Summary Of Game On By Marina Warner
Novelist Marina Warner in her article ‘Game on’ (2005) highlights the ways in which artists engage with play in making their artwork and how ‘’artists are increasingly searching for new forms of representation through play-acting and make-believe’’ (Warner, M. ‘Game On’ 2005). She states that numerous contemporary artists are intrigued with the idea of childhood play and this has ‘’never been as central to artists’ enterprise as it is today’’ Warner makes references to Surrealist art in relation to childhood play, specifically to the way in which it freed the artist of conscious, rational control and instead aimed to explore uninhibited dreams and imaginings. It expanded artwork into a realm of cognitive creation, similar to the way in which a child might convert “knives, forks, and spoons into mountaineers and acrobats” (Fischli and Weiss; 1996. Pg. 97).
Spontaneous and joyful, subversive or amusing, play can take many forms in daily life as well as in contemporary art. Historian and cultural Theorist, Johan Huizinga gives one …show more content…
Wegman’s video art in the 1970s specifically explores incongruity to deliver humour to a greater level. Marina Warner highlights that ‘’artists transform inert material things, animating them with fantasy, infusing objects with meaning through memories of childhood, or in imitation of children's imaginative games’’ (Warner, M. ‘Game On’ 2005).This can be seen in Wegmans short films in which he demonstrates the use of minimal elements such as his body and the dog ‘Man Ray’ to create unexpected moments or scenarios of conceptual humour. In the short film ‘The Spelling Lesson’ (1974), Wegman corrects the dog’s spelling test by implying that the dog spelt ‘out’ and ‘park’ correctly and then explains to the dog ‘’You spelled it B-E-E-C-H’’ instead of
Spontaneous and joyful, subversive or amusing, play can take many forms in daily life as well as in contemporary art. Historian and cultural Theorist, Johan Huizinga gives one …show more content…
Wegman’s video art in the 1970s specifically explores incongruity to deliver humour to a greater level. Marina Warner highlights that ‘’artists transform inert material things, animating them with fantasy, infusing objects with meaning through memories of childhood, or in imitation of children's imaginative games’’ (Warner, M. ‘Game On’ 2005).This can be seen in Wegmans short films in which he demonstrates the use of minimal elements such as his body and the dog ‘Man Ray’ to create unexpected moments or scenarios of conceptual humour. In the short film ‘The Spelling Lesson’ (1974), Wegman corrects the dog’s spelling test by implying that the dog spelt ‘out’ and ‘park’ correctly and then explains to the dog ‘’You spelled it B-E-E-C-H’’ instead of