The Conservation of the Great Barrier Reef

Figure 1

Introduction

The Anthropocene refers to the idea that human impact has forced the world into a new geological era resulting from manmade climate change. Climate change is considered the greatest threat to the survival of the Great Barrier Reef. The following research project will examine how conservation groups use the media to create environmental awareness about the Great Barrier Reef. The relationship between environmental conservation and the media will be examined to understand how conservation groups utilise media outlets to raise environmental awareness about the Great Barrier Reef. In total, five Australian campaigns will be examined. This will include what types of media each campaign uses and how they are used.

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Background Research

Academic Sources

The following key quotes formed the basis of this research project.

Source 1:

“Amidst the escalating crisis known as anthropogenic climate change, nature is understood as a human construction that more than ever needs our protection” (Ballard 2015, p. 71).

Source 2:

“the … drivers of the Anthropocene, on the other hand, if they continue unabated through this century, may well threaten the viability of contemporary civilization and perhaps even the future existence of Homo sapiens” (Steffen et al. 2011, p. 862).

These sources discuss the need for environmental change. They highlight the importance of caring for the Earth and protecting its resources, otherwise it will no longer be able to sustain life, threatening our very own existence in the future.

The Anthropocene

Figure 2

A controversial and highly debated idea that human impact has forced the Earth into a new geological age has recently begun to gain momentum. This idea is known as the Anthropocene. “The Anthropocene defines Earth’s most recent geologic time period as being human influenced” (Welcome to the Anthropocene 2017). The concept was developed by “Nobel Prize-winning atmospheric chemist Paul Crutzen and ecologist Eugene Stoermer in 2000” (Nixon 2014). The Anthropocene is distinguished as a new period within the Holocene which resulted from the “late eighteenth century beginnings of the industrial revolution” (Nixon 2014). It was “a period that led to drastic alteration of the Earth’s climate and bio-physical environment” (Crutzen and Schwägerl 2011).

Facts about the Great Barrier Reef

Figure 3

• The Great Barrier Reef is one of the seven wonders of the natural world and is the world’s largest reef system.
• It is the only living organism on Earth visible from space.
• The Great Barrier Reef consists of over 2,900 individual reefs and 900 islands stretching for approximately 2,600 kilometres.
• The reef is a popular tourist destination attracting over two million visitors each year (Great Barrier Reef 2018).
• Tourism to the reef contributes over AU $6 billion to the Australian economy per year.
• The reef supports 64,000 jobs and has an economic, social and icon asset value of AU $56 billion.
• The Great Barrier Reef was World Heritage Listed in October 1981 (Great Barrier Reef Foundation 2018).

Threats to the Great Barrier Reef

• Anthropogenic climate change is considered the biggest threat to the Great Barrier Reef.
• Increasing ocean temperatures put stress on coral resulting in coral bleaching. The reef has experienced two mass coral bleaching events in 1998 and 2002. The mass coral bleaching in 2002 saw over 50 per cent of the reef affected.
• Sediment, nutrient and agriculture pesticide pollution from river catchment run-off affects water quality.
• Pollution from littering.
• Poorly managed mass tourism results in damage to the Great Barrier Reef (Great Barrier Reef 2018).

The Relationship Between the Media and Saving the Environment

Environmental groups and activists have rapidly embraced the use of the media to support and create awareness about environmental campaigns, connecting people globally on environmental issues. As discussed by Dosemagen (2017), there are five ways the media has been used to support environmental activism:

1. The “crowd”: involves spreading support and environmental messages in a rapid, dynamic format across social media.
2. Rise of independent activists: individuals are utilising social media platforms to share personal stories and provide new alternative sources.
3. Creating campaign pressure points: a tactic used tactic of the environmental movement that encourages public support for specific campaigns.
4. Development of sensing hardware and wearable devices: enables users to track their personal information and their surroundings in real time.
5. Use of geotags and hashtags: creates a way for people to share opinions and experiences about their local environments, which then connects them to larger environmental issues.

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Campaign 1: Fight For Our Reef

Figure 4

‘Fight For Our Reef’ is an independent campaign run by the Australian Marine Conservation Society (AMCS) – the leading charity devoted to caring for Australian oceans and its inhabitants. Established in 1965, the AMCS has “protected the Great Barrier Reef from coal mining and oil and gas exploration and since then driven campaigns to promote sustainable fisheries, protect marine wildlife and create marine parks around Australia” (Australian Marine Conservation Society). The central aim of the campaign “is to raise awareness of the major threats to the Reef including industrialisation, global warming and fertiliser run-off” (Australian Marine Conservation Society 2018). The Fight For Our Reef campaign “seeks to:

• Stop industrial port expansion.
• Support strong laws and funding to cut farm pollution.
• Turn down the head on our Reef by investing in renewable energy” (Australian Marine Conservation Society).

