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Henry Moore Illustrated Harsh Human Conditions of People Displaced in His 'Shelter' Drawings

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Henry Moore Illustrated Harsh Human Conditions of People Displaced in His 'Shelter' Drawings THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Dawson First name: Louisa Other name/s: Catherine Grizelda Abbreviation for degree as given in the University calendar: MFA School: School of Art Faculty: College of Fine Arts Title: Moving House: The Renovation of the Everyday Abstract 350 words maximum: (PLEASE TYPE) This paper describes my researcli project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the double nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). Sign Witness Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer penod of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS CERTIFICATE OF ORIGINALITY I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, nor material which to a substantial extent has been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in styl^ presentation and linguistic expression is acknowledged. Signed... .JZ^/k^i^CL Moving House: The Renovation of the Everyday Louisa Dawson I 1 j N s W 19 MAR 2008 t-itiHARx Contents Acknowledgements II List of images III Introduction 1 Section I Beyond Naivety 8 Sleepwalking 15 User Pays 19 Section II Common Objects on Common Grounds 26 In Transit 30 Itinerary/Itinerant 33 Temporary Displacement 38 Unsteady Work 42 Rocktools 47 Conclusion 50 Bibliography 52 List of Images 1 Recreational Vehicle (2001), COFA Graduation Exhibition, Sydney. 6 2 The Weekender (2001), COFA Graduation Exhibition, Sydney. 7 3 Sleepwalking (2003), in studio, Sydney. 17 4 Sleepwalking, Detail of sculpture when operating. 18 5 User Pays (2006), Sculpture by the Sea, Bondi, Sydney. 22 6 User Pays (2006), Sculpture by the Sea, Bondi, Sydney. 23 7 User Pays (2006), Detail of ticket. 24 8 Bumper bar sticker on the back of a utility truck in Waverley. 25 9 In Transit (2003), Multiples, COFA Performance and Exhibition Space, Sydney. 32 10 Itinerary/Itinerant (2004), Helen Lempriere National Sculpture Award, Melbourne. 35 11 Itinerary/Itinerant (2005), Art and About, Sydney. 36 12 Itinerary/Itinerant (2005), Detail of Sculpture. 37 13 Temporary Displacement (2004), Dresden, Germany. 40 14 Temporary Displacement (2004), Dresden, Germany. 41 15 Unsteady Work 1 (2005), MAT DAT, COFA Performance and Exhibition Space, Sydney. 44 16 Unsteady Work 3 (2005), in Studio, Dresden Germany. 45 17 Unsteady Work (2006), The Helen Lempriere National Sculpture Award, Melbourne. 46 18 Rocktools (2005). 48 19 Rocktools (2005), detail of measuring tape. 49 TTT Acknowledgements I would like to thank everyone who helped me with my MFA P r o j e c t. This includes the people who helped me create my sculptures; Doug Knox, Michael Loke, Paul Hopmeier and Ron Coyne. I would like to thank the people who supervised me; Sylvia Ross, Professor Eberhard Bosslet, Bonita Ely, Martin Sims and Allan Giddy. Thank you also to the many people who spent the time to edit this paper; Jamil Yamani, Sylvia Ross, Mary Still, Natalie Vlies and Mum. Thank you to my all family and friends. TT Introduction For my MFA research project, I have investigated social inequalities and made comparisons between home and homelessness, travel and displacement, and public and private space. I have interpreted these issues by juxtaposing everyday objects to highlight or blur these opposing dualities in conventional thought. Moving House: The Renovation of The Everyday seeks to question and subvert the status quo of the everyday object to highlight social inequalities of domestic life, the uneven development of urban space and forced or chosen mobility. My work does this by attempting to shift commonly held western views of the tools and objects that aid us in our travels, leisure, and working lives. In this paper. Moving House, two main components are involved. One is to discuss social concerns by looking at theoretical and sociological debates that are pertinent to my research. Within this analysis I discuss artistic representations of homelessness and poverty, including; photographic documentation, designs for temporary mobile structures, stereotypes and 'street' fads. With reference to specific artworks, I hope to reveal issues surrounding homelessness and poverty within the cities of urban Australia, and perceptions of homelessness by very different social groups. The other component of this paper will focus on The Renovation of The Everyday, discussing the language and utilitarian nature of mundane objects in relation to western societies, such as our own. I will refer to contemporary art movements and artists to illustrate the different ways everyday objects have been manipulated and how I locate myself within contemporary practice. This research began in 2002, when I investigated temporary housing for homeless people in NSW. This directly followed from my Honours research on 'the caravan'. I had made sculptures that illustrated the dual nature of caravan usage. One is for the purpose of leisure; the other is for more permanent and affordable accommodation. This is demonstrated in my work Recreational Vehicle (2001) (see image l), which was a sculpture of a caravan made from the classic green and white coloured canvas, normally used on a caravan's annex. The tow bar was also covered in the canvas material. This caravan was small in size and had a zipper door and window. The whole structure was placed on bricks, symbolising the lack of mobility and freedom that some caravans, contradictingly, now represent. Another work, The Weekender (2001) (see image 2), used a traditional poker machine, or 'one arm bandit', which I had modified by making a movable base and giving the structure a tow bar and a car battery for power. The work implies that one could tow the poker machine away with you on holiday, attached to your car like a caravan. The sculpture looked at changes in leisure, resulting from changes in employment structures from permanent employment to the casualisation of the labour force and lack of mobility- the poker machine as the new escape v ehicle. I began my MFA project by undertaking a number of field trips. I travelled to different inland and coastal locations and noted the prevalence of caravan accommodation in remote rural towns such as Wee Waa, Burren Junction and Lightning Ridge. On one of these journeys I was travelling with my father to Goodooga (north west of Walgett), to visit a merino station called 'Mogila', which was owned by my great uncle and was where my grandmother was born. Along the way we passed towns that have been socially and economically depressed since the decline of the wool industry and the more recent economic recession in the 1990's.
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