vsw100 Art Creativity Portfolio 2 Part 3

Module 3: Independent Project
Project Four: Exhibiting Ideas (Proposed Exhibition)

Week 10 Exercise 1: Proposed Exhibition Theme and Artist Selection Continued
Researching the Contemporary
Artist
Does it meet my theme of everyday life
American Artist Born in 1957
Mark Flood creates art which
mocks the American culture
along with the contemporary
art world through his use of
prankster antics. He uses found
signs to crudely stencil graphics
and confrontational statements
as in Civil War. (artsy.net n.d.)
Mark Flood
Civil War
spray-paint on found
coroplast
24.5 x 24.5 inches
(62.23 x 62.23 cm)
Jonathan Levine Gallery
(Flood n.d.)
When civil war is juxtaposed with advertising you get high intensity and
conflicting views and there is always going to be casualties. This image displays
these conflicts and the war against advertising companies. So it tries to undermine
the visual language based on the Lettrist Internationals ideology in the 1950s with
intent to alter the expression of capitalist cultural against itself. This is an ongoing
issue still present in todays society so is fitting for the theme.
(artsy.net n.d.)
How can I use Mark Flood work to
captivate my audience and make it
interesting for them?
Why I am choosing this particular art
work
What this image would explain to the
public.
(Flood n.d.)
Im choosing this image as the image
tries to explain the ongoing conflict
caused by advertising companies
through their deliberate use of visual
language.
The image can be used to demonstrate
how conflict will always certainly be
present in any economic status which
expresses the views reflective of a
personal or cultural idea surrounding the
everyday, be it valid or not.
The image would explain to the audience
the need for conflict to take place if there
is to be any social change for the better
of human kind.
Researching the Contemporary Artist
American contemporary artist Ron English
explores brand imagery and advertising. Know
best for his photorealist technique and use of
colour and comic book collage. Hes also heavily
involved in street art which comprised of illegal
murals and billboards blended together to form
visuals with biting political, consumerist and
surrealist statements. (Wikipedia, Ron English
(artist) n.d.)
Ron English
Incredible Edible Cathy
Cowgirl
oil, synthetic polymer paint
and collage on canvas
64 x 52 inches (162.56 x 132
cm)
(English, Incredible Edible Cathy
Cowgirl 2012)
The image takes a look at commercial advertising which aims to generate an increase in
consumption or service through branding, which requires that the name of the product or the
image be associated with certain qualities in the minds of the consumer in this case the meat
industry and human consumption. So it demon straights how brand imagery and advertising
seeks to obstruct our vision, to twist our thoughts for capital gain. How ever Ron English
makes a mockery of this capital gain by turning the image on itself making it no longer inviting
for the audience to consider investing in.
(Wikipedia, Ron English (artist) n.d.)
How can I use Mark Flood work to captivate my audience
and make it interesting for them?
Why I am choosing this particular art work
What this image would explain to the public.
The image represents a change in time. It shows how the
cultural ideas surrounding branding and advertising has
altered the way individuals allow themselves to be suckered
in by the power of capitalistic monetary systems such as the
meat industry. However by detouring this image and drawing
on the consumer understanding Ron English sets the
consumer free from convention and brings social order back
to the table.
(English, Incredible Edible Cathy Cowgirl 2012)
The image can be used to show how branding and advertising
is only powerful as the consumer allows it to be.
The image would explain to the public the need to understand
branding and advertising and how it is geared up to alter the
way we feel about a product. With this understanding the
consumer becomes more empowered and less influenced by
advertising industry. That using simple measures just like this
form of dtournement we can over throw the pass and
demand greater expectations of such organisational systems.
What does David Wojnarowicz , Mark Flood and Ron English works have in
common interest with the other Contemporary artist I have chosen?
Does Contemporary art works True Myth
[Domino Sugar], Civil War and Inedible Edible
Cathy Cowgirl talk to each other?
(WOJNAROWICZ 2012) (Flood n.d.)
Cowgirl 2012)
Each of these works look at the affects advertising is having on social culture
and the individual and how they are shaping the world we live in.

They all highlight that we are part of a social realm which produces high levels
of conflict and encourages us to step out and protest against these ideologies in
order to maintain social justice.

