tag:blogger.com,1999:blog-62903061647663914912024-02-19T01:39:47.504-08:00BolognacitizenBolognaTherese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.comBlogger47125tag:blogger.com,1999:blog-6290306164766391491.post-23034563183471520822011-04-26T11:00:00.000-07:002011-04-26T15:12:51.334-07:00Last1.) What is art therapy? Art therapy is a technique used by mental health counselors to identify and solve mental health issues. <br /><br />2.) Does your art making relate to therapy at all? If so, how? Not by the definition.<br /> <br />3.) How do you feel art therapy can help someone with special needs? I think that it can help someone who needs to communicate things without the use of words. it can also be used as a tool for introspection.<br /><br />4.) Have you ever used art making (painting, drawing, photography, etc) as a way to deal with a personal issue? Please explain. yes. Last year my mother had a run in with cancer..it was a hard process to deal with.. i would visit her in the hospital and draw her.. I ended up making a painting from one of the drawings..the activity of painting helped o release a lot of energy I had inside. <br /> <br />5.) Do you think, as an artist, we have any responsibility to help others deal with problems through art? No. I think it is only a responsibility if you make it one. <br /><br />6.) Can you see any kind of relationship between this video and how I approach my artwork? I'm not sure.<br /><br />7.) Do you think any of my work is therapeutic? I do not know. <br /><br /><br />8.) Do you think my art will change when I leave school? I hope you continue to grow as an artist. If it didnt change, I would be worried.<br /><br />BALL<br />1.) Did you find any similarities between the reading and the youtube video? Yes<br /><br />2.) Do you believe that attempting to remove certain tenets embedded deep within our society is an important aspect to the advancement of the human condition? Depends on who is advancing.<br /><br />3.) Are there any examples of people considered to be insane for their attempt to remove unnecessary beliefs within our society? I think that happens in the case with most fundamentalists..usually when you take away you are adding something else. <br /><br />4.) Andrei Tarkovsky expresses the fact that you cannot force others to feel certain emotions, and that you may not experience life through anything other than your own personal experiences. Do you believe that this statement is beneficial to the creation of art? I think being in touch with your own experiences..and being honest with yourself..can help in all areas of life. it's not an easy thing to do..sometimes because what we know, is all we know..so identifying it can be difficult. <br /><br />5.) Do you agree, or disagree, with the opinions that Andrei Tarkovsky expresses about his view on art? Why? I think that making work from yourself is a good way to make "honest" work..but I do not think that the experiences have to be one way or another.<br /><br />6.) Do you find a similarity between my work and any of the information that I have presented to you? Sure. You make a lot of statements from personal experiences, I think.<br /><br /><br />7.) Are there any similarities between the work that you create and the presented information? Depends on what work it is. <br /><br />8.) Is everything going to be okay? "I'm OK- You're OK" Thomas A. Harris, MDTherese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-20408793235415882492011-04-26T09:47:00.000-07:002011-04-26T10:56:35.789-07:002nd to lastDanielle's Q's<br />1. Do you agree or disagree with Elkin's stance on art education? Explain? <br />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. <br /><br />2. Explain your understanding of Elkin's definition of "taught" <br />I would say he is describing how a particular individual learns a certain skill. <br /><br />3. How does structure within academia foster or inhibit the creation of art? <br />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. <br /><br />4. Do you think that art can be taught? Do you agree with the weak view of nothing can be taught, pgs 101- ‐102? <br />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. <br /><br />1. Do you feel Ringling has prepared you for when you're working outside of a structured academic setting? Why? <br />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. <br /><br />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? <br />I really cannot answer this question.<br /><br />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? <br /> 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. <br /><br />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 <br />your own work? What would you like to alter about your academic experience? <br /><br />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. <br /><br />Questions:<br /><br />1. What, if any, are the similarities/differences of a slow,<br />meditative medium such as drawing/painting compared to an instant<br />appropriation tool such as photography? Would you consider a<br />photograph an object, as you would a painting/sculpture?