As discussed by Australian Marine Conservation Society (2018), the campaign has helped to:

• Secure a prohibition on capital dredge material disposal in the Great Barrier Reef World Heritage Area;
• Protect untouched areas of the Reef coast from new port developments, including Fitzroy Delta and Cape York;
• Halt the expansion of three major coal ports; and
• Until Reef health improves, ensure the World Heritage Committee continues to keep the Australian Government on probation.

To create awareness, Fight For Our Reef has utilised the following media outlets:

MEDIA OUTLET	STATISTICS	USES
Website (https://www.fightforourreef.org.au/)	269,104 signed supporters	Provides visitors with links to ‘sign up’, ‘take action’ and ‘donate’ to campaign.
Facebook Like Page (@FightForOurReef)	74,998 likes 72,809 followers	Visible to all Facebook users. Allows users to connect and receive updates about campaign.
Twitter (@FightForOurReef)	5,630 followers	Post ‘tweets’ about recent news and updates about the campaign and interact with followers.
Instagram (@fightforourreef)	298 followers	Share images and videos related to the campaign.
Instagram (@fightforourreefvolunteers)	363 followers	Provides updates on the campaign and how people can get involved.
YouTube channel (Fight For Our Reef)	364 subscribers	Share video content about campaign.

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Campaign 2: Great Barrier Reef Foundation

Figure 5

The Great Barrier Reef Foundation is one of the leading charities dedicated to protecting the Reef for future generations “through funding solutions grounded in science, technology, engineering and on-ground action to ensure long-term conservation” (Great Barrier Reef Foundation 2018). The Foundation was created in 2000 “in response to the United Nations World Heritage Convention encouraging countries with world heritage sites to establish a national foundation whose purpose is to invite donation for their protection” (Great Barrier Reef Foundation 2018).

The Great Barrier Reef Foundation seeks out innovative solutions that will not only benefit the Great Barrier Reef, but reefs globally through the collaboration of business, science, government, and philanthropy. The Foundation’s success is due to the quality of the institutions it utilises, “harnessing advanced in science, technology and industry to ensure a future for this global treasure” (Great Barrier Reef Foundation 2018).

The Foundation works in conjunction with the Great Barrier Reef Marine Park Authority, funding “priority projects that help protect and restore the Great Barrier Reef and build its resilience in the face of major threats” (Great Barrier Reef Foundation 2018). Using the landmark Reef 2050 Long-Term Sustainability Plan as a guide, the Great Barrier Reef Foundation is “working to help deliver practical solutions and actions for the Reef more quickly, more efficiently and more effectively” (Great Barrier Reef Foundation 2018).

To generate awareness, the Great Barrier Reef Foundation has utilised the following media outlets:

MEDIA OUTLET	STATISTICS	USES
Website (https://www.barrierreef.org/)		Allows visitors to register their interest by subscribing and donating to the Foundation.
Facebook Like Page (@greatbarrierreeffoundation)	7,321 likes 7,308 followers	Visible to all Facebook users. Allows users to connect and receive updates about the Foundation.
Twitter (@GBRFoundation)	2,643 followers	Post ‘tweets’ about recent news and updates about the Foundation and interact with followers.
Instagram (@greatbarrierreeffoundation)	2,278 followers	Share images and videos related to the Foundation.
YouTube channel (Great Barrier Reef Foundation)	56 subscribers	Share video content about the Foundation.

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Campaign 3: Preserving the Great Barrier Reef

Figure 6

‘Preserving the Great Barrier Reef’ is an environmental campaign led by Greenpeace. Created in 1971, “Greenpeace is the leading independent campaigning organisation that uses peaceful protest and creative communication to expose global environmental problems and promote solutions that are essential to a green and peaceful future” (Greenpeace 2018). As discussed by Greenpeace (2018), The Great Barrier Reef is under constant threat from:

• Mining and the burning of fossil fuels increasing the temperature of our atmosphere and oceans; and
• Increased water temperatures over long durations of time cause a phenomenon known as coral bleaching. When coral is exposed to warmer ocean temperatures, they expel zooxanthella, a type of algae, living in their tissue. This results in the coral turning completely white and eventually dying.

Greenpeace advocates for a change. To sustain the Great Barrier Reef for future generations, “we have to limit global temperature rise to 1.5C. That means we need a sharp slow-down of coal, gas and oil extraction, and a transition to 100% renewable energy – as soon as possible” (Greenpeace 2018).