They teach us that by having an understanding of branding and advertising we
become more empowered both as individuals and as a culture as a whole.
The answer to this question is yes. Each work holds
a piece of the puzzle. Its only when all three are
place together that you really start to understand
the bigger picture around what the advertising
industry is really doing to the individual and social
culture.
Researching the Historical Artist
Andy Warhol
A La Recherche du Shoe
Perdu, 1955
(Blue & Pink Shoe)
Art Print - 36 x 28 cm
Allposters
(Warhol 1955)
(Wikipedia, Andy Warhol n.d.)
Andy Warhol is an American Artist born August
6, 1928 and passed away on February 22, 1987.
He was one of the leading figures in the visual art
movement pop art. He work investigated the
relationships between artistic expression,
celebrity culture and advertisement during the
1960s. He was successful commercial illustrators,
who become well known for his controversial
artworks. He works with many mediums
including painting, hand drawing, photography,
printmaking, silk screening, sculpture, film, music
and graphic art. In the 1950s he became famous
for his whimsical ink drawings of shoe
advertisements, which he created in blotted-ink
style. (Wikipedia, Andy Warhol n.d.)
This image takes a look at the relationships between artistic expression and
advertisement and how these bind together to portray the persuasive views
of Miller Shoes with intent to increase sales through branding. It seeks to
obstruct our vision by captivating its audience with beautifully illustrated
product and placing written text which clearly states its leading the
consumer their, but in a twist highlights how its up to the consumer to
decided what to do next. A clear manipulation of the individuals thoughts in
order to gain capital gain.
How can I use Andy Warhol work to captivate my audience
and make it interesting for them?
This image represents the way advertising companies once
used the actual product to invite its consumer in order to
improve capital gain. It shows an almost honest approach to
advertising as despite twisting the consumers thoughts
through careful chose of wording, it also displays and points
out that it is up to the consumer what they chose to do next.
The image can be used to show a contrast in the original way
of advertising compared to once its been detourne, but also as
a way of seeing how the advertising industry has evolved over
a period of time.
This image explains to the public how
advertising uses a play on language to shape
the thoughts and decisions, of the individual
or social culture. It would show the public
the value behind understanding language
and how by doing so they become less of a
target to big multi million dollar agency's
thereby allowing them to take charge of
their own thought and spending objectives.
(Warhol 1955)
Researching the Historical Artist
Cola Billboard,
John Clem Clarke,
1995
Size Unknown
Coca-Cola Pop Art
Gallery: John
Clem Clarke
(CLARKE n.d.)
(Clarke 1910s)
John Clem Clarke, an American artist was born in
Bend, Oregon on June 6
th
, 1937. His work
focuses on pop art and appropriation. He is best
known for his updated scenes from the classical
art with contemporary figures and settings. His
also known for appropriating exact images often
using second rate reproductions as his choice
of materials. (rogallery n.d.)
The image uses bold everyday images such as the gorgeous women drinking from the
coke bottle juxtaposed against vibrant block colours with the intent to narrow the
opinion or feeling between commercial arts and fine arts. By doing so the image
associates itself with what social culture believes to be the idea American women in
order attract and persuade the consumers views of the product. To further captivate
his consumer he carefully places a typical American police car cash making the image
filmsque leading the consumer to believe more is about to happen. But in fact the
billboard is using a women symbolically to persuade women of all ages to purchase the
Coca Cola with intent to gain capital gain, making this an everyday concern for
consumers.
How can John Clem Clarkes work captivate my
audience and make it interesting for them?
(Clarke 1910s)
This images shows how advertising companies
borrow from popular art and juxtaposes it with
symbolic images to influence both the individual
and social cultural view of Coca Cola. It shows how
powerful the film and television industry can be in
shaping todays society.
This image can be used to show how the film and
television industry plays on our understanding of
popular culture an lends itself to advertising
companies, making themselves highly influential
throughout the globe.
The image will explain how advertising agencies
rely the medium as much as the text as both are
equally as important. It will also show how a lack
on knowledge in popular culture can be used
against the consumer in a form of manipulation to
get a desired result. In this case capital gain.
(Clarke 1910s)
(Warhol 1955)
What does Andy Warhol and John Clem Clarke works have, in common interest with the
other Historical artist I have chosen?
Does Historical art works A La
Recherche du Shoe Perdu and
Cola Billboard talk to each
other?
Like with the contemporary work both of these works look at the affects advertising is having
both on the individual and social culture around the globe.

They also highlight how we are often manipulated by the very things we enjoy most in life, such
as popular culture and the human form. But unlike the contemporary artist they do not
encourage us to step out and protest or demand our social right to truth, but rather draw on the
things we use in everyday life to encourage us and suck us in until we are lost to the world of
capitalistic monetary systems such as Miller Shoes or Coca Cola.
As with the contemporary works,
these works both hold a piece of
the puzzle. Despite their subjects
being completely unrelated, they
show a few vital aspects of
advertising. They show the
importance of the product and the
important's of popular culture and
human form. But it is only when
they unite that the advertising
industry can be seen for who and
what they really are. Or more to
the point how they aim to
persuade the consumer to arrive
at their own selfish greed.
Earlier I stated that I wanted the title of my exhibition to be Detournement: Signs of the times in everyday life, but I have come to
realise, with greater research that the work is not so much about health concern, civil war and brand imagery, but more about the affects
the advertising industry is having on both the individual and social culture around the globe. So based on a more in-depth understanding
of my chosen works I have decided to change the title to Detournement: Signs of the times and the affects of advertising on everyday
life.

I have also done a great deal of thinking around how Id like my audience to be able to walk into a room expecting the typical white wall
clich of the contemporary building, only to find they have in fact walked into a contemporary building, which has been detourned in
itself, turning on its own to create a living experience of how dtournement works.

My next step will be to consider the space for the Contemporary Art institute for my proposed exhibition. This will require me to consider
what I would like this space to look like. This I will do by brainstorming my ideas.
Contemporary art Institute
Hanging of works
One contemporary
one historical next
to each other.
Different sized
works for
variations
Historical Development
Art showing signs of the time
Everyday life, steaming from a Lettrist Internationals ideology
Taking on board the Situationists framework
Bringing into line with contemporary views
Building
Based on a local government gallery
Not for profit organization
Ran for the good of the
public.
Free and open to the public to browse within
set operational times.
Optional
Tours
Audio Tour
Inside room
Sitting placed for
viewing
Wheelchair
accessibility
Building Design
Basic square
Outside colour structure
Blue, white, grey
Inside room - Black