<br /><br />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..<br /><br /><br />2. What is the “message” of a photographic record?<br /><br />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. <br /><br />3. Would you consider “amateurism” when using a medium, an advantage<br />or a disadvantage, while producing work? For example, is<br />photo-realistic drawing the top of the heap? Does that<br />knowledge/technique get in the way of some-sort of innocence/potential<br />for inspiration?<br /><br />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. <br /><br />4. In the film, The Blood of a Poet by Jean Cocteau, what<br />images/sequences of voyeurism appear in the film? Does this have a<br />relationship to photography as appropriation?<br /><br />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<br /><br />5. What does it mean psychologically when the theatre party applauds<br />the death of the card shark? What does it mean, when viewing it as an<br />artist?<br /><br />Laughing, as I have learned from psychology classes...is a sign of empathy. <br /><br />6. At what time does a highly personal, private, disgusting or elegant<br />moment or event, becomes a spectacle? (Please refer to # 4 & #5)<br /><br />When the public is exposed to it. <br /><br />7. (Made in 1930) Jean Cocteau uses several surrealistic motifs<br />throughout the film, which is simultaneously intermixed with personal<br />iconography. What about my work is self referential, and at the same<br />time referencing the time in which we are living?<br /><br />You are living today, and photographing people who surround you.<br /><br />8. Over the past two years, I have produced an extensive archive of<br />images, with 35mm film only. What do you consider to be the<br />differences between shooting in a digital format, and any sort of film<br />format?<br /><br />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..<br /><br /> 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. <br /><br />9. What are your observed advantages for me using photographic processes?<br />I dont know. You enjoy it and I believe that anything you like to do will give you an advantage if you do it. <br /><br />10. How hot is Lee Miller?<br />hawt.<br /><br /><br />Paul<br />1. Is the author of this book being overly simplistic?<br />It's a tough to say. <br /><br />2. Is the author being overly cynical?<br />I think he is only as cynical as he is. I personally do not relate. <br /><br />3. Can you be cynical and paranoid and still be correct in your assertions concerning matters that are highly subjective?<br />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?<br /><br />4. Since "group think" is not only entrenched in the art world but the real world, should it not be encouraged in art school? <br />I think that people should be encouraged to pursue their dreams and make the best out of their education.<br /><br />5. Does the fine arts department at Ringling College of Art and Design represent a microcosm of the Art World?<br />I think it attempts to produce a certain type of artist..depending on who i the head of the department..determines what kind.<br /><br />6. As stated in the reading "does privileging words over visual expression encourage a narrowly didactic approach to art making?"<br />Oh god, I dont know. These questions are waying heavy. <br /><br />7. Is Automatism or any other intuitive approach discouraged in contemporary art academia?<br />I dont think so. I think negative additudes are discouraged..or not being able to defend your position constructively with a smile.<br /><br /><br />8. Do you believe my work would have been better served had I not attended art college?<br />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.<br /><br /><br />9. Do you believe my work to be self indulgent?<br />Sure.<br /><br />10. If all art is self indulgent to a certain extent, should I not embrace this approach?<br />Sure. Do what you want to do.<br /><br />11. Does the "it's all about me" approach to my work alienate you the viewer?<br />To an extent I can't understand your works ideas.. but I can enjoy it from a sensational point..big colorful paintings..Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-53577284633324086572011-04-05T21:15:00.000-07:002011-04-05T21:36:06.098-07:00Would you like to be able to live as long as you wanted? If so, approximately how long do you think you would want to live? If not, what would be your preferred method of death? Sure. I have already had the choice to go back to the doctor or not.. Had my condition gone beyond repair I would have chosen to die soon after, before the sickness really started to immobilize me. I'd probably overdose on codeine or something else that would put me to sleep. <br /><br />Do you think that it will be possible for machines to have consciousness in the future? Is there a fundamental difference between humans and machines that will always remain? Well I guess if you can think it, it can happen. That would be a terror according to media.. It could be great.. Maybe the machines would be selfless or something ideal. Some machines poop, some talk to you, some use sensors and know where to go. I guess the fundamental difference is that I tell myself what to do.. And the mahine relies on me to program it and create it.<br /><br /><br />What do you think about Kurzweil's predictions? Do you think he is valid, totally crazy, or somewhere in between? Who knows.<br /><br />Do you think it is important for humans to continue on a quest for more intelligent and faster technology? Actually, I'd like to see the opposite. I want slow technology. I want things to take time, for people to rest more. Enjoy the day. Value life and the outdoors. It's ironic.. I have learned so much about technology and have been trained to work digitally for a fast paced economy... In 20 years, you'll probably find me on big piece of land farming. I want to learn to do things off of the grid. Dependency irks me.<br /><br /><br />Do you think it is important for you to understand and communicate with machines/technology/tools in order to make art? depends on what I am making. I do however think it is important. Maybe more or less, in today's economy. <br /><br />Do you see any connection between this reading and the things that I make? Sure.<br /><br />Do you think it is important to think about the future, and to make predictions about technology? Do you think that artwork relating to this subject will effect the possible outcome of the future?rather, I think that the future will have it's work on art. I think predictions are important because it can help to visualize the future that we will be apart of.. <br /><br />Is this subject at all interesting to you?yes.Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-21582308734844822092011-04-05T20:31:00.000-07:002011-04-05T20:56:50.618-07:00.) Do you think any of Graham Handcock's idea's in the video are plausible? Which ones, why? Sure, I think it is an interesting idea the all of us across the world can participate in the same experience while being on LSD. Like I said in class, it makes sense that our brains are have a variety of chemicals that when altered can have similar effects on our senses. I think that of perceptual truth, but not any truth based in reality. For example, I may hallucinate that there is soup in a pot, but that doesnt justify truth.<br /><br />2.) What "state of mind" do you mainly make your art in? I remember going to figure classes high; I always thought I was able to capture the figure "better" if I was altered in some way..then I was sober and went to class.. And thought I did a better job perceiving the subject and applying charcoal to paper as a response.. I have made work on LSD and it was great when I did it; I thought it made a lot of sense and had important conclusions; again when I was sober it made no sense; but I did like it. I lost interest in drugs during my sophomore year after I realized what it was doing to my sense of self and my pockets. Now I create all of my work coherently. I am more interested in what I am capable of without the drugs.<br /><br />3.) What do you think extraterrestrial alien art would look like, and/or what do you think extraterrestrial aliens would think of your art? I think that it wouldn't have the same purpose. You need to help me by developing the character of the alien more... Like how does it perceive what does it do.. Etc<br /><br />4.) Do you believe its possible that quantum physics and spirituality are connected in anyway. Yes, I think that you give off energy and your energy is determined by your spiritual health. I am not talking about organized religion. I am talking about the needs of "humans" in coordination with well being.<br />________________________________________________________________________________________________________<br /><br />!.) Do you think Graham Handcocks ideas relate to what I am making at all? After your explanation of your work today...I really don't know what tour work is about. Your statement seemed full of doubt, and a lack of smoking of view.. Like not even neutral point of view..there seemed to be very little belief or truth in your work.. I can only think of them as drawings of violence and symbolis<br /> About your ways of life..cheeseburgers. Yeah I don't know how to take it seriously.<br /><br />@.) Do any of his idea relate to what i have talked about? I don't know what you are talking about. This sentence is incomplete.<br /><br />#) Can you relate to my drawings? Not really m thing. I may have liked them more when I was younger and into violent and overt things. Some of your stuff I think is really nice graphically and that inspires me. But asides from like shapes, I'm not really into your content.