To generate awareness for their campaign, Greenpeace has utilised the following media outlets:

MEDIA OUTLET	STATISTICS	USES
Website (https://www.greenpeace.org.au/)		Allows visitors to join and subscribe to the organisation as well as donate to specific causes.
Online Blog – ‘The Blog’ (https://www.greenpeace.org.au/blog/)		Up-to-date news and commentary by Greenpeace.
Facebook Like Page (@greenpeaceaustraliapacific)	392,113 likes 383,338 followers	Visible to all Facebook users. Allows users to connect and receive updates about the organisation.
Twitter (@GreenpeaceAP)	43.7k followers	Post ‘tweets’ about recent news and updates about the organisation and interact with followers.
Instagram (@greenpeaceap)	23.2k followers	Share images and videos related to the organisation.
YouTube channel (Greenpeace Australia Pacific)	3,627 subscribers	Share video content about the organisation and specific campaigns.

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Campaign 4: Conservation of the Great Barrier Reef Australia

Figure 7

The ‘Conservation of the Great Barrier Reef Australia’ is environmental initiative created by the World-Wide Fund for Nature Australia (WWF-Australia). As discussed by WWF-Australia (2018), the World-Wide Fund for Nature’s (WWF) was founded in 1961 and is active in over 100 countries with approximately five million supporters globally. WWF works with governments, businesses and communities in hopes to conserve the Earth’s natural resources. The organisation’s global goal is to stop the degradation of the Earth’s natural environment and a build a future in which humans and nature live in harmony. WWF-Australia is part of the WWF International Network – the world’s leading, independent conservation group. Its main goal is to stop and reverse the decline of species and improve the health of the Great Barrier Reef, whilst reducing the impact of climate change.

The campaign tackles several initiatives. These include:

• Reeling in Reef Fishing: “WWF has championed of the reform of Queensland’s antiquated fisheries management system for more than a decade. The release of a fisheries reform … lays the foundation for the much-needed update of how Queensland’s fisheries are managed” (WWF-Australia 2018).
• Improving water quality: “To restore the health of the Reef, WWF is advocating a legal cap on pollution” (WWF-Australia 2018).
• Coral bleaching on the Reef: “To reduce the severity of future coral bleaching and eventually prevent it altogether, we must slow down the warming of our oceans by rapidly switching to 100% renewable power by 2035” (WWF-Australia 2018).
• Fight for the Reef: “WWF works with the Australian Marine Conservation Society o manage the Fight for the Reef campaign, which champion greater protection for the Great Barrier Reef” (WWF-Australia 2018).

To generate awareness for their campaign, WWF-Australia has utilised the following media outlets:

MEDIA OUTLET	STATISTICS	USES
Website (http://www.wwf.org.au/)		Allows visitors to ‘join’ and ‘subscribe’ to WWF-Australia, using a newsletter, as well as ‘donate’ to their causes. It also encourages visitors to ‘adopt’ an animal that is considered an endangered species.
Online Blog (http://www.wwf.org.au/news/blogs)		Breaking news and commentary by WWF-Australia.
Facebook Like Page (@wwfaustralia)	330,528 likes 324,210 followers	Visible to all Facebook users. Allows users to connect and receive updates about the organisation.
Twitter (@WWF_Australia)	46.8k followers	Post ‘tweets’ about recent news and updates about the organisation and interact with followers.
Instagram (@wwf_australia)	35.7k followers	Share images and videos related to the organisation.
YouTube channel (WWF-Australia)	5,429 subscribers	Share video content about the organisation and specific campaigns.

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Campaign 5: Protecting the Great Barrier Reef

Figure 8

‘Protecting the Great Barrier Reef’ is an environmental political campaign created by the Australia Greens. The Greens are a “political party based on four key principles: ecological sustainability, grassroots democracy, social justice and peace and non-violence” (The Greens 2018). The Greens strive for environmental sustainability, creating “meaningful and smart solutions to ensure future generations of Australians have clean air, clean water, and clean soil” (The Greens 2018). The campaign promotes The Greens’ $2.18 billion sustainability plan to save the Great Barrier Reef over a 5-year period. As discussed by The Greens (2018), the plan involves the following:

• Action on Global Warming: Build and implement 100% clean energy as soon as possible, with at least 90% in affect by 2030. The party also announced policies to boost battery storage, power community-owned clean energy, and install solar panels on every Australian household.
• Slash water pollution: Increase government funding for water quality pollution control by $2 billion.
• Stop damaging port expansions: Overturn the federal-approved Abbot Point coal post expansion to prevent the dredging of up to 1.1 million cubic metres of the Reef’s sea floor.
• Strong and independent Reef champions: Strengthen the Great Barrier Reef Marine Park Authority with a $90.8 million funding package.
• Protect pristine areas: Enforce the protection of pristine area of the Reef, including the Fitzroy Delta and Cape York, from port development and other threats.
• Address illegal fishing and overfishing: This includes the banning of shark fishing in the Reef World Heritage Area and the implementation of non-lethal shark control measures, such a eco-barriers, guaranteed to reduce risk to swimmers.
• Make shipping safer for people and the Reef: Protecting marine life in the Reef from the impacts of shipping, like dangerous underwater noise and vessel strike, by implementing stricter safety standards.
• Environmental laws to protect the Reef: The announcement of the Protecting Precious Places plan to enforce new national environmental laws and an independent watchdog – the National Environment Protection Authority (NEPA).