Idea
Dtournement
Room becomes dtournement in
itself.
Present period in time,
Steaming from a Post-modern art
the heir to Modern art
Both Historical and contemporary
Artist.
Juxtaposing side by side as a
comparison to add contrast.
Week 10 Exercise 1: Proposed Exhibition Theme and Artist Selection - Reflection
Reflecting back on the "Theme and Artist Selection" I think my way of working through the process worked well. I started by asking myself
"How to discover my keyword as the bases which I will develop my theme for my exhibition". This simple question had a spiral affect on me,
where I was able to just follow on. Turning to the dictionary to understand the meaning of The everyday, pleasure and appropriation really
gave me great insight into which direction to take. This placed along side a greater understanding of contemporary and historical art, I
believe was a pivotal point in my understanding of what was being asked of me. So I am happy with the direction I took here. The Lettriste
internationals ideology in the 1950s and the Situationists framework were both strong forces in my mind at the time and I felt it be wise
to explore these to try to understand the role each played and how they were going to effect my proposed exhibition. Looking back taking
the time to research this further gave me a much greater scope as I was able to see how they fitted in and why. I think had I not looked at
this more closely, there would have been a large hole in my research. Detournement was something I wanted to revisit and during my
research of the Litterist International and the Situationist International it just kept coming up. I think I had a need to understand
dtournement as I had struggled with it when we first looked in to it. So it was something I needed to consolidate. I think looking at it in
terms of how it fitted into my exhibition helped me to completely understand how dtournements work and the benefit in them. I don't
think it would have been possible for me to go any further had I not taken the time to consider all of these factors first as all of them
together helped me determine the type of space I wanted to use for my exhibition and the type of ideologies I wanted to follow. I believe I
made a good choice in handpicking my choice of artist. They seemed to compliment each other in terms of the theme very well. So
reflecting on them I am still happy with my choices. There was a different coca cola painting that I would have preferred to use but no
matter how hard I tried I couldn't for the likes of me find out who did it. So I would not have been able to reference it or get all its
particulars. This was a shame as although John Clem Clarke coca cola billboard provided the same outcome the original idea I felt was more
suggestive. But I guess this was about recognising limitations and over coming them. I think the process I took from pitching my idea
moving through to the actual opening day is very well thought out, but still feel it has room for improvement. I tried to work through this in
a order that seemed in line with the development stage of the exhibition, but feel that some of these areas could have been placed in
different orders. This is something I believe takes time to learn so are comfortable with my outcome at this stage of my learning process.
Setting dates I found extremely difficult to do. I did a lot of research in how long is considered acceptable for certain actions such as when
to ask to borrow works. But I find myself wondering if monthly meetings are necessary or over the top. This is something I would probably
address as time went on, as I got a feel for how things work. But for now I am happy to leave this as I have set it out. I feel that my research
into each artist was very thorough and allowed me to decided if the works really did address the everyday. It also address why I chose them
and how I could use them and what these works would mean to the public. I don't feel that I could have done this differently so am more
than happy with this. I am also happy with my mind map in terms of consider the building as I feel this enabled me to take into account
how its appearance my effect people, its design, hanging works and just basically the little things that are really the most important. So on a
whole, I feel in reflection I have done everything possibly human to ensure that all aspects of curating a proposed exhibition should cover,
so am more than happy to move on to the designing.
Week 11 Exercise 2: Proposed Exhibition Presentation
The first thing I wish to consider is my choice of colours for the building as this can have a physical and emotional effect on the viewer, so it
is important that I get this right.

I have chosen the colour blue for the parts of the outside of the building because blue represents a colour of trust, honesty and loyalty.
This is one of the first things Id like my visitors to feel as they approach the building. Ive also chosen it because its sincere, reserved and
quite, which means it wont draw attention and make a fuss. This is important as I dont want the outside of the building to take away from
the inside, as its whats on display inside thats important. Blue also means to be reliable and responsible and this is what I would expect
from an exhibition if I was to curate it. It exhibits inner security and confidence, whilst seeking peace and tranquillity, allowing both
physical and metal relaxation to take place. It will provide the public with a sense of calmness and a place to relax at the same time as
prompting communication, enhancing self-expression in a non-threating manner. But the colour blue is also nostalgic meaning it lives in
the past, but relates everything to the present and future so that it is able to experience the past. So in a sense its contemporary in its
own right.
Week 11 Exercise 2: Proposed Exhibition Presentation Continued
I have also chosen to use grey because grey is a neutral so it remains impartial and compromises, creating a sense of calmness and relief
from the frenzy the public is faced with each day. Blue also represents conventional and dependable, as well as responsibility, making it an
ideal colour to juxtapose alongside blue.

Finally I have chosen white as it represents innocence, purity, wholeness and completion. I feel this will be reflective of my visitors time
spent at this location as white opens the doors for growth and creativity. It also signifies cleanliness which would indicate the state of the
building, but furthermore its refreshing and strengthens a persons energy system and this is something Id like my visitors to feel when
they live the building.
With my colours decided on I went ahead and designed the outside of the building using Google SketchUp and Corel Paintshop Pro X5. The
previous slides and this one shows the building from all angles.

I wanted my building to be wheelchair accessible and have just now realised that although I have made the doorways wide enough I failed
to put in a ramp. So I need to go back to the construction of the building and build a ramp to make the Gallery wheelchair accessible.
Using my sketch of my building done in Google SketchUp , I placed the sketch into Corel Paintshop Pro X5 and added a ramp to the front of
the building. This building is now wheel chair accessible.

I will now need to turn my attention to the inside of the building.
Inside of building requirements
Hanging of works
One contemporary, one historical
next to each other.
Different sized works for variations
Lighting
Inside room
Sitting placed for
viewing
Wheelchair
accessibility
As mentioned earlier I want my audience to be able to walk in and feel what a dtournement is. As a dtournement generally turns on
itself, I intend to make the room completely black opposing the typical white wall clich of the contemporary building.
The room as been designed as a flat level room with no divisions in place to make it 100% accessible to anyone in a wheelchair on crutches
or pushing a pram.

With the basic structure of the room sorted I will need to hang the paintings taking into account their size, height and how they speak to one
another.
When placing the artefacts on the wall I tried to put a nice space between each of them. I also tried to have them at various sizes
keeping in mind the average height of a person, so that the viewing would be at a comfortable viewing level.
(WOJNAROWICZ 2012)
(WOJNAROWICZ 2012)
(Flood n.d.)
(Flood n.d.)
Cowgirl 2012)
Cowgirl 2012)
Cowgirl 2012)
(Warhol 1955)
(Warhol 1955)
(Clarke 1910s)
(Clarke 1910s)
(Clarke 1910s)
Once I arranged the painting I then considered seating. I wanted the seating to be able to be utilised for all of the
paintings so decided to place a bench seat in the middle. After I did this I felt it should have been a little wider so it
could fit a lot more people. So I went ahead and widened the seating as shown in the bottom picture.
(WOJNAROWICZ 2012)
(WOJNAROWICZ 2012) (Flood n.d.)
(Flood n.d.)
Cowgirl 2012)
Cowgirl 2012)
(Warhol 1955)
(Warhol 1955)
(Clarke 1910s)
(Clarke 1910s)
These two photos are for viewing purpose, to
show different angles of the room.
(WOJNAROWICZ 2012)
(Flood n.d.)
Cowgirl 2012)
Cowgirl 2012)
(Warhol 1955)
(Clarke 1910s)
(Clarke 1910s)
Each of the artefact have been careful placed
in this order to demonstrate the affects
advertising is having on social culture and the
individual and how they are shaping the world
we live in. I believe that each piece holds a
vital part of the story and when juxtaposed
they give a holistic outlook of both the
contemporary and historical view to
advertising .

