Whilst talking about my art project with a college tutor, we came across the subject of 'The Seal Soap Installation' (artist unknown) that she had seen and participated with at the San Francisco Museum of Modern Art. Following my conversation with my tutor, I have attempted to find some reference material to this installation on the internet and on the San Francisco Museum of Modern Art's website archive, but this only goes back to 2000. Nevertheless, here is a recount of her experience:
"Basically there was a very large white room that had mirrors on two sides with small white soap seals spread out all over the floor. My interpretation was to interact with the art/installation by paying $1 to move a seal. The implication of this was to take the soap seal home, which is what most people seemed to do. The money collected for the purchase/interaction with the soap seals was going to be donated towards AIDS research. It is probably significant to note that this installation, I think, was up in the late 80s/early 90s. In this installation and the context of participatory art, I thought that the message was to consider moving the seal in relation to your comfort zone with AIDS. Whether this is how closely you have been affected by AIDS, how close you would be comfortable being next to someone with AIDS, how you understand AIDS, and then move the seal to reflect this. I think the point of the seals being white was to consider themes of cleanliness and they were symbolic of harp seals who were endangered and inaccessible. AIDS of course results in decreased white blood cell counts. Nothing was written within the installation, so of course any movement of the seals was interpretative, and as I said, my experience was that most people took seals home once they paid money. Very few people actually walked amongst or near the seals unless they were 'purchasing one' when I was there."
(Lorraine, Loveland-Armour: 14th April 2010).
I have found it particularly interesting to note here that the visitors who physically participated with the installation were required to pay in order to have the opportunity to do so. Nonetheless, the money collected for participation with the soap seals and indeed the art was going towards a good and beneficial cause. From speaking to my tutor, she was also able to tell me that a fair amount of people were participating with the installation. Again, could this have been as a result of the artists intention and its relevance within a cultural context at that specific point in time? E.g. raising a greater awareness of AIDS during the late 80s/early 90s when this was a time that AIDS was beginning to become much more recognised as a prominent issue amongst our populations and global society?
From all of the participatory art that I have found and researched thus far, it appears that the great majority if not all of it has been based within an installational context. So I can identify this as a common characteristic of this art type. If my end outcome for this years art project will result in an installation, this will be a really exciting concept for me to pursue.
When I started this year, I would have never even considered that I would pursue an avenue within my art that challenges and completely changes my views on aesthetics and perceptions of final outcomes and how they should hold themselves within an exhibition. But this goes to show that exploring aesthetics as a concept through the critical issues module, and finding one inspiring artwork/concept has the scope and potential to change and influence the way that I think about and create art.
Who knows, my end of year outcome may well be an installation! But one thing I do know is that my processes, and spending the time developing and refining these processes will shape, mould, and define the way in which I choose to exhibit my work.
(Lorraine, Loveland-Armour: 14th April 2010).
I have found it particularly interesting to note here that the visitors who physically participated with the installation were required to pay in order to have the opportunity to do so. Nonetheless, the money collected for participation with the soap seals and indeed the art was going towards a good and beneficial cause. From speaking to my tutor, she was also able to tell me that a fair amount of people were participating with the installation. Again, could this have been as a result of the artists intention and its relevance within a cultural context at that specific point in time? E.g. raising a greater awareness of AIDS during the late 80s/early 90s when this was a time that AIDS was beginning to become much more recognised as a prominent issue amongst our populations and global society?
From all of the participatory art that I have found and researched thus far, it appears that the great majority if not all of it has been based within an installational context. So I can identify this as a common characteristic of this art type. If my end outcome for this years art project will result in an installation, this will be a really exciting concept for me to pursue.
When I started this year, I would have never even considered that I would pursue an avenue within my art that challenges and completely changes my views on aesthetics and perceptions of final outcomes and how they should hold themselves within an exhibition. But this goes to show that exploring aesthetics as a concept through the critical issues module, and finding one inspiring artwork/concept has the scope and potential to change and influence the way that I think about and create art.
Who knows, my end of year outcome may well be an installation! But one thing I do know is that my processes, and spending the time developing and refining these processes will shape, mould, and define the way in which I choose to exhibit my work.