To generate awareness for their political campaign, The Greens have utilised the following media outlets:

MEDIA OUTLET	STATISTICS	USES
Website (https://greens.org.au/save-the-reef)		Provides visitors with information about the party as well as how individuals can get involved and support The Greens.
Facebook Like Page (@Australian.Greens)	256,451 likes 244,998 followers	Visible to all Facebook users. Allows users to connect and receive updates about The Greens.
Twitter (@Greens)	87.7k followers	Post ‘tweets’ about recent news and updates about the organisation and interact The Greens.
Instagram (@australiangreens)	3,497 followers	Share images and videos related to the party.
YouTube channel (The Australian Greens)	7,015 subscribers	Share video content about The Greens and specific campaigns.
LinkedIn (Australian Greens)	1,340 followers	Followers can interact with The Greens on a professional networking platform.

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Conclusion

Anthropogenic climate change has ushered in a new geological era that is human influenced. As a result, the Great Barrier Reef is under threat. Conservation groups and organisations are fighting for the Reef’s survival by promoting environmental campaigns. The campaigns examined aim to improve the current state of the Reef by advocating ways humans can lower their environmental footprint. Conservation groups are utilising various media channels to create environmental awareness about the Great Barrier Reef. From the research conducted, it can be suggested that there is a relationship between the media and saving the environment. Each campaign discussed utilises various media channels to spread its message, reaching a multitude of people, with relevant content. The use of media to create environmental awareness can change the way people interact, share information and make decisions. This can create positive shifts within the environmental sector to ensure the survival of the Great Barrier Reef for future generations.

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Reference List

Australian Marine Conservation Society 2018, About Fight For Our Reef, viewed 28 May 2018, <https://www.fightforourreef.org.au/about/&gt;.

Australian Marine Conservation Society 2018, About the Australian Marine Conservation Society, viewed 28 May 2018, <https://www.fightforourreef.org.au/about-amcs/&gt;.

Ballard, S 2015, ‘Signal eight times: nature, catastrophic extinction events and contemporary art’, Reading room: risk, no. 07, pp. 70 – 95.

Crutzen, P & Schwägerl, C 2011, ‘Living in the Anthropocene: Towards a New Cultural Ethos’, Environment360, viewed 28 May 2018, <http://ehc.english.ucsb.edu/?page_id=5463&gt;.

Dosemagen, S 2017, ‘Social Media and Saving the Environment: Clicktivism or Real Change?’, Huffington Post, viewed 28 May, <https://www.huffingtonpost.com/shannon-dosemagen-/social-media-and-saving-t_b_9100362.html&gt;.

Great Barrier Reef 2018, About the Great Barrier Reef, viewed 28 May 2018, <http://www.greatbarrierreef.org/about-the-reef/&gt;.

Great Barrier Reef 2018, Great Barrier Reef Facts, viewed 28 May 2018, <http://www.greatbarrierreef.org/about-the-reef/great-barrier-reef-facts/&gt;.

Great Barrier Reef Foundation 2018, The Facts, viewed 28 May 2018, <https://www.barrierreef.org/the-reef/the-facts&gt;.

Great Barrier Reef Foundation 2018, Our Impact, viewed 28 May 2018, <https://www.barrierreef.org/the-foundation/our-impact&gt;.

Great Barrier Reef Foundation 2018, The Foundation, viewed 28 May 2018, <https://www.barrierreef.org/the-foundation&gt;.

Greenpeace 2018, About, viewed 28 May 2018, <https://www.greenpeace.org.au/about/&gt;.

Greenpeace 2018, Preserving the Great Barrier Reef, viewed 28 May 2018, <https://www.greenpeace.org.au/what-we-do/preserving-great-barrier-reef/&gt;.

Nixon, R 2014, ‘The Anthropocene: The Promise and Pitfalls of an Epochal Idea’, Edgeeffects.net, 6 November, viewed 28 May 2018, <http://edgeeffects.net/anthropocene-promise-and-pitfalls/&gt;.

Steffen, W, Grinevald J, Crutzen, P & Mcneill, J 2011, ‘The Anthropocene: Conceptual and Historical Perspectives’, Philosophical Transactions, Series A, Mathematical, Physical, and Engineering Sciences 369, no. 1938, pp. 842 – 867, viewed 30 April 2018, <http://rsta.royalsocietypublishing.org/content/roypta/369/1938/842.full.pdf&gt;.