Once I was sure of the arrangement of the
work I went ahead and placed a small
notation at the side of each one which speak
about the work.
(WOJNAROWICZ 2012)
(Flood n.d.)
(Flood n.d.)
Cowgirl 2012)
Cowgirl 2012)
(Warhol 1955)
(Clarke 1910s)
(Clarke 1910s)
The next thing I needed to consider was the lighting. Lighting is a vital aspect as it can influence where people will look, what they look at
and how long they may look. Depending on the colour and intensity the light can also evoke emotions. My lighting is strong as it will draw
people to the works.. The room its self has dim lighting as I want it to help people relax.
This is just a close up for viewing purpose
(WOJNAROWICZ 2012)
(WOJNAROWICZ 2012)
(Flood n.d.) (English, Incredible Edible Cathy Cowgirl 2012)
(English, Incredible Edible Cathy Cowgirl 2012)
(Warhol 1955)
(Warhol 1955)
(Clarke 1910s)
(Flood n.d.)
Cowgirl 2012) (Clarke 1910s)
(WOJNAROWICZ 2012)
(Warhol 1955)
Cowgirl 2012)
(Clarke 1910s)
(Flood n.d.)
Week 11 Exercise 2: Proposed Exhibition Presentation Reflection
Looking back over my presentation of my proposed exhibition, I find myself very happy with the outside of the building. I think in terms of
the colours I have chosen most people will be able to relate them to positive things in their lives giving them a calm and relaxing feeling on
arrival before entering the building. I wanted this site to be accessible by all. Whilst I had taken into consideration width of doorways to
allow wheelchair accessibility I failed to add in a ramp. On noticing this I instantly went back and changed this straight away. But this really
highlights to me how something so simple can completely change the outcome and affect those in our community.

My idea around detourning the room at first was a little scary. I worried it would risk losing the idea of the contemporary building. But on
reflection I feel it was a risk worth taking as it comes across successful to me in a couple of ways. First I feel that the dark room will certainly
make people question why the room was present this way. Leading them to the realisation that they have been forced to take part in a
dtournement process. The second reason I feel its successful in how amazing the works look against the black walls. The way the lighting
has been deliberately placed makes these works pop out focusing the viewer to look, and in a sense this is what advertising companies are
all about. So I feel it also meets the theme of my exhibition. From the prospective of the visitor all of the works were arranged to meet the
eye of the average height person. So this should by rights be a nice level be it taller or shorter for most to view the works comfortably. The
seating started of too small. This was something I was not happy with at all as it meant fewer people would be able to sit down and
experience the works. By extending this seating I in fact double the amount of people able to have this opportunity. I believe this would
make their experience more enjoyable and fulfilling.

When placing the works I found this very challenging as each of these works had something in common. Each of them spoke to each other,
but all in a different way. I knew I wanted them to tell a story, but felt it was important that the story be told in order. So I had to really
question what this order was and how it was so significant. So I tried to show this from the point of view of how advertising once was and
what direction it was leading. Naturally this will be interpreted in many ways as we all have a different understanding around advertising and
what it means to each of us personally. But looking back I feel that placing it this way was wise as most will be able to see this connection.
Although I realise for some it will not be so obvious. I also tried to chose works that would appeal to a wide selection of people, which is why
there is such a diversity in my selection. I felt this would be helpful in engaging my visitors. I still feel this will be the case. In my notations I
have tried to be precise and to the point, but in a way the language was easy to understand. I also tried to show how each was connected.
This is an area I feel I could benefit from learning techniques for better structuring of words and ideas. Having said that I feel that what I have
written is ok, but realise there is room for improvement. With the lighting I first considered having it coming down from the room and facing
out onto the work. But I worried that with the room being black it might create a this closed in feeling, which is why I ended up with the
lighting fixed above the paintings. Looking back I feel this was advisable.

So overall I am happy with the outcome of this presentation now that I have made those few alteration.
Week 12 Exercise 3: Proposed Exhibition Catalogue
Catalogue For
Detournement: Signs of the times and the
affects of advertising on everyday life.
Cover
Photos of the Paintings
included in the exhibition
Title of exhibition
Dates of Exhibition
Location of Exhibition
Make it look like an
advertisement
Try to show a dtournement
Presenting the Exhibition
Gaylenes Contemporary Art
Institute is pleased to present
Title
Group Exhibition
Curated by
Dates of Exhibition
Featured work
Forward
Heading - Dtournement:
Signs of the Times and The
Effects of Everyday Life
Interpretation of my ideas
Theme
How Artwork relates
Why these artist
Artist
Who are the artist
Their photo and name
David Wojnarowicz
Mark Flood
Ron English
Andy Warhol
John Clem Clarke
Biography
Of each Artist
Birth
Death
Lived
Worked
Selected Solo Exhibitions
Selected Group Exhibitions
Education
Awards
Significant Collections
Periods
Exhibitions
Collections

Bibliography
Reference of materials used
When doing the
front cover I
wanted it to
reflect the
advertising side
of things, whilst
addressing all
the required
information
about the
exhibition such
as its title, date
and address.

On reflection
though and with
great advice
from a couple of
fellow students I
decided that the
cover was way
to busy and
needed to be
tones down a
little.
When altering this around I decided to add in the building and detourne the sides with the photos of the paintings showing how
advertising is done. But keeping the bottom clean for the details to be able to be read easier making it less busy.
On reflection I feel this is a
better outcome. Clearer and
easier to read. I think it really
captures the true spirit of
advertising but also shows how
dtournements work.

It was described by Kate
Dempsey a fellow student as:

[being] like pop art on crack - i
love it! it's edgy but commercial
but gritty at the same time. I
think that if I walked into the
showing, I would be sure to pick
one up. I like to keep catalogues
too, so this would be a great
collectors item for someone like
me.

