Tuesday, April 26, 2011

2nd to last

Danielle's Q's
1. Do you agree or disagree with Elkin's stance on art education? Explain?
I think that education has a value that goes beyond the area of study and into emotional and cultural growth. I think that any given subject can be taught to ones own self, but more importantly education is a validation. A degree legitimizes and also the institution is an opportunity to be around like- minded people.

2. Explain your understanding of Elkin's definition of "taught"
I would say he is describing how a particular individual learns a certain skill.

3. How does structure within academia foster or inhibit the creation of art?
Personally, I think that both fostering and inhibiting is applicable to my experience. I like to think of the experience as breaking down my idea and way of art making and myself. The high price of tuition is restrictive for me. I am focusing more on an experience that I will make quick money from so that in the future I can make more of my own work.

4. Do you think that art can be taught? Do you agree with the weak view of nothing can be taught, pgs 101- ‐102?
I think that art can be taught. There is a mindset that may be more prone to being successful in particular categories of art making. As for the second part of the question, I believe that you can't change anything outside of yourself. So results vary.

1. Do you feel Ringling has prepared you for when you're working outside of a structured academic setting? Why?
I think that Ringling has helped me achieve a realistic idea of what a studio practice for art making could be. This is great. Ringling has also offered me many opportunities to present myself professionally and to network, so when I leave I have contacts that care a lot about me specifically because I will be a Ringling Alumni. I think that Ringling has prepared me as much as it could..the rest is up to me.

2. In relation to “Why Art Cannot Be Taught”, do you think that my work could have been made during a more traditional style of teaching? Does innovative teaching lead to non- ‐traditional work?
I really cannot answer this question.

3. Do you think that compared to your peers in this academic setting that you are successful? What about the academic setting do you think has caused a major shift in my work in the last year, i.e. more freedoms leading to faster advances?
I am successful in my own path. Fine art gives us the chance to dictate our own path, I am proud of everyone and myself for different reasons. Success is one of those things that is in the eye of the beholder.

4. Do you think that art practice being taught through an academic setting which is structured by materials (painting class, sculpture class, printmaking, etc) helped or hindered my using non traditional mediums to make art objects, ex: candy? Why or why not? What about in
your own work? What would you like to alter about your academic experience?

I would like to have not had to beg my way into other majors. I would have liked to be able to take what ever class I wanted to take, despite my major.


1. What, if any, are the similarities/differences of a slow,
meditative medium such as drawing/painting compared to an instant
appropriation tool such as photography? Would you consider a
photograph an object, as you would a painting/sculpture?

This is a HUGE question to answer..There are many crossovers that are really exciting.. drawing from a photograph a selected area..picking and choosing what to take a photo of, digital manipulation of photographs to organize compositions to make paintings, making objects and organizing objects to be photographed..lighting an object to create a more compelling image..painting from dark to light to make a more compelling painting..drawing with many colors for sensational effects..

2. What is the “message” of a photographic record?

Maybe the message relies on how the image is used. organized in an album recording somewhat of a diaristic message.. compared to another create a message that relies on the interaction of the two images together..and the cultural understanding of that message...uhm.. Maybe a more specific example would help steer me in a direction..but this works for thinking about art making generally.

3. Would you consider “amateurism” when using a medium, an advantage
or a disadvantage, while producing work? For example, is
photo-realistic drawing the top of the heap? Does that
knowledge/technique get in the way of some-sort of innocence/potential
for inspiration?

I think that when technical issues are solved the only thing that is left is creativity..the knowledge of a certain technique can hinder the inflexible.

4. In the film, The Blood of a Poet by Jean Cocteau, what
images/sequences of voyeurism appear in the film? Does this have a
relationship to photography as appropriation?

When ever there is use of internal framing in a composition; especially if there is a lot of blurring in the foreground..suggesting depth...or when ever someone is being photographed or filmed from behind..mundane activity..etc

5. What does it mean psychologically when the theatre party applauds
the death of the card shark? What does it mean, when viewing it as an

Laughing, as I have learned from psychology classes...is a sign of empathy.

6. At what time does a highly personal, private, disgusting or elegant
moment or event, becomes a spectacle? (Please refer to # 4 & #5)

When the public is exposed to it.

7. (Made in 1930) Jean Cocteau uses several surrealistic motifs
throughout the film, which is simultaneously intermixed with personal
iconography. What about my work is self referential, and at the same
time referencing the time in which we are living?

You are living today, and photographing people who surround you.

8. Over the past two years, I have produced an extensive archive of
images, with 35mm film only. What do you consider to be the
differences between shooting in a digital format, and any sort of film

I think that shooting with thirty five is comparable to shooting with a 10 megapixel point and shoot..both are noisey and tend to be used as snapshots..When you get into medium and large format..there is more "grainspace" on the negative...its more actual space...when you have a dSLR ..you can have a small sensor that is producing a larger image..it is all dependant on numbers and misses out on the physicality of a Negative..Some dslrs with larger sensors can produce some really remarkable images..

As for actually shooting..again..if you are using a smaller camera..digital or not..you can be quicker..If the camera is larger..and or more complex..the image may become more decisive seeing as it takes more time to set up...Also the shooting experience really just depends on the photographer..and what their intentions are.

9. What are your observed advantages for me using photographic processes?
I dont know. You enjoy it and I believe that anything you like to do will give you an advantage if you do it.

10. How hot is Lee Miller?

1. Is the author of this book being overly simplistic?
It's a tough to say.

2. Is the author being overly cynical?
I think he is only as cynical as he is. I personally do not relate.

3. Can you be cynical and paranoid and still be correct in your assertions concerning matters that are highly subjective?
That falls under the category of true justified belief. Sam smack sally. Candi says smacking sally was wrong; Debbie says it is okay that sam smacked sally, because sally was a bitch. Who is correct?

4. Since "group think" is not only entrenched in the art world but the real world, should it not be encouraged in art school?
I think that people should be encouraged to pursue their dreams and make the best out of their education.

5. Does the fine arts department at Ringling College of Art and Design represent a microcosm of the Art World?
I think it attempts to produce a certain type of artist..depending on who i the head of the department..determines what kind.

6. As stated in the reading "does privileging words over visual expression encourage a narrowly didactic approach to art making?"
Oh god, I dont know. These questions are waying heavy.

7. Is Automatism or any other intuitive approach discouraged in contemporary art academia?
I dont think so. I think negative additudes are discouraged..or not being able to defend your position constructively with a smile.

8. Do you believe my work would have been better served had I not attended art college?
Who knows..I dont like to think about what ifs..because it is not the case. I think you are capable of what you are capable of..inside or outside of school.

9. Do you believe my work to be self indulgent?

10. If all art is self indulgent to a certain extent, should I not embrace this approach?
Sure. Do what you want to do.

11. Does the "it's all about me" approach to my work alienate you the viewer?
To an extent I can't understand your works ideas.. but I can enjoy it from a sensational point..big colorful paintings..

No comments:

Post a Comment