<br /><br />$) Do you think the process of drawing relates to the idea of DNA being a device that passes on code. Sure. I like what ou said in class about this.Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-54580369520314668992011-03-29T11:36:00.000-07:002011-03-29T12:10:28.860-07:00alex and shellieQuestions from Alex<br />1. How important is the process of destroying something ( personal object/ mental image/photograph) to create a piece of work that is abstract? <br />Maybe you can think of this interms of detroying the picture perfect representation of something..but I dont think of it that way at all..I take more of the..rip a piece of paper in half to make two sheets of paper..not to destroy one.<br /><br />2. In your own work, how do you feel that the medium that you choose best expresses your meaning, message & own truth?<br /><br />I like this question.. I have spent a decent time thinking about mediums..and which ones to use for which projects..and in which arrangements. Take my dyptich with the single cartoon characters representing masculine and femenin qualities..To properly do this project..i felt that it was important to look at what was important in expressing these qualities from the characters..it was a lot about body language..motion..etc...so video was the obvious choice for me to convey something tht was both originally time based..and conveyed a message that relied on time based media. <br /><br />3. In your opinion, why do you think that the Gerald Peters Gallery mainly selected Fair's photos for their abstract impact? (not showing the photographs of the smokestacks & factories). I think it was in the best interest of the gallery to show "safe" work..they are a business..and their business is to sell a product that best represents them..<br /><br />4. What are the similarities between art & documentation? Sometimes there is no difference; especially if you are thinking about people like Cartier Bresson. The lines can be blurred..this was especially true for the modernists..maybe when you consider post modernism the line is harder to blur.. <br /><br /><br /><br />5. In my own work, do you feel that i convey a sense of environment & mood?<br /><br />Sure, color pallets are a sure fire way to convey a feeling to someone.<br /><br />6. Do you feel that the process & materials that i use, best expresses my message in my paintings? If not, then please explain what materials would work best for the execution & final outcome of my work. <br />Sure. I dont know what to tell you really. I don't look at your work often enough.<br /><br /><br /><br />7. How important is the use of scale in your own work? And do you believe that i use an appropriate size & scale for my paintings?<br />Scale is important, it can really make a piece powerful...it can make it reminiscent of other things..like photographs..if it is small...your size works for your larger paintings..I like to see big colorist paintings. <br /><br /><br />8. What do you think of my color palette for my paintings? What colors do you think I should use in my next painting.<br /><br />Try to experiment with color thinking about light..like rgb scales..cmyk..color theory gets really interesting when you start to work with it traditionally.<br /><br /><br />Shellie<br />1. After reading this article analyzing Woody’s work do you feel like his movies mock how contemporary art classes approach talking about art? Why?<br /><br />I have never seen any of his movies. Asides from one that was terribly perverted..I cant even remember the name of it..it was slow..and boring...but that probably was not his best..<br /><br />2. Do you ever feel surrounded by people that you need to impress/fake being overly excited or emotional about your work? If you do ever fake these emotions, why?<br /><br />Sometimes I feel surrounded by people who seem to fit that criteria..but I just do what I do.<br /><br />3. Would you say you art leans more towards needing emotional or intellectual appreciation? Does this relate to the aesthetics?<br /><br />Both..I make aesthetics decisions..that are both emotional and intellectual.. I find myself responding intellectually to something thats initial response was emotional..vice versa. <br /><br />4. Do you care about how your work looks while your creating it? Do you ever step back and move something around just because it looks bad? Does the work become less intellectual if this happens? Explain.