Kate's feedback I feel gives me a
clear indication of the
successfulness of this new cover
as I believe her thoughts reflect
my aims for the outcomes of the
page.
Week 12 Online Activity
Moorabbin, Victoria (September 1, 2015) Gaylenes Contemporary Art Institute is pleased to present
Dtournement: Signs of the Times and The Effects of Everyday Life
Group exhibition
Curated by Gaylene Duncan
September 1, 2015 through to September 30, 2015
Featuring work by a number of artist, including:
David Wojnarowicz
Mark Flood
Ron English
Andy Warhol
John Clem Clarke
Dtournement: Signs of the Times and The Effects of Everyday Life
This collection depicts the Signs of the time in everyday life, steaming from a Lettrist Internationals ideology and
taking on board the Situationists framework, bringing it in line with contemporary views.

The exhibition showcases both contemporary and historical artist juxtaposed side by side to show the effects that
advertising is having on social culture and the individual and how they are shaping the world we live in.

The theme views dtournement as though it was a derailment, which seeks to find truths. A common strategy to
undermine visual language based on the Lettrist Internationals ideology in the 1950s with intent to alter the
expression of capitalist cultural against itself. Using a Situationists framework which looks at the economic status
and expresses the views reflective of a personal or cultural idea surrounding the everyday and whether its valid or
not. By expressing how detourning and bending the imagination, through sarcasm and easily recognizable acts, to
mislead and convey literal meanings to translate honest truths, from these dishonest meanings. Dtournement
becomes a form of mediation, working its way through the media to pass over or go beyond the limits to disobey
the fine art of conversion that overshadows our visual landscape, with intent to find new meanings and different
understandings to show leadership and bring a minority culture to the forefront.

Featuring David Wojnarowicz Truth Myth (Domino Sugar), Mark Flood Civil War, Ron English Innedible Edible Cathy
Cowgirl, Andy Warhol A La Recherche du Shoe Perdu and John Clem Clarke Cola Billboard, as a natural response to
the lies and intimidations the media and the advertising companies feed us every day of our lives, making
dtournement a form of protest and a place to take a stand to question the realities of everyday life.

Please join with us to celebrate how dtournement come about by drawing attention to some of the artist who use
these method to inspire change in the human condition through their art work to find solutions.

David Wojnarowicz
Mark Flood (artsy.net n.d.)
Ron English
Andy Warhol
John Clem Clarke
(CLARKE n.d.)
(Wikipedia, Ron
English (artist) n.d.)
(Wikipedia, David
Wojnarowicz n.d.)
David Wojnarowicz Biography
Born: September 14, 1954 in Red Bank, New Jersey,
United States

Died: July 22 1992 in New York City, New York, United
States
Education: High School of Performing Arts

Awards: Lambda Literary Award for Small Press Book
Award

He also did Performing Arts and was a painter,
photographer, writer, filmmaker, and a performance
artist. He was also know as an AIDS activist prominent
in the New York City art world. (Wikipedia, David
Wojnarowicz n.d.)
1991 In the Garden, Intermedia Arts, Minneapolis, MN
1989 New Work, PPOW Gallery, New York, NY
1988 Galeria Buades, Madrid, Spain
1987 Gracie Mansion Gallery, New York, NY
1982 Milliken Gallery, New York, NY
Awards
1991 Louis Comfort Tiffany Award
(PPOW n.d.)
2013 PRAZ-DELAVALLADE, Paris, France
2007 NeoIntergrity, Derek Eller, New York, NY
2005 Bruce Silverstein, New York, NY
2001 Panic, Julie Saul, New York, NY
2000 Exit Art, New York, NY
1989 El Salvador, Leo Castelli, New York, NY
1984 Gracie Mansion Gallery, New York, NY
1982 Fast, Milliken Gallery, New York, NY
1980 Erotic Show, Club 57, New York, NY
(PPOW n.d.)
(Wikipedia, David Wojnarowicz n.d.)
Artist: DAVID WOJNAROWICZ
Title: True Myth [Domino Sugar]
Year: 1983
Medium: screen-print in colours, on thin wove
paper
Dimensions: L. 30 3/8 x 23 in. (772 x 591 mm.)
S. 34 x 25 in. (864 x 635 mm.)
Location: Christies
Reference: (WOJNAROWICZ 2012)
Mark Flood Biography
Born:1957, Houston, TX

Education: 1981 BA, Rice University

Award: 1991 Engelhard

Lives: Lives and works in Houston, TX

Work: He creates art which mocks the
American culture along with the
contemporary art world through his use
of prankster antics. He uses found signs
to crudely stencil graphics and
confrontational statements as in Civil
War. (artsy.net n.d.)
(artsy.net n.d.)
Selected Exhibitions
2010 Green Cube, Noma Gallery, San Francisco, USA (solo)
2006 Scope, Pulse and Flow Miami
2004 Solway Jones in Los Angeles (solo)
2002 Million Dollar Hotel, Houston, TX
2001 Kick the Habit, Good/Bad, New York
1997 More Mark Flood, Brasil, Houston, TX (solo)
1995 City Folk, Holly Solomon Gallery, NYC
1993 Faces, River Oaks Theater, Houston, TX
1986 3 to 5, DiverseWorks, Houston, TX
1981 Group Show, Studio One, Houston, TX
(Artnet n.d.)
Literature
2004 'Mark Flood' by Brian Sholis, Artforum.com The
New Yorker, 31 May 2004
2002 Kutner, Janet. 'Lacevalue'. Dallas Morning News
(February 20).
1997 Dewan, Shaila. 'Playing Around'. Houston Press
(October 2-8).
1990 Solis, Diana. 'He Avoids the Risk of Censorship'.
Wall Street Journal (August 9).
(Artnet n.d.)
Artist: Mark Flood
Title: Civil War
Year: Unknown
Medium: spray-paint on
found coroplast
Dimensions: 24.5 x 24.5
inches (62.23 x 62.23 cm)
Location: Jonathan LeVine
Gallery 529 West 20th
Street, 9th floor and 557C
West 23rd Street
New York, NY 10011
Reference: (Flood n.d.)
Ron English Biography
Born: 1966,Dallas, Texas, United States

Lived: Lives and works in New York, NY

Worked: Ron is an American contemporary artist.
He explores brand imagery and advertising and is
know best for his photorealist technique and use of
colour and comic book collage. Hes also heavily
involved in street art which comprised of illegal
murals and billboards blended together to form
visuals with biting political, consumerist and
surrealist statements. (Wikipedia, Ron English
(artist) n.d.)

