Ideas for installation 2.

Sounds of ballerina music playing from trinket box - childlike; tinkling sound, innocent; nursery rhymes comfort

changing music to something different; insight to personality (punk, political, heavy metal angry; dance; cheesy pop etc) creating a new form.

Taking typical ballerina dress - Dancing seen as high art, Dega - deconstructing it; do I have to dress up as a pretty innocent ballerina to get noticed? who will notice me? informed people?
Using my own image or what i would realistically aspire to look like.

Sounds could be displayed though installation; thought about visiting artist Heather and Ivan Morison the use of a record player - vinyls; vintage like jewellry box; way can link to movement how record and needle interact; moves around like a dance of its own.

Andy Warhol's Time Capsules

Andy Warhol - Time Capsules

"What you should do is get a box for a month,and drop everything in it
and at the end of the month lock it up.
Then date it and send it over to New Jersey.
You should try and keep track of it,
but if you can't and you lose it, thats fine.
Because its one less thing to worry about,
another load off your mind..
I started off myself with trunks and the odd peices of furniture,
but then I went shopping around for something better
and now I just drop everything into the same-size brown cardboard boxes."
(Andy Warhol: The Philosophy of Andy Warhol: From A to B and Back Again)

'Trash or Treasure?' a Published Commentry on Warhol exhibition 2005 @ NGV Melbourne

'....The 15 time capsules that have come to Melbourne occupy all three galleries of the NGV's temporary exhibition space ..
The contents are displayed in custom-built cabinets made from brown corrugated cardboard that echoes the material of the capsules themselves.The contents include both trash and treasure. There are numerous Warhol artworks, including a painting from the 1950s, original Polaroids and photobooth strips. There is also the source material for a lot of artistic projects, both finished (the original frame cut from a comic strip that was used as the source for Warhol's 1961 Dick Tracy painting) and unfinished (a script treatment for a Broadway show based on the music of Lou Reed). Publicity material for his art shows and films. Some cover a period as short as a week; others span 10-20 years. Most of those on display in Melbourne represent Warhol's life and times in the late 1970s. Celebrity is a constant theme, both in the items he collected (Jean Harlow's dress, Clarke Gable's shoes) and in his friendships (thank-you notes from Divine and Diana Vreeland). Correspondence covers the intensely personal (letters from his assistant Gerard Malanga after a falling-out) and the crazily impersonal ,pizza dough, dirty knickers - mingle with items that cast a more substantial shadow over his life, such as hate mail from Valerie Solanos, the hanger-on who shot and nearly killed him in 1968. One Solanos letter is addressed to "Andy Warhol, Asshole, New York". Such was his fame, it managed to get to him through the postal service.
The contents of the time capsules afford us new insights into Warhol's biography and his personality. More than confirming the dates of certain events or the sources of various projects, they present a vivid, chaotic collage of his era. "

how odd to think the ephemera of your whole life could end up behind glass cases!

Joseph Cornell...

Untitled (Cockatoo and Corks), c. 1948, Construction, 14 3/8 x 13 1/2 x 5 5/8 in, Private collection

Joseph Cornell

'Grid'

I think the artist’s metaphor with these “box” constructions is a meditation about life itself, which begins in the womb and ends in a coffin — both of which have been described in crude yet common slang as “boxes.”

Perhaps he was just obsessed with compartmentalization and this artwork was the manifestation of his particular OCD.

Boxes can be seen as time capsules akin to Andy Warhol's time capsules who, though he didn’t create artwork like this, was an obsessive “boxer.”

Initial ideas for Installation peice.

Jewellry box - Life size maybe?

engulfing viewer with this walk in jewellry box usually kept so minature and secretive locked away..

Interactive like smaller peice used in gallery practice seminar but on a much larger scale..

Using film - going back to lists continual silming on a loop.

Sound - Traditional jewellry box; Like one my Mother had; ballerina spinning with ringing sounding tune.. adapting it to a more modern song maybe? sort of soundtrack of life???

Sarah Baker; Working Girl 2004 Photo cut

Place the film loop of the list writing on a screen inside the jewellry box or in a pull out draw? where a mirror would be?


Making another film depicting me as the ballerina? in typical ballerina dress and pose or my pose and dress? Music playing; incorporate it into the box peice or another peice.

Lucas Samaras...

Lucas Samaras

Fig 1. Lucas Samaras, Untitled March 2, 1965; Faux-jewel encrusted, velvet – lined, hinged leather box housing antique English meat carving set with collaged photographs on handles, 2 ½ x 15 7/8 x 5 ½ in. (6.4 x 40.3 x 14cm) CLOSED
The Solomon R. Guggenheim Museum, New York; Gift of Mrs. Andrew P. Fuller, 1976

Lucas Samaras is a sculptor and experimental artist, He constructs narrative boxes with found objects; the boxes are used to convey the diverse elements of the self. In ‘’Untitled 1965’’ (Fig. 1) Samaras attempts to convey contrasting ideas of horror and charm with the glistening, bejewelled outside of the box with the more sinister aspect of the carving set laid on the velvet lined inside of the box. He incorporates objects of fetish with more warm, comforting, family images such as his Mother. This is reflected in ‘Untitled 1965’ (Fig. 1) where the box is described as conveying the;

“‘beautiful’ mother, available to the senses,…’’ while the disturbing strange inside of the box conveys her ‘’enigmatic inside which must be construed by imagination.’’

Samaras imaginatively uses …the destructive carving tools to pry open her body and enter it again to return to her womb. If creative imagination involves projective identification, as it invariably does, then Samaras identifies with the beautiful Mother – His face magically appears (surprise) in many of the rhapsodically bejewelled mother boxes – in effect penetrating her enigmatic inside with his destructive carving tools while signalling her intense aesthetic impact on the senses. He’s a jack-in-the-box trickster, gazing at us from the fatal security of the maternal unconscious.’’


BIBLIOGRAPHY

Prather, Marla; Kuspit, Donald. (2003). ‘Unrepentant Ego: The self – portraits of Lucas Samaras.’ New York, Publications and New Media department at the Whitney Museum of American Art.