‌Jenny Holzer

Redaction paintings

Under the title of 'Redaction Painting' in 2006, she published paintings based on memos, letters and reports from the U.S. government.31 These works were produced in such a way that after expanding the official documents, various colours were applied and blacked out the chapters, paragraphs, or entire sections, leaving a trace of censorship. Most of the documents used in the work deal with politically sensitive topics, such as assessment of terrorist risks or handling detainees. The blackened marks in Holzer's" censor painting" symbolize the truth the government tried to cover up. This catches the viewer's eye and raises questions about what information resides in the censored area, and reminds them that information transmitted through the mass media is restricted and manipulated. By publicly presenting the government's official documents, she reveals the truth they wanted to hide before the public and shows how public power corrupts the frozen language. It also charges the reality that the media is compromising with power and reproducing the ruling ideology.

When I look at her works, I felt her works are related to my works and concept. I would like to study what we see in the real world, the implications of ideological, political and social concepts, and the social scope that writers should deal with, as in her work, by associating politics with events. I also want to deal with this in general through the medium of language. I'm going to choose one of her works and write an essay, and I'd like to continue to study her work.
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‌Glenn Ligon

In the 1990s, American writer Glenn Ligon produced a series of paintings, including < Untitled (I am not a tragically coloured) > (1990). In work, he repeatedly stencilled phrases from black man literature and culture on the panel. As you read from top to bottom, the phrase becomes increasingly faint and unreadable, suggesting that the experience of racism slowly eats away at a person's confidence and destroys his or her identity over time.

I was also very interested in his methodology because I was interested in the black paintings or white paintings itself. And in painting, which captures his race, namely his culture, from his subject matter, I concerned 'how does my painting ever reflect on my culture? It occurred to me that ' I should further study the material methodologies like he uses oil pastel, language, photography, drawing, etc. and also study the methodology of including my culture into my paintings.

Dread Scott

He unfolded the U.S. flag on the floor of the gallery and created a situation in which the audience would step on the flag if they wanted to get close to read the text. It consisted of a photomontage that had a text that read, 'what is the proper way to display a U.S. flag?' Below that were books that people could write responses to that question in and below that was a flag that people had the option of standing on. The installation consisted of a photo montage with images of flag-draped coffins coming back from Vietnam, South Korean students burning flags with raised signs that read "Yankee go, home son of a bitch," and the question "What is the proper way to display a U.S flag?" written on top of the page. Underneath the photomontage, Scott installed a shelf with a book in which audience members were invited to answer this question. In order to write their response in the book, audience/participants were required to walk on an American flag, which was laid on the floor in front of the shelf. Scott's installation addressed the issue of compulsory patriotism, the question of freedom of speech in regards to flag burning or any desecration of the American flag, and the values placed on symbolic objects.

American Newspeak…Please Feel Free is a series of 12 "installations for audience participation." They are comprised of black and white photographs, offset prints (reproductions of the photographs), text on signs, pens, shelves, books (originally with blank pages), and an active audience. Below each photograph there is text on the wall that has instructions/questions to which the viewer may respond. The basic format of these instructions is a "political" statement followed by text that informed the viewer/participant that if they agreed with the "political" statement, that they could feel free to take one of the offset prints. The "political" statement is also reprinted on the prints. Still, instead of instructing the viewer to take a print if they agree with the text, it states that the person who owns the print agrees with the "political" statement. There is also a sign which requests that anyone who takes a print please explain why in the books provided. The audience response/ writing, therefore, became part of the art. Both the prints and the books are placed on a shelf which is directly below each photograph and its related text.
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‌I wanted to create a place where the audience could write the text about my concept and take my work as a piece of paper, and the audience comes out of the exhibition hall and thinks more deeply about their thoughts with it. Scott's methodology was similar to the one I wanted. I am interested in his work that you can realize from the way you ask, answer, and look at your work, not just a piece that you see and end up with, and the picture that this can create a story and shout it out to society. Also, I am interested in the relation between his language and object. I would like to study his works further so that my socio-political concepts and my work can be further developed.

Robert Rauschenberg

Rauschenberg began making silkscreen paintings in 1962. He would screen-print images from books and magazines, along with his own photographs, onto the canvas, then apply painterly brushstrokes reminiscent of Abstract Expressionism. His intention was 'to escape the familiarity of objects and collage'.

According to Achim, 'There is no single standpoint from which the disparate motifs might coalesce into a coherent whole. Rauschenberg instead appeals to the flexibility of the eye and to the body's physical mobility, which enables countless changes of perspective.' (2015, p.16) Also, 'Rauschenberg insists that it is no longer tenable to define the aesthetic view as some dreamy, timeless state; instead, the work must assert itself within the riotous spectacle around it.' (ibid.)

He expressed various methods on his artwork, taking the screen-printing. He made paintings and layered sculptures by introducing it that involves epic stories.

His viewpoint on the painting has the effect of looking at several points rather than fixed to one, making it look like a flexible moving image. This makes the audience rethink and reorganise stories in the painting. I also seek such methodology. As the audience follows the painting, they can find the interpretation of the story in some hints of the painting. They also can find their own starting point of the painting. So, through the study of his concept and works, I introduced connoted and narrative objects as if I give a hint via objects into my works.

‌John-Baldessar‌i

Since the late 1960s, he has mainly produced works using text only, and when he entered the 1970s, he took the form of combining texts and photographs. He continued his linguistic and philosophical consideration of letters and shapes, using the subject of the correlation between language and visuality.