Education
MFA, University of Texas 1986
BA, University of North Texas 1984
(Lazarides n.d.)

Significant Collections
Everhart Museum, Scranton, PA
Whitney Museum, New York, NY
Paterson Museum, Paterson, NJ
Museum Checkpoint Charlie, Berlin, Germany
Museum of Contemporary Art, Paris, France
Franklin Furnace, New York, NY
(Lazarides n.d.)
2012 Making Faces, Opera Gallery, New York
2011 Dim Dum Dolls, Dream in Plastic, New York
2009 Immortal Underground, Opera Gallery, New York
2012 Streets of the World, Opera Gallery, New York
2010 Lead Positioning, Last Rites Gallery, New York
2010 Reform School, New York
(Lazarides n.d.)
(Wikipedia, Ron English (artist) n.d.)
Artist: Ron English
Title: Incredible Edible Cathy Cowgirl
Year: 2012
Medium: oil, synthetic polymer paint and
collage on canvas
Dimensions: 64 x 52 inches (162.56 x 132 cm)
Location: Jonathan LeVine Gallery
529 West 20th Street, 9th floor and
557C West 23rd Street New York, NY 10011
Reference: (English, Incredible Edible Cathy
Cowgirl 2012)
Andy Warhol Biography
Born: August 6, 1928, Pittsburgh,
Pennsylvania, United States

Died: February 22, 1987, New York City,
New York, United States

Education: Carnegie Mellon University

Periods: Modern art, Pop art

Worked: He was one of the leading
figures in the visual art movement
pop art. He work investigated the
relationships between artistic
expression, celebrity culture and
advertisement during the 1960s. He
was a successful commercial
illustrators, who become well known
for his controversial artworks. He works
with many mediums including painting,
hand drawing, photography,
printmaking, silk screening, sculpture,
film, music and graphic art. In the 1950s
he became famous for his whimsical ink
drawings of shoe advertisements,
which he created in blotted-ink style.
Exhibitions
1969 Berlin: Nationalgalerie Andy Warhol March 1 - April 14, 1969
1971 Milan: Cenobio-Visualita Andy Warhol February - March, 1971
1973 Cleveland: New Gallery Andy Warhol March 10 - April 4, 1973
1979 Vancouver: Ace Gallery Andy Warhol: Torsos April 1979
1982 Nice: Galerie des Ponchettes Warhol au plus juste
1985 New York: Tony Shafrazi Gallery Warhol, Basquiat Paintings
1987 Milan: Refettorio delle Stelline Andy Warhol: Il Cenacolo
(warholstars.org n.d.)
Artist: Andy Warhol
Title: A La Recherche du Shoe Perdu
Year: 1955
Medium: (Blue & Pink Shoe)
Art Print
Dimensions: 36 x 28 cm
Location: Allposters
Reference: (Warhol 1955)
John Clem Clarke Biography
Born: In Bend, Oregon on June 6, 1937

Education: studied at Mexico City College,
at Oregon State University, and at the
University of Oregon where he received a
B.F.A. in 1960

Worked: His work focuses on pop art and
appropriation. He is best known for his
updated scenes from the classical art with
contemporary figures and settings. His
also known for appropriating exact images
often using second rate reproductions as
his choice of materials. (rogallery n.d.)
Solo Exhibitions:
Whitney Museum of American Art, New York.
1968 Museum of Modern Art, New York.
1970 22 Realists, Whitney Museum of American Art, New York.
1974 Tokyo Biennial 74, Tokyo, Japan.
1973 Realism Now, New York Cultural Center, New York.
1978 Art about Art, Whitney Museum of American Art, New York.
(rogallery, John Clem Clarke, American (1937 - ) n.d.)
Collections:
Metropolitan Museum of Art
The Museum of Modern Art
The Museum of Contemporary
Art in Chicago
(rogallery, John Clem Clarke, American
(1937 - ) n.d.)
(CLARKE n.d.)
Artist: John Clem Clarke
Title: Cola Billboard
Year: 1995
Medium: Unknown
Dimensions: Size Unknown
Location Coca-Cola Pop Art
Gallery: John Clem Clarke
Reference: (Clarke 1910s)
Artnet. Mark Flood (American, 1957) . n.d. http://www.artnet.com/artists/mark-flood/biography-links (accessed 2 13,
2014).
artsy.net. MARK FLOOD. n.d. https://artsy.net/artist/mark-flood (accessed 2 6, 2014).
Clarke, John Clem. "Cola Billboard." Coca-Cola Pop Art Gallery: John Clem Clarke. Coca-Cola Pop Art Gallery: John
Clem Clarke. 1910s.
CLARKE, John Clem. John Clem Clarke. n.d. http://www.biddingtons.com/content/creativeclarke.html (accessed 2 8,
2014).
English, Ron. "Incredible Edible Cathy Cowgirl." waaaat? Dtournement: Signs of the Times. 2012.
Flood, Mark. "Civil War." Jonathan LeVine Gallery. Mark Flood Civil War. New York, n.d.
Lazarides. Ron English Biography. n.d. http://www.lazinc.com/artist/ron-english/biography (accessed 2 13, 2014).
PPOW. The Estate of David Wojnarowicz. n.d. http://www.ppowgallery.com/artist/the-estate-of-david-
wojnarowicz/biography (accessed 2 13, 2014).
rogallery. John Clem Clarke, American (1937 - ). n.d. http://rogallery.com/Clarke_John_Clem/Clarke-bio.htm (accessed
2 8, 2014).
Ron English (artist). n.d. http://en.wikipedia.org/wiki/Ron_English_(artist) (accessed 2 6, 2014).
Warhol, Andy. "A La Recherche du Shoe Perdu, 1955 ." Allposters.com. The Shoes (Warhol). 1955.
warholstars.org. Andy Warhol Selected Art Exhibitions 1952 - 1987. n.d. http://www.warholstars.org/art/artchron.html
(accessed 2 14, 2014).
Wikipedia, the free encyclopedia. Andy Warhol. n.d. http://en.wikipedia.org/wiki/Andy_Warhol (accessed 2 8, 2014).
. David Wojnarowicz. n.d. http://en.wikipedia.org/wiki/David_Wojnarowicz (accessed 2 6, 2014).
. John Clem Clarke, American (1937 - ). n.d. http://rogallery.com/Clarke_John_Clem/Clarke-bio.htm (accessed 2 13,
2014).
. Ron English (artist). n.d. http://en.wikipedia.org/wiki/Ron_English_(artist) (accessed 2 6, 2014).
WOJNAROWICZ, DAVID. "TRUE MYTH [DOMINO SUGAR]." christies. DAVID WOJNAROWICZ (1954-1992). New York,
Rockefeller Plaza, 2012.
Bibliography
Thread:Week 12 Online Activity CataloguePost:Week 12 Online Activity CatalogueAuthor: Gaylene DuncanPosted Date:February 14,
2014 5:24 AMStatus:Published
Hi Tanisha and Fellow Students
This is my finish product for the Catologue. I've tried to be creative and give it a unique look. I'd love to hear your interpretation of it if
you have time.
Cheers Gaylene
Attachment: Week 12 Online Activity Catalogue.pptx (4.112 MB)
Reply Quote Mark as Unread

