Art’ in a juried exhibition by signing the pseudonym“R. Mutt” and adopting the museum’s convention of labeling, titled it
 Fountain.
This was the mostfamous of what he called
 Readymades
, commonplace objects like bicycle wheels, which eventuallyset precedent for conceptual art.Probing the nature of art itself, another important emphasis of conceptual art is the elimination of theart-object. Hence, the variety of materials or processes employed in conceptual art is virtuallylimitless—photographs, video, maps, diagrams, found objects, or even performance, are but a fewexamples of conduits / vessels that hold artists’ conceptions.
Pre-visit Activities
 I was looking for a form in painting to articulate possible relationships between abstraction and information.--Maria Taniguchi
1.
 
In class, give the students a background on Conceptual Art. Introduce how the movement began in 1915 through Duchamp’s
 Readymades
. Ask the students to watch the video titled,“All You Need to Know about Conceptual Art”, featuring Andrew Graham-Dixon of the
 
V
ARGAS
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USEUM
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DUCATION
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UIDE
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AGE
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OF
6
British Broadcasting Corporation (BBC). This eight-minute video can be accessed via YouTube:http://www.youtube.com/watch?v=Hzh0TTrnS2o2.
 
Before the visit, ask the students about their initial attitudes on Conceptual Art. Ask them thefollowing:a.
 
Can you give examples of Conceptual Art? Name some conceptual artists that youhave encountered in your museum/gallery visits, in books, in lectures, or on theInternet. b.
 
Choose one from the examples that you gave. Describe your encounter with theartwork(s). Give visual, aural, or tactile qualities of the work. What ideas or conceptsdo you think the artist imparts?c.
 
How do you feel that these works of art are placed inside the gallery or museum?d.
 
How do these works compare with other works of art that are normally placed insidemuseums, like oil on canvas paintings?3.
 
Assign one of the students to create a Facebook group for the class. Inform them that thisgroup will be used as a platform for a post-visit discussion. Alternatively, if the class has anexisting e-group, an online discussion board could also be facilitated.
Actual Visit Worksheet
…Concentrated spaces are so interesting. I think it’s partly because of a kind of precision in terms of amaterial and historical presence. The idea was toreorganize a fragment of that.--Maria Taniguchi
Take down notes about the exhibition on this sheet using the guide questions below:1.
 
Describe the canvas paintings at the Lobby. What do you see? What is familiar? How do youthink it was made?2.
 
Why do you think did the artist relate the works in the Lobby to mirrors?3.
 
What can you say about the manner by which the works at the Lobby were installed? Howdoes this compare to the traditional display methods of the museum?

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