<br /><br />I'm thiking about my paintings for this one..I usually start and finish a painting in one sitting..I spend most of my time deciding what colors to use..then painting is fast..as long as the paint is moving how i want it to move..i feel no need to stop..if the paint stops moving how i want it to..i finish the painting..and then make another..my paintings are observational..so there is not really a problem with the geometry..because in a way i have framed it before i have started...for non objective paintings..i will go back and change things..i will look at it from every angle..and then make decisions about changing it based on formal considerations..and also gut reactions..and also to eliminate obvious symbols or icons that may have happened during painting..no..it doe not feel less intellectual..or more emotional...it's educated decisions. <br /><br />5. When you view my art do you have any intellectual response? If not does this mean my work has no aesthetic value based on what the chapter requires for a meaningful aesthetic response.<br /><br />Sure I do. I think of your work in terms of process..i think of it in terms of beauty..i think of it in many ways. <br /><br />6. Where is your fulcrum between intellect and emotion when creating your work on a scale of 1-10. 1 leaning more towards intellect and 10 being more towards emotion. Where is mine?<br /><br />I don't know where yours is. Mine depends..I guess I feel balanced..<br /><br />7. Why do you think I tend to reject intellectualizing art?<br /><br />I don't want to go there.<br /><br />8. I would consider my work to be relaxing to the viewer. Do you agree/why? <br /><br />Totally. Color choice..subject matter..framing..everything has a natural.smoothness..beauty..it really is relaxing..Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-14141053358797030852011-03-29T11:18:00.000-07:002011-03-29T11:33:28.419-07:001. Trevor von Eeden said that he learned to develop his own style by studying his own doodles. What sort of things have you observed about your own practice that you've been able to more consciously apply to your own work? <br /> Well for me, I value experimentation..the experiments creep into my work and sometimes strengthen it. I learn from "doodling." <br /><br />2. "By making the extraordinary ordinary, it elevates your spirit." Is there an artist for you that you think exemplifies the sort of ideals von Eeden attributed to Neal Adams (similar to his analogy of what Bruce Lee would mean to a martial artist)? <br /> Well, no. I have a hard time idolizing people specifically. I recently listened to a Ted Talk that featured a poet named sarah kay...Her words were powerful..visually and spiritually...and I really looked up to that piece...but it wont stick with me for long..I'll be enamored by another artist soon..and will move on from them as well. <br /><br />3. Von Eeden's work in comics developed independent of fan reaction. Has viewer response had an influence on your work? How much? SImilar to Eeden I have no clue what people think of my work..I made a painting recently that someone liked...when i was showed it in class I had a pretty poor review...I have decided to make more of these paintings..because it was liked by someone...but I had almost thrown it out, because the critique I got made it seem worthless<br />4. What's more satisfying: the work? Or the piece that work produces?<br />That's a tough one. Lately I havent felt a lot of catharsis from working..I think thats more of because where I am at now..graduating..money stresses..medical issues..etc...so with all of those stresses I have made a lot of commercial work..and the commercial work feels great when its done and out in the world..because it has a purpose that it is fullfilling...I feel passionate during pre production..production..and then outreach...postproduction is very stressfull.<br /><br />5. Does my work tell you anything about me/my experiences?<br />Sure you are drawing from observation..I see you looking at the back of peoples heads a lot...but really..i havent spoken with you enough to say much more than that..<br /><br />6. Do you think those experiences/personal biography is even relevant to what I produce? Sure..it might help you and help me to understand where you are going..and what you could do next..<br /><br />7. "...I'll never stop seeing my mistakes." Does my constant self-criticism of my own work affect your opinion of a piece I've done?<br /> I think that sort of thing may help drive you to change your line work..or to take more time...etc..but I think it could also be damaging in the way that Von Eeder was damaged by his peers..he deserved to feel supported and encouraged..but if he couldnt feel that way about himself...then it wouldnt matter if anyone else believed in him either.Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-42138371341547098002011-03-22T13:06:00.000-07:002011-03-22T13:46:33.315-07:001. Why is meditative patterning an important part of my art?<br />Because you like the idea of existing? This is like a trick question.<br /><br />2. Do you think it is possible to gain an unaffected state of mind, even for a moment, through meditative drawing?<br />Sure, meditation is an act of clearing your mnd. <br /><br />3. What role does subtlety play in my art?