Thread:Week 12 Online Activity CataloguePost:RE: Week 12 Online Activity CatalogueAuthor: Erin DaviePosted Date:February 14, 2014
11:53 AMStatus:Published
The layout with the bios and info and the pages of the images look great.
I felt that the front cover and the first page were a bit cluttered.
a little too much infor, visual overload so to speak. that could well have been your intention though. :)
Great work gaylene.

Thread:Week 12 Online Activity CataloguePost:RE: Week 12 Online Activity CatalogueAuthor: Gaylene DuncanPosted Date:February 14,
2014 11:59 AMStatus:Published
Hi Erin thanks for the feedback mate. I will take this on board and revisit it. See what else I can come up with. Thanks mate its feedback
like that which is of great help.
Cheers Gaylene

Week 12 Online Activity
Week 12 Online Activity - Continued
Thread:Week 12 Online Activity CataloguePost:RE: Week 12 Online Activity CatalogueAuthor: Debbie ArnoldPosted Date:February
14, 2014 12:11 PMStatus:Published
Hi Gaylene...I had a quick look but going to city soon so I didn't get time to read it all. I will read it tomorrow. But Looking great
vibrant colours...very appealing...very 'ad-like' I guess. Yeah with the cover I find the differing fonts/font colours are a bit busy, but I
can see what you are trying to achieve...that real 'Ad' look. I like the gold frames, I feel that they tie in the historical part nicely. Well
done, Deb

Thread:Week 12 Online Activity CataloguePost:RE: Week 12 Online Activity CatalogueAuthor: Gaylene DuncanPosted Date:February
14, 2014 3:53 PMStatus:Published
Hi Deb thats ok mate go out and have an awesome time. I am going to revisit this cover. I was aiming for the advertising look with
the historical, but still want it that people can relax and enjoy it. So Ill see what come.
Cheers Gaylene

Week 12 Exercise 3: Proposed Exhibition Catalogue - Reflection
Reflecting on my catalogue I realised that the mind map was excellent in giving me direction and then being able to maintain this
direction. This I feel was a valuable learning tool for me, as it allowed me to think through what content was important to be in the
catalogue, but also about the arrangement of the information.

When I did the original cover look back at it I see it as a crazy mess. I find myself asking where my mind was at, at the time. However it
also made me realise I was trying to capture the true spirit of how advertising agencies try to take hold of out minds to influence us. I put
this in the forum to see how others would perceive it and not surprisingly they had seen it as being way to busy. This needed some
serious adjustment. When adjusting it I found myself with this on going struggle to make it less busy but still conveying the important
message of advertising companies and how they affect us. I also wanted to show dtournement as this was a large part of the exhibition. I
put my new idea in the forum to get feedback and found myself with two people with two completely different interpretations of it. I liked
this as it begged me to really consider why I was choosing to design it in this manner. Why was the building important? For example as it
was pointed out its about the art, not the building so it is not needed. But I realised that this was about the art and it was connected to
what my exhibition was all about. As it was showcasing the building being detourne by advertising which was the very core of my
exhibition. So I feel it has a place and decided to leave it there as it was. I feel the overall structure of the catalogue might be a little clich
in terms of the framing, but feel the background provides interest, and allows the wording to be easily read. The only thing I thing that I
question really is my front cover and whether or not I am making the right choice. I realise that this is something I would have to be sure
about before I was to put this into publication. But I feel this decision would be made easier when taking it to a meeting and had all
involved put forward their arguments for and against it. Looking back it is an aspect I might have chosen to alter in a real circumstance.
Week 12 Exercise 3: Proposed Exhibition Continued Web Based Research
I found myself quiet surprised by how
interment the Virtual exhibition was. It
intrigued me how you could even go as
far as to have the sliding doors open as a
person moves through them. I think its
an ideal set up for people who are not
fortunate enough to be able to access a
exhibition in real life due to health or
location.

Once inside I was surprised by how open
it was and how easy it was to navigate
your way around.

How ever I found it very isolating and
lonely walking my way around on my
own. I felt it lost that special feeling that
happens when your standing in front of a
peace of work., which in turn made it
hard to really interpreted what the
curator was trying to get across.
National Artists'
Self-Portrait
Prize 2009
(Queensland 2009)
(Queensland 2009)
There were a couple of down falls I found as I moved about.
One of them was I found if a wall was to my side I couldnt
turn enough to read the description. This was frustrating as I
really had a need to understand the work in front of me.

Although navigating the first floor was easy, I also found it
difficult to navigate my way upstairs. This also caused
frustration as I found myself just wanting to get their and not
being able to.