The Greens 2018, About the Australian Greens, viewed 28 May 2018, <https://greens.org.au/about&gt;.

The Greens 2018, Protecting the Great Barrier Reef, viewed 28 May 2018. <https://greens.org.au/save-the-reef&gt;.

Welcome to the Anthropocene 2017, Welcome to the Anthropocene, viewed 28 May 2018, <http://www.anthropocene.info/&gt;.

WWF-Australia 2018, Great Barrier Reef, viewed 28 May 2018, <http://www.wwf.org.au/what-we-do/oceans/great-barrier-reef#/&gt;.

WWF-Australia 2018, What We Do, viewed 28 May 2018, <http://www.wwf.org.au/what-we-do#gs.VsXd73Q&gt;.

Image Reference List

Figure 1: Cranitch, G 2018, Great Barrier Reef Coral, Queensland Museum, viewed 28 May 2018, <https://www.barrierreef.org/the-foundation&gt;.

Figure 2: Woolston, R 2013, Habitus’ art installation, Edge Hill University, viewed 28 May 2018, <https://explorer.aapg.org/story/articleid/44928/defining-the-anthropocene-era&gt;.

Figure 3: Cranitch, G 2018, Diver in Coral Reef, Queensland Museum, viewed 28 May 2018, <https://www.barrierreef.org/the-foundation/our-impact&gt;.

Figure 4: Fight For Our Reef 2017, Logo, Fight For Our Reef Facebook Page, viewed 28 May 2018, <https://www.facebook.com/FightForOurReef/photos/a.121680781338186.22024.121680608004870/678643068975285/?type=1&theater&gt;.

Figure 5: Great Barrier Reef Foundation 2018, Logo, The Give Back, viewed 28 May 2018, <https://www.thegivebackcampaign.com/organisations/great-barrier-reef-foundation&gt;.

Figure 6: Greenpeace USA 2018, Logo, Greenpeace, viewed 28 May 2018, <https://www.greenpeace.org/usa/&gt;.

Figure 7: WWF-Australia 2018, Logo, Spencer Gulf King Prawns, viewed 28 May 2018, <http://www.spencergulfkingprawns.com.au/resources/wwf2/&gt;.

Figure 8: Australian Greens 2018, Logo, Wikipedia, viewed 28 May 2018, <https://en.wikipedia.org/wiki/Australian_Greens#/media/File:AustralianGreensLogo_official.svg&gt;.

WEEK 16: Reflective Report

The following reflection is in relation to Assessment Task 3 which will be discussed in 3 main parts.

Part 1: Critical incident analysis

Identify and describe three critical moments / activities from your design project. This might be drawn from the schemata or execution stages of your design process, or the final project outcomes.

1. Proposal feedback: After submitting a written proposal, we were asked to present our major work concept to the class. I received positive feedback for both my idea and presentation.
2. Developing brand identity: After consulting with Jo, I finalised the BIO URBAN brand name, tagline and logo as well as a product name for major work.
3. Major work breaking on submission day: On submission day, my major work broke into 2 parts during transit.

Discuss why you believe these incidents are particularly significant.

1. Proposal feedback: Receiving positive feedback for my major work proposal was encouraging and cemented to me that I was heading in the right direction. It also made me reflect on aspects of the project I hadn’t considered, including: form, function, the use of materials, and how not to harm the natural environment. The feedback I received is outlined here.
2. Developing brand identity: Creating BIO URBAN’s brand identity was significant as it gave my major work purpose and a sense of professionalism. It also confirmed my major work is truly a Visual Arts and Design project, as I am fusing graphic design, product design and sculpture together to create my final project.
3. Major work breaking on submission day: On submission day (10/11/2017), my major work broke into 2 parts as I was heading down to UOW. This was due to high wind pressure on the table’s backboard which caused it to collapse in on itself. This incident was significant as it made me consider the joins used to construct the table as well as alternate means of display for the Grad Show. 

Part 2: Learning from the design experience

Identify and describe three things you have learnt from your design project.

1. Product design: I’ve learnt how to use the skills I have developed in both design and sculpture to develop a product. I’ve also learnt that Visual Arts and Graphic Design can be utilised together to create a work.
2. Time-management: I’ve learnt to manage my time more wisely, this involved using a diary to plan my weeks by certain tasks to be completed. as well as work under pressure more effectively.
3. Carpentry skills: My skills in carpentry have improved greatly. From creating joins, to cutting and sanding timber, my skills have developed under the guidance of a carpenter during the duration of this semester.

How might you apply this learning to future design projects?

With this learning, I now know that I am not limited to one discipline. Before there was a VAD subject, I felt as if I had to choose between Visual Arts and Graphic Design. I now know that I can incorporate both disciplines into my practice. Time-management development and carpentry skills can be applied to multiple aspects of my life, not just my university degrees. Both these skills can be utilised in my everyday life and my future career.

