Artwork as Social Model

Cultural Influence Through the Artwork -3A

Artists have long been considered essential to the process by which society generates new cultural sensibilities. Whether the artist has participation in this process as a coherently stated objective is another matter, as such intentions are rarely explicitly specified. For the influence of the artist has historically been accepted as implicit, hidden, or confused with the other functions which society projects onto the artwork. Yet still the means, and it is the means that are fundamentally important, by which the artist seeks cultural influence is through the ‘artwork’ and hence its central position between the artists conception and society. In this way there is a tacit understanding that the intention of the artwork is ultimately mediational, that is does, in some unspecified way, interrupt to change perceptions and understandings of an audience. But in reality this is denied by an artwork’s plurality, for what is projected onto the artwork by different vested interests is a multiplicity of functions all of which, while diverse, are simultaneously significant.

Keeping the piece as simple as possible will really work to my advantage and I feel that the title alongside the film will give way for interpretation of the work to extend past the issue of wartime sexual slavery.

Transformation and Context – 16B

An important element of transformation is the contextualisation of the space surrounding the transformer. The transformer loads the space with references that they find meaningful, thus conveying what is impersonal, perhaps even anonymous, to somewhere personal, relevant, a statement of their own sensibility and identity.

This really resonated with my while I was trying to decide on how I could display the film in a way that spoke of the research without explicitly referencing it. Displaying the film in a way that feels as though you’re looking through a window at something happening to a form speaks of those references.

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