<br />I honestly can't answer this.<br /><br />4. How does the ephemeral quality of paper deal with the idea of impermanence? Well it depend on how you think about it. If you want something to last, make it to last. If you want to make something that isn't confined to time, then make what you want and accept the time is will exist. <br /> <br /><br />5. How do you view spectacle in relation to pop culture?<br />Pop culture is broad and diverse, like the art world, here is a niche that idolizes the spectacle. Within that niche are groups that define their own spectacle.. <br /><br />6. What is the difference between survival and existence?<br />I exist, currently I am existing, I will no longer exist when I die. I am surviving. Emotionally, physically; I am trying my best to stay in existence Which is an act or survival. Existence is given to me, survival is determined by me.<br /><br />7. How do you view previous generations and their opinion of art, taking into consideration the statements made in this article? <br />Generations have gaps, yes. Art history has gaps, yes. Each generation finds it's own. Past generations may have liked more functional art, design, or conceptual. Depends on the niche they belonged to. I view them as out dated unless they continued to change..<br /><br />8. How has civilization compromise autonomy?<br />Civilization is cultural refinement and does not compromise freedom, but at the same time, civilization is a large population instead of an empty space with one person in the forest. When a relationship is formed between two or more people in the forest, the role of the persons pursuit in life no longer is autonomous. Freedom, culture, decisions, are now compromised in consideration of the other. When the civilization grows majority can rule. When the majority rules it can be Easy for a hierarchy of decisions to be made. Personality types become apart of the conversation, so yes and no to your question. It depends on who you are within the civilization.Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-4926170898663038422011-02-22T15:17:00.001-08:002011-02-22T15:17:41.947-08:00Five year plan.In five years, I would like to be working as a creative director for an advertising agency;with the ambitions to one day be a professor. <br /> To do this I will need to work my way up the advertisement food chain. Starting by making one penny into two by living a reasonable affordable life. Cutting down expenses, eating at home, spending more time practicing and continuing my education at home. <br /> I am applying as an intern at JWT, W+K, and the Mill. These are reasonable goals, but very competitive positions. If I do not get a position at any of these places I have back up plans. I recently started a job with a local production company working on the business side, rather than the creative. I have held a paid internship at a production company in New York, they have offered me a job. <br /> So no matter what I will be making the salary I desire. Now the focus is on personal growth. I admire people like Milton Glaser, people who were fine artists that moved into the AD world and changed the way things work. <br /> Milton Glaser talks about how when he first started out he could make a peach pie out of a pile of shit; in other words, he made it happen with what he had, and worked for people he didn't want to work for. <br /> I will do what I have to do over the next 5 years to get where I need to be. I will learn what I have to learn. Enroll in what ever classes I need. Watch any tutorials that will be of help. I will use my free time to develop myself not only as a person, but as a professional. <br /> I will do good deeds. I will do extra work and not charge for it. I will stay late, be the first person in. Take out the trash. Run the errands. Do what ever it takes to get my chance. <br /> I can only place myself in situations. My life has worked out perfectly by living this way. I have crawled out from living in the backseat of my car to holding two jobs and going to College full time. I am proud of myself. <br /> In three years, I will be apart of a company, still working my way up. In one year, I will be apart of a company, working my way up.<br /> In six months, I will learn which company will take me on. I am saving money and getting prepared to move.Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-21070845110289663312011-02-22T11:47:00.000-08:002011-02-22T11:58:56.497-08:00Gingersquestions :<br /><br />- which part of the reading did you personally find the most interesting?<br /><br />- what kind of education did you receive growing up and do you appreciate it now? if you were to have children would you want them to receive the same kind?<br /><br />- pretend that you are designing your own class... what does it look like?<br /><br />- after the discussion, go read at least 2 other students class ideas.. whose did you read, and which one, out of the 2 or more, would you most want to be part of?