Part 3: Thinking about design practice

Now you have completed your project, describe 2 alternative outcomes, and discuss your rationale.

1. Design-based project: If I was to undertake a design-based project, I would not have created The Cascade table, but rather developed an entire branding identity for BIO URBAN as if it were an up-and-coming company with multiple products. This would include business cards, product postcard series and info-mericals for each product.
2. Visual arts-based project: If I was to undertake a visual arts-based project, I would have created The Cascade table, without branding. This would be considered a sculptural work whilst still retaining function.

Based on your experience from this project, how might you now approach a similar design situation in the future? Why do you think this?

If I was to approach a similar design situation in the future, I would commence prototyping of the product(s) earlier. This would ensure I knew how to properly construct the actual product(s) as well as what materials to use and the product(s) overall weight. It would also allow me more time to construct the finalised product. I would not laminate any of my printable branding, but rather use better quality paper. I would also consider transportation of goods more carefully.

WEEK 15: Final Week

After 15 weeks and over 5000 words later, it’s submission week.

Week 15 saw the final stages of the table’s construction before submission. The following pictures will outline those stages.

1. Timber decking completed on table top, vertical garden and side panels. Support beams added.
2. Painted legs grey.
3. Marked with tape a border on the table top to paint grey.
4. Legs and boarder painted, table complete lacquered with clear, weather-proof lacquer.
5. Planter insert created from small greenhouse covers and wire, filled with newspaper.

1. Planters inserted in centre channel of table.
2. Filled with sedum, herbs and aloe vera (edible plants).
3. Plants secured with sphagnum moss (also retains moisture for plants).
4. Table is complete.

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Staging for Submission

I also prepared staging props for submission.

Unfortunately, during transit, the table broke, so I was unable to properly display it for submission. After 15 weeks of hard work, my major work collapsed in on itself. Words cannot explain how disappointed and frustrated I am (I cried in front of my whole class). The table needs to be mended before exhibiting at this year’s Grad Show.

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Artist Case Study

Banksy’s Jesus Christ with Shopping Bags (2005)

Banksy, 2005, Jesus Christ with Shopping Bags, Stencil and screen print, 70 x 50 cm

Banksy’s work is characterised by his use of striking imagery combined with slogans. His street art often engages political themes, critiquing war, capitalism, hypocrisy and greed (Biography.com Editors 2014). An example of his work is Jesus Christ with Shopping Bags 2005. “Sometime around Christmas 2005, Banksy went around to produce the Jesus Christ with Shopping Bags stencil and screen print, as a can-it-be-more-clear call-out on consumerism” (WideWalls 2017).

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Reference List

WideWalls 2017, Consumer Culture Expressed Through 10 Contemporary Art Pieces, viewed 10 November 2017, <http://www.widewalls.ch/consumerist-culture-art-10-artworks/>.

WEEK 14: Table Construction + Branding Cont.

Branding:

After finalising my logo and monogram design, I decided to create a postcard series consisting of sketches of other products available in the BIO URBAN range. Alongside ‘THE CASCADE’, I created sketches for a BIO-HANGER and BIO-BENCH. These sketches can be seen below:

I then scanned the sketches onto my computer, sharpened them in Illustrator and created the postcard series.

The logo and sketches were used on the front of each postcard alongside a brief blurb for each product. The monogram was used on the back on top of a textured background. I also included a hypothetical website. Alongside the BIO URBAN range postcards, I created a bio postcard for BIO URBAN as well as a design statement for my major work. These can be seen below:

This is my branding for BIO URBAN completed.

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Construction:

Week 14 saw progress with table construction. The table top and vertical garden are now covered in recycled timber decking and are ready to be sanded then lacquered.

1. Created insert for timber decking to sit flush.
2. Inserted straight beam across length of table to hold planter.
3. Created treated pine inserts for decking boards to be nailed to.
4. Table decking completed.
5. Repeated process for vertical garden.
6. Table top and vertical garden decked and ready for sanding.

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Artist Case Study

Jeff Koons’ Balloon Venus (Orange) [2008 – 2012]

Jeff Koons, 2008 – 2012, Balloon Venus (Orange), Mirror-polished stainless steel with transparent colour coating, 259.1 x 121.9 x 127 cm, Whitney Museum of American Art

Koons challenges the art market by creating works that defy it. In an interview with artnet News, Koons states: “I don’t give the market what it wants,” Koons claimed. “Otherwise I would always be producing the same thing. I do what I want. Just because I’m successful doesn’t mean that I serve the market” (Neuendorf 2015). Koons describes the market as “an abstraction” (Neuendorf 2015). His motivation lies in not pleasing the contemporary art market but reaching his full artistic potential. As America’s most expensive living artist, Koons does not allow the market price of his works to influence his creative practice. An example of Koons’ work is his sculpture Balloon Venus (Orange) 2008 – 2012 from the Antiquity series. As discussed by the Whitney Museum of American Art (2017), the statuette was inspired by the Venus of Willendorf due to its association with fertility and rituality. As a younger artist, Koons was inspired by sources that were “product orientated”, whereas Balloon Venus connects to the archetypal and profound and links to human history. The final sculpture, although hard and dense, retains a sense of inflatedness and lightness, almost as if it is floating within the gallery space. The sculpture’s anatomical form pays homage to the art of caricature as well as the original Venus statuette.

