Compare and Contrast Bodies of Work by Two Artists

2. Comp ar and contrast bodies of fiddle by ii artists you have studied. In your discussion, address the significance of intentions to their practise. The intention of practitioners is pivotal to their practice, these intentions may be different or similar between artists, and two artists whose embody of work will be discussed throughout this response include Chris ODoherty (b. 1951) a present-day(a) Australian artist and Lin gist (b. 1948 d. 1996) a contemporary natal Australian artist.The arts in which will be compared and contrasted are Chris ODohertys Aussie deliveryman series, including Aussie the Nazarene at the Football (1996) available in poster, calendar and t-shirt form and Lin Onus three metre mixed media founding fruit gaga(1990) Although both artists are Australian, Chris ODoherty is an Anglo-Saxon Australian and was raised as a Christian and has a commercializedised background, as a rock musician he conveys his intentions in appear assimilation with m any of his art kit and boodle placed on T-shirts, posters and calendars, an example of this is his dainty production the Nazarene at the Football, whereas Lin Onus is not influenced by a commercial background, growing up as a man who had experienced the separatism and assimilation of the aboriginal peoples, Lin onus artworks are made to illustrate the want and hope for aboriginal grow and how it has mixed with western culture, this can be seen in his artwork Fruit bats he is an Indigenous Australian raised in cardinal culture. except despite these differences they both pick up with Australian contemporary culture. In this way that an artists ground impacts their body of work.Chris ODohertys intentions were directly influenced by him being a commercial artist, as when he was in the band Mad as Anything he would design their album covers, and other promotional merchandise, this relates to many of his works such as Aussie Jesus at the Football which can be bought in the form o f a poster, calendar, and shirts, this is a direct reference to ODohertys use of popular culture in order to string out his art to a liberal Audience ODoherty also uses his artwork to educate his audience on spiritual aspects in contemporary Australia, musical composition using mode in order to better move on what he is trying to express, this can be seen in many of his Aussie Jesus works, specifically Aussie Jesus at the football (1996) through the use of the reinterpreted form of Jesus if he was Australian, ODoherty re-invents The bible story of The Miracle of the Loaves and the Fishes into a new Australian setting of the Miracle of the pies and beer in which allows him to reinterpret the original moral lesson, and to make a contemporary comment about the nature of worship in our culture today, in impairment of our worship of food, beer and sports more than things such as family or church. Similarly Lin Onus aims to educate his audience on the Traditional primordial cultur e, how it has become moulded to western culture and how it affects the Aboriginal peoples.The installation Fruit hit(1990) is a collection in which displays the fruit bats hanging of a Hill Hoist (clothesline) a symbol of western culture, in which is a direct reference to the effect of suburbia on the land and how these indigenous animals have adapted through them hanging of the clothesline and not a tree. However there is also a use of humour in his work, the downhearted disks located on the floor and up the post of the hills hoist are symbols of the bats droppings, however display a flower like pattern. In this way Onus wishes to reflect on his culture in terms of the progression of the intertwining of Aboriginal and western cultures.Lin Onus also uses the medium of an installation in the artwork Fruit bat (1990) which enables the audience to participate with the work and therefore is available for a wider audience much like ODoherty. The artworks Differ in their medium, Lin Onus Fruit Bats (1990) is an installation component made up of mixed media, whereas many of ODohertys works such as Aussie Jesus at the Football are mercenary items in the form of posters, Calenders, shirts and much more, these are however linked to their plebeian ability to communicate to a larger audience as ODohertys work can be bought by many and Onus Fruit Bats can involve a large audience.Another incompatible aspect of these works is the religion imbued in the work where as Aussie Jesus implies the artworks Christian nature Chis ODohertys work is subtly Indigenous through the use of Traditional aboriginal symbols and techniques seen in Fruit Bats(1990), this then leads to the differences in the artistic style of the bodies of work, ODoherty uses a amusive like style in his illustrations of the bible in contemporary terms, piece of music Onus mixes Western and Traditional Aboriginal art styles such as the Arnhem land crosshatching seen on the wings of the fruit bats in th e artwork Fruit Bats (1990), in this way both collections of work communicate culture and spirituality. The artworks also contrast in their subject matters eon Chris ODoherty deals with the ideas of worship and contemporary Australian culture in his Aussie Jesus specifically Aussie Jesus at the Football(1996), Lin Onus focuses on the mixing of Western culture and Indigenous Australian culture and its effect on Aboriginal Australians. Finally Both artworks deal with Humour in their works enchantment still pertaining to communicate a more serious message. ODoherty uses humour in that he re-contextualises the bible stories into more comedic modern terms while making a point on Australian contemporary culture and worship.Lin Onus also uses humour in his work Fruit Bats through the disks with flower patterns scattered over and around the Hills Hoist truly representing the bat droppings, however still communicating the more serious popular opinion of the adaption of the Aboriginal pe ople to western culture. It is evident that Both Lin Onus and Chris ODoherty address the significance of intention to their practise. This has been demonstrated by comparing their bodies of work, including Chis ODohertys Aussie Jesus series and Lin Onus installation piece Fruit Bats (1990). While these artists are completely different in their artistic styles, subject matter and mediums they share a common interest in their intentions of their art practise, showing their view on Australian culture and heritage, while imbuing their works with spirituality, humour and making it more accessible to a wide audience.