I also think it was important to have others around even if
your not talking to them as the social interaction seems to
play a big part in your take home experience of the exhibition.
National Artists' Self-Portrait Prize 2009
(Queensland 2009)
(Queensland 2009) (Queensland 2009)
Its essential to suggest
something that is
content-specific, as the
need of the artist is
different all the time; it
just depends where
there at. Sometimes
they need big
retrospective other
times they need a
focused exhibition. So
its important to
establish a dialogue, be
flexible and dont plan to
far ahead as this has
negative connotations
attached to it.
A curator is a promoter,
generator and motivator
they are meant to work
with the artist whilst the
artist creates the show.
The curator helps to
build a bridge between
the artist work and the
public. (Kent 2006)
Hans Ulrich Obrist: Interview
Its a good thing to have curators that move from one country to another as this essential otherwise institutions become what are
known as homogenised. (Kent 2006)

(Kent 2006)
(Wikipedia, Hans-Ulrich Obrist n.d.)
Hans-Ulrich Obrist was born in Zurich, Switzerland, 1968 and is the author of The Interview Project (Wikipedia, Hans-Ulrich Obrist
n.d.) which is a broad continuing project of interviews. He is also the Co-director of exhibitions and Programmes and Director of
International Projects at the Serpentine Gallery (Wikipedia, Hans-Ulrich Obrist n.d.) located in London. His known as a curator, critic
and historian of art. (Wikipedia, Hans-Ulrich Obrist n.d.)
Obrist become most known to the world as a result of his exhibition in the
kitchen of his apartment entitled "The Kitchen Show" in 1991 when he featured
the works of Christian Boltanski , Peter Fischli and David Weiss.

What I love about Obrist is his attitude toward artist. As he says I really do think
artists are the most important people on the planet, and if what I do is a utility
and helps them, then that makes me happy. I want to be helpful.

His also the co-founder of

the Brutally Early Club, which is a group set up for
discussions, which meet in London, Berlin, New York and Paris at 6.30am at
Starbucks. He also works as a contributing editor for 032c, Abitare, Artforum and
Paradis Magazines.

Hans Ulrich Obrist is well travelled and lectures internationally at many academic
and art institutions such as the European Graduate School, Institute of Historical
Research, Southbank Centre and many more. (Wikipedia, Hans-Ulrich Obrist n.d.)
Work
Age 23 organized an exhibition of contemporary art in his kitchen
1993 Founded the Museum Robert Walser
1993 Ran the the Migrateurs program at the Muse d'Art Moderne de la
Ville de Paris His role was the curator for contemporary Art.
1996 he curated Manifesta 1 which was the first edition of the European
biennial of contemporary art. (Wikipedia, Hans-Ulrich Obrist n.d.)
Publications
2009 ranked number one in an art review for the
publication's annual list of the art world.
2009 Made Honorary Fellow of the Royal Institute
of British Architects (RIBA). (Wikipedia, Hans-
Ulrich Obrist n.d.)
Brief Self Evaluation
Most successful outcomes
My most successful outcome would have to be my understanding of the cardboard box, as I soon realised that the cardboard box is a
vital part of the human existence. I realised that nothing is as it seems. When you bury down through the layers you soon realise
there's a whole other story to be told. This reminded me of the metaphorical phrase "Never judge a book by its cover". As Robert
Harris says I need to change my attitude, the way I look at things as a creative mind. I need to be open to ideas and new concepts. As
Edward de Bono explained as artist we need to think outside the box. So I need to allow myself to go beyond the normal constraints
and expectations, concepts and change the rules and develop new ideas, which far exceed the normal expectations. This means
allowing myself to push the boundaries and having an open mind to new ideas, so that my creative flow can continue to develop. As
I worked through the unit I found myself taking these things on board, which mate it easier for me to work through my thoughts and
develop my ideas. I believe my gates , dtournements , noble combinations and my proposed exhibition all benefit as a result from
this original understanding. Naturally as I worked through each of these my knowledge base grow, but without this underlying
understanding my outcomes would not have been as successful.
Areas of further work
I think there are a few areas I really need to work harder on to further improve my outcomes. I need to find better ways to problem
solve as I write my ideas instead of finding ways to explore these ideas physically so that I can build on my conceptual development. I
believe this is a behavioural issue for me as I have always learned this way doing things in my head so I think its about trying to
change my behaviour more so that learning a new skill. Another thing I would stand to benefit from would be to take more time to
critically analyse my work as I just dont do enough of this. I think a lot about the work and where its heading or how it could be
better, weather it works or not, how it effects the community, but I fail to write these things down and as a result I miss out on
reflecting on this. I feel a large part of my problem with this is time constraints. I find myself rushing just to get through the work in
time, so as a result I end up moving on before allowing myself the time to do these things thoroughly, which is holding back my
development. So I need to better schedule my day to accommodate and make time for this to be able to happen. Finally I think I
need to learn to allow myself to make error. To understand that this is part of the learning process and that its ok to make error. I try
hard to perfect what it is I am doing and in doing so I dont allow myself the freedom to take risk and as a result I hold myself back
almost preventing myself from developing ideas and making new discoveries.
Brief Self Evaluation
What Id like to revisit
If I had the time Id love to revisit all of it and work through the process from start to end at a slow pace, where I could work on the
issues I stated needed improving.

Id like to revisit dtournement as I think my understanding of it has changed greatly over the duration of unit, so it would be
interesting to see what I would put out now. At the time I was very unsure of my own ideas surrounding it and I feel this really held
me back in terms of my outcomes.

The other thing Id like to revisit is my proposed exhibition as it be interesting to do this for a virtual exhibition just to have a
reference and something to compare.
Overall thoughts
Overall I have found this unit to be a great challenge which I believe I raised to well on the most part. I found it really opened up my
mind to the different ideas surrounding creativity and taught me a lot about my own work ethics. Its really helped me to understand
how art and culture work together and influence society as a whole. I really enjoyed this unit and liked the way it challenged me
putting me out of my comfort zone many time, as I believe this generated a great deal of personal growth from an artistic point of
view.
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