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Reference List:

Neuendorf, H 2015, Jeff Koons Explains Why His Art Is Actually Anti-Consumerist, artnet News, 1 October, viewed 3 November 2017, <https://news.artnet.com/exhibitions/jeff-koons-market-interview-336644>.

Whitney Museum of Contemporary Art 2017, Jeff Koons: A Retrospective, viewed 3 November 2017, <http://whitney.org/Exhibitions/JeffKoons?&artwork_id=690&filter_id=13>.

WEEK 13: Table Construction + Branding Cont.

Branding:

This is the final week of practical classes for CAGD390 (VAD). During class I continued finalising the branding for BIO URBAN. After consulting with Jo for the final time, I have decided to use textured backgrounds for both the logo and monogram, but I will be using my own photos. These photos can be seen below:

These images were then used to create logos for BIO URBAN, seen below:

These finalised logos will be applied to a postcard series consisting of sketches of other products available in the BIO URBAN range.

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Construction

This week I continued with the table by starting to frame the top vertical garden. To increase stability, treated pine was used for the frame. This was then covered by recycled timber decking. The frame was assembled using 70 mm nails and a nail gun. Progress can be seen below:

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Artist Case Study

Damien Hirst’s Row (1988)

Damien Hirst, 1988, Row, Spot Painting, 2115 x 3315 mm, Damien Hirst

Hirst challenges the credibility of his own art by selling affordable versions of his most famous works. An example of this is seen in his 1988 painting Row, as part of the Spot paintings series. Row is a simple painting of coloured circles aligned on a white canvas. The infinite colour series within the painting is integral to the work as it demonstrates the “harmony of where colour can exist on its own, interacting with other colours in a perfect format” (Damien Hirst 2017). At an exhibition at the Tate Modern, Hirst sold t-shirts with Row depicted on the front of them in the gift shop. Hirst challenges the current art market and raises the question: “Is an artist any less credible if they sell more affordable versions of their famous pieces in the form of consumerist goods?” (Navillus Gallery 2015).

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Reference List:

Damien Hirst 2017, Row, 1988, viewed 28 October 2017, <http://www.damienhirst.com/row>.

Navillus Gallery 2013, Contemporary Art and Consumerism: From Damien Hirst to Curtis Kulig, Navillus Gallery, 1 March, viewed 28 October 2017, <https://www.navillusgallery.com/newcollectors/contemporary-art-and-consumerism-from-damien-hirst-to-curtis-kulig/>.

WEEK 12: Branding Cont.

This week I continued my branding for BIO URBAN. The confirmed typography can be seen below:I started to develop a transformative logo which consists of a circle with a textured background and the typography.

I also created a monogram for BIO URBAN. Similarly, to the logo, the monogram is transformative and consists of a circle with a textured background and the initials B.U.

I’m considering making a postcard series consisting of sketches of other products available in the BIO URBAN range.

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Artist Case Study

Fiona Hall’s Give a Dog a Bone (1996)

Fiona Hall,1996, Give a Dog a Bone, large-scale installation, Museum of Contemporary Art

Hall’s Give a Dog a Bone (1996) is a large-scale installation that features the artist’s father adorned in a cloak knitted from Coca Cola soft drink cans – a product that is well known within the consumer market. The work comments on how consumerism operates within a capitalist society. This is evident through the exploitation of mass market companies to maintain economic status. The products that surround the father-figure are everyday items found in the home, creating a familiar, homely feel to the work.

WEEK 11: Table Construction + Branding Commenced

With only 5 weeks to go until my major work is due, it is time to start creating each element of my project. My project consists of 2 key parts:

• The table; and
• Branding

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Table Construction

This week saw the start of the table assembly. For the legs we used 100 x 100 mm laminated primed posts. We created a 45 mm join so treated pine could sit flush within it. The frame was joined with 70 mm nails with the use of a nail gun. The results can be seen below:

Branding

I also started designing branding for the table. After consulting with Jo, I’ve decided to create a brand entity with a range of products.

• Brand: BIO URBAN
• Tagline: Furniture that Grows
• Product: THE CASCADE (Table)

A screenshot of the brand typography can be seen below:

• BIO URBAN: Bottom left typography confirmed.
• THE CASCADE: Bottom left typography confirmed.