Since the mid-1980s, using geometric shapes of primary colours emphasized impracticality by covering part of the picture or erasing certain features in a monochromatic plane. Also, the person's face was painted with a circle of primary colours such as yellow, red, and blue to give anonymity.
 
In particular, he used photography in most works and explored the essential relationship between art and photography. Baldessari's choice is the most important thing in his photography work. He collected visual materials and selected them for his work. He shows typical features of conceptual art, but on the other hand, stories, the use of allegory, and borrowing are the main ways. And here as well using stories and allegory stands out. Also, by using text and sentence that can look rather clunky on canvas, it can include a visual effect and a hind meaning all.
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‌I learned how to use texts and narration through his concepts and works because I am intrigued about dealing with such methods.  As he applied the form of combining text and pictures to his work, I was also greatly influenced in studying the specific approach. I’m studying symbolism just as he made his concept look bigger through symbolic methodologies. I think his research will give me a variety of influences because it is diverse and vast. I intend to continue to explore his methodology of combining, connecting, dismantling and reconfiguration in more depth.

‌Liam Gillick

Liam Gillick deploys multiple forms to make visible the aesthetics of the constructed world and examine the ideological control systems that have emerged along with globalization and neoliberalism. He utilizes materials that resemble everyday built environments, transforming them into minimalist abstractions that deliver commentaries on social constructs, while also exploring notions of modernism.

‌"Re-activating Liam Gillick's works questions the mutual relationship between the curatorial, the artist, the institution and the viewer, providing a new perspective on the future of contemporary artistic forms. The exhibition becomes a time game where the near future and the recent past collapse, creating a new scenario in which the artworks and the ideas of the artist are revealed anew; a space of critical exchange and new debates is opened." (artmap.com)

I agree with the above paragraph; also, I especially think he has made a space of critical exchange and new debates. And he breaks apart elements of painting and reconstructs these. This has an impact on my work. I think his actions are a new painting of contemporary. I am studying my own new painting, and understanding it as the combination with painting and other materials. As his colours, texts and composition represent this point, I will find my specific method.

Ian Kiaer

Ian Kiaer’s installations connect illusionary atmospheres with spartan theatricality. Often researching specific subjects relating to art, architecture, philosophy, and social theory as departure points, Kaier’s work transcends literal reading to create suggestions of invented narratives. In the Russian Project, Kaier’s arrangement of paintings and objects is both a traditional gallery exhibition and plausible stage set. The portable cupboard and colourful canvases trigger images of domestic space and act as individual formal elements referencing Supremacist compositions. Through his work, Kaier explores social interaction with the constructed environment, alluding to both utopian ideals and their failure‌.

Dominique Gonzalez-Foerster

‌Dominique Gonzalez-Foerster (born 30 June 1965, in Strasbourg) is a French artist. She is known for her work in video projection, photography, and spatial installations. She has worked in landscaping, design, and writing. "I always look for experimental processes. I like the fact that at the beginning I don't know how to do things and then, slowly, I start learning. Often exhibitions don't give me this learning possibility anymore."

She actively adopts new materials to her works and reconstructs by her method. I always ask to myself through such a question; Is it right?. I know it has no answer, but I have a fear whenever I approach a new material for my work. When I watched her work, I decided to try a new method and material to develop my practices‌.

laure Prouvost

Legsicon

Legsicon' delves into the philosophical depths of the artist's practice, through the familiar, if transformed, the format of a lexicon, to portray the work of an artist developing complex thought through artistic languages. Deviating from a typical monograph, 'Legsicon' functions as a sort of dictionary, exploring and expanding on thirty-six notions in Prouvost's work, with each incorporating a commissioned text, new drawings created by the artist and selected documentation of her related works.

Words such as Artist, Boobs, Dream, Grandad, Octopus, Woman, and thirty other keywords, have triggered contributions from Celidor Aikvost, Nuar Alsadir, Paul Becker, Dodie Bellamy, Paul Buck, Sophie Collins, Marie Darrieussecq, Bart De Baere, Melissa Gronlund, Nicoline van Harskamp, Nav Haq, Alistair Hudson, Elisa Kay, Martha Kirszenbaum, Brian Kuan Wood, Peter Kubelka, John Latham, Huw Lemmey, Kathy Noble, Elizabeth Price, Bernard Prouvost, Laure Prouvost, Natasha Soobramanien, Jonas Staal, Barbara Steveni, Abdellah Taïa, Maija Timonen, Murtaza Vali, Anne-Mie Van Kerckhoven, Agnès Varda, Timothy Vermeulen, Emily Wardill, Marina Warner, Mark Webber, and Lawrence Weiner.

When I studied in BA course in Korea, I made the book as combining with the drawing, photographs and texts. I think the book represent‌s myself. After seeing her work, I think we have a common ground about these elements. I am also interested in narrative and such methods so that I will apply such a method to my work‌.

Michelangelo Pistoletto

‌His work mainly deals with the subject matter of reflection and the unification of art and everyday life in terms of a Gesamtkunstwerk.
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His works have a considerable impact on me. Using a mirror, he made a reflection in the gap between the mirror and the audience and established the relationship. I also want to reveal the independent human figure in the gap between the mirror, the reflection and the audience. He also tried various methods, such as performances and placing existing objects, as well as using a silkscreen.

‌Laure Prouvost
‌Patrick Staff
Jenny Holzer