<br /><br />- do you feel that you are leading an interesting life? (based off your own interpretation of the word "interesting")<br /> if not, what is something, within your current capabilities, that you could do to make it more interesting to you?<br /><br />- do you feel that my work has anything to do with education?<br /><br />- Fletcher says with his work he is pointing at something that he finds interesting to bring it to the attention of others, do you feel that's what I'm doing with mine?<br /><br />- do you see any connections between this article and my work? if so, what are they?Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-79340753943560930982011-02-22T11:02:00.000-08:002011-02-22T11:17:10.008-08:00answers to Jeremy's questions1.Does the premise of condensing hundreds of religions and philosophies into one 2 hour-long documentary seem ill-serving to the history and magnitude of the subject matter?<br />I had a similar conversation back in high school with a history teacher. I believe it is important to consider the author of this video. Where is the information coming from? When creating a video you are at the mercy of yourself and who ever else in involved. The information you get can be terribly one sided, or terribly without sides. That may be something in the back of many peoples minds when learning and reviewing information. I think that most valuable experience is your own and the experience of those who you know. I think this video is valuable for what it is. <br /><br />2. Do you consider your religious or non-religious beliefs before creating art? Not all of the time. Sometimes it does come into play when I am thinking about certain realms of culture. I suppose all of my beliefs and values come through, whether I am conscious of it or not. <br /><br /><br /><br />3. Sartre's understanding of life is that it reflects the experience of one's existence. How does your artwork reflect the experience of your existence?<br />Completely. I work directly from observations. <br /><br />4. "The fact that we all suffer from the day we’re born to the day that we expire…is funny." What part should humor play in the discussion of religion and mortality?<br />Should, no need for anything to be exact. Some say we laugh at other peoples pain because of empathy. A certain nervous reaction, maybe. <br /><br />5. Is it ultimately futile for me to investigate an experience I may never consciously take part of?<br />No, but because your are conscious I think it may be one of those inevitable things. <br /><br />6. Is my pursuit of personal meaning through the creation of art absurd in relation to my perception of the meaninglessness of the universe?<br />damn, the hell if I know.<br /><br />7. If I was to die and "become my past" as explained by Sartre, how would my artwork play a role in that process? Would my work become the past as well?<br />Only if you made the history books for your art. Or if your family remembered you for your art. etc.<br /><br />8. Am I qualified to explore death in my work? Does one have to be personally touched by death to be able to explore it in their work? <br />Well, you technically are dying. So gods speed.Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-60957751417163398552011-02-22T10:42:00.000-08:002011-02-22T11:00:45.778-08:00Response to Shane Murphy's reading1) Do you agree that this is all conceptual art is?<br />No, I don't agree. Conceptual Art is not a single process. A good example of conceptual art. that is easy to understand, is joseph kosuths one in three chairs. http://en.wikipedia.org/wiki/Joseph_Kosuth<br /><br />2) How does the fact that there is a eHow on making conceptual art affect your ideas of art?<br /> It doesn't have an affect on my idea of art, or making conceptual art. <br /><br /><br />3) Is there a difference between this and the old Bob Ross painting shows?<br />Sure, there are many differences. One is text while the other is Video. One attempts to teach conceptual art while the other attempts to teach simplified painting techniques. <br /><br />4) Can High Art survive in the modern world?<br />It is existing and surviving in every high art gallery in the world. <br /><br /><br />1) My work is firmly entrenched in conceptual art norms, what forms of postmodern art has the internet made irrelevant, or are there any?<br />I think that the internet makes information more accessible to artists. <br /><br />2) I feel my work attempts to make the intangible not just tangible but accessible, is there a point where accessibility tips to eHow?<br />Well i think by saying' the intangible tangible' you mean that you are trying to express yourself. I think the ehow article tells you to express yourself. <br /><br />3) My concept of self dissection and betterment strives to be deep, dangerous, and relevant. Is there more to "good" conceptual art than the strength of the concept?