I was originally thinking of using Century Gothic as my type face, but settled on Futura Light after consulting with Jo.

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Artist Case Study

Andrea Zittel’s Six Month Uniforms (1991 – 1993)

Andrea Zittel, 1991-1993, Six Month Uniforms, wool garments

Zittel’s work transforms everyday necessities – such as eating, sleeping, bathing, and socialising – into artistic experiments in living. As discussed by Art21 (2017), Zittel blurs the line between life and art, with her works extending into her own home and wardrobe. An example of the artist’s work is Six Month Uniforms (1991 – 1993) in which Zittel aimed to create garments that can be worn differently each day, challenging the fashion market and the stresses of being on-trend with clothing. Additionally, Zittel created a performance piece in which she wore her garments for six months, further demonstrating her defiance of the fashion market.

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Reference List:

Art21 2017, Andrea Zittel, viewed 21 October 2017, <https://art21.org/artist/andrea-zittel/>.

WEEK 10: Finalising Design

After prototyping my preliminary idea, I went back to the drawing board and came up with my final design. Below is an annotated sketch:

The table is reminiscent of a waterfall and will feature a multi-use centre channel. I’m thinking of also building a matching bench, but at this stage, the table will be my main priority.

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Artist Case Study

Barbara Kruger’s Untitled (I shop therefore I am) [1987]

Barbara Kruger, 1987, Untitled (I shop therefore I am), 281.94cm x 287.02cm, photographic silkscreen/vinyl, Australian Centre for Contemporary Art

Kruger is a renowned artist and designer whose work “questions the viewer about feminism, classicism, consumerism, and individual autonomy and desire, although her black-and-white images are culled from the mainstream magazines that sell the very ideas she is disputing” (Barbara Kruger 2017). Kruger layers found photographs with aggressive text that involves the viewer in the struggle for power and control that her captions speak to. In Untitled (I shop therefore I am) (1987), Kruger comments on the consumer market and the value of material goods. The work suggests that people are defined by what they own over their knowledge and intellect.

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Reference List:

Barbara Kruger 2017, Biography, viewed 14 October 2017, <http://www.barbarakruger.com/biography.shtml>.

WEEK 9: Prototyping

After creating a preliminary sketch of what I would like to create for my major work, I decided to create a prototype. The preliminary sketch can be seen below:

Major work preliminary sketch with annotations

Following this sketch, I created the following scaled prototype:

I also played with stain variations on a scrap piece of timber.

After consulting with Ag and Jo, I’ve decided to create a table that incorporates vertical gardens into the design.

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Artist Case Study

Victor Burgin’s Life Demands a Little Give and Take (1974)

Victor Burgin, 1974, Life Demands a Little Give and Take, Tate

Burgin is a conceptual artist and writer. Gaining prominence during the late 1960, Burgin was known for being a “political photographer of the left, who would fuse photographs and words in the same picture” (Tate 2017).

In Life Demands a Little Give and Take (1974), Burgin appropriates an image of a queue of people, who are predominantly female, waiting at a bus stop with text copied from a fashion magazine. The text reads ‘… The tones are pale, delicate. These are the classic Mayfair colours. White naturally take pride of place.’ The excerpt is strategically placed in the right-hand corner of the photograph resembling the aesthetic seen in magazines. Burgin comments on the racist ideologies that occur in the fashion market. Examining the image and text separately, the artist’s message cannot be communicated. It is only when the two are combined that audiences and interpret Burgin’s political and social beliefs.

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Reference List

Tate 2017, Victor Burgin, viewed 6th October 2017, <http://www.tate.org.uk/art/artists/victor-burgin-834>.

WEEK 8 (Absent): Update + Artist Case Study

Update

I was absent from class this week, but I am continuing to collect materials (i.e. recycled timber) to construct my major work.

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Artist Case Study

Cindy Sherman’s Untitled Film Still #12 (1978)

Cindy Sherman, 1978, Untitled Film Still #12, Gelatin silver print, MoMA

Sherman is a leader in socially critical photography. “Sherman’s photographic portraiture is both intensely grounded in the present while it extends long traditions in art that force the audience to reconsider common stereotypes and cultural assumptions” (The Art Story 2017). Untitled Film Still 12 (1978) explores identity and the representation of women in a world engulfed by the mass media market. Sherman herself poses in the photograph dressed in a melodramatic costume worn by a film heroine. By photographing herself, Sherman assumes the role, highlighting the stereotypical portrayal of women in film. This suggests that “self-identity is often an unstable compromise between social dictates and personal intention” (The Art Story 2017).

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Reference List:

The Art Story 2017, Cindy Sherman, viewed 29 September 2017, <http://www.theartstory.org/artist-sherman-cindy.htm>.