<br /> I don't think your concept is strong. It could be. Deep, dangerous, relevant disection of identity. That is what you are doing. but it is not your concept. try to make a concept for ONE PIECE OF WORK that is about your identity. As you say, you are studying and dismantling yourself. but what is a project that you are making, and what is the concept behind that project. <br /><br />4) Do you feel there is a difference between my work and something someone would make after reading this eHow?<br />I don't know. I don't know who that person is.Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-53900290942574560272011-02-19T19:58:00.000-08:002011-02-19T20:02:13.485-08:00Show ideaI am working on the idea of what the inside of the Crossley will look like for Jeremy and my show. It's on the Fourth of March! Coming up quickly. <br /> I am trying to think of the traffic flow, and ideal seating. We know that we want to divide the space with the large screen. We arent sure what material we will use to make it. Micheal Wyshocki suggested that we use a fabric that really absorbs light well. So maybe maybe. <br /><object type="application/x-shockwave-flash" width="400" height="267" data="http://www.flickr.com/apps/video/stewart.swf?v=71377" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000"> <param name="flashvars" value="intl_lang=en-us&photo_secret=48ca30db4a&photo_id=5460519382"></param> <param name="movie" value="http://www.flickr.com/apps/video/stewart.swf?v=71377"></param> <param name="bgcolor" value="#000000"></param> <param name="allowFullScreen" value="true"></param><embed type="application/x-shockwave-flash" src="http://www.flickr.com/apps/video/stewart.swf?v=71377" bgcolor="#000000" allowfullscreen="true" flashvars="intl_lang=en-us&photo_secret=48ca30db4a&photo_id=5460519382" height="267" width="400"></embed></object>Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-69444175392937109702011-02-15T09:53:00.000-08:002011-02-15T09:54:34.856-08:00Reel 2010-2011!<iframe src="http://player.vimeo.com/video/19951539" width="400" height="300" frameborder="0"></iframe><p><a href="http://vimeo.com/19951539">Therese McPherson Reel 2010-11</a> from <a href="http://vimeo.com/user568402">Therese McPherson</a> on <a href="http://vimeo.com">Vimeo</a>.</p>Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-85884646909580158922011-02-15T09:33:00.000-08:002011-02-15T09:52:37.281-08:00Response to Kim<span style="font-weight:bold;"><br />1. What does de Zengotita mean by "optional"? </span><br /><br />From our conversations I get that Zengotita is talking about a reality that is subconsciously mediated by public opinion. <br /><br /><span style="font-weight:bold;">2. OK, fellow mediated person, what is your constructed identity and lifestyle?</span><br /><br />I am an offshoot from 90s skateboarding culture with a hint of late 90s Indie, all of that melding into a professional business woman with a hint of a quirky multimedia producer in the attire. <br /><br /><span style="font-weight:bold;">3. de Zengotita writes, "Some people refuse to accept the fact that reality is becoming indistinguishable from representation in a qualitatively new way." Are you aware of this? Do you think about it? What do you think about it? Or is this a pretty new idea for you? If so, how do you feel about it? <br /></span><br />Sure, I think this all started for me when I was just becoming a teenager. With the rejection of labeling and the desire to be unique. This desire grew into another culture for the rest of my generation. I think this is nothing new. It happens in every generation.<br /><br /><span style="font-weight:bold;">4. de Zengotita writes," The problem with trying to comprehend the process of mediation is that you can't get outside it." Can you imagine a way to get outside it? If that was your assignment, to get outside of the mediated world/environment, what would you do?</span><br /><br /> I would study reflexivity and then practice it. <br /><br />Questions about my work in relationship to the reading: You can see my work on my website at kimrusso.net<br /><br /><span style="font-weight:bold;">1. I think my work has the "whatever" quality to it that de Zengotita describes. Do you agree?</span><br /><br /> No, I think your work is mediated by your desires. Not sure how to answer this one. It might just be my disdain for the word "whatever," getting in the way. <br /><br /><span style="font-weight:bold;">2. I also think my work plays with the range between the real and fabricated/mediated that de Zengotita describes, and I present that range on a level playing field. Do you agree, or not--and why?</span><br /><br />3. What else can I/should I do to more successfully describe, in my work, the mediated/optional environment we live in in America?<br /> <br /> I really don't like it when the word "we" is imposed on me. Or the broadness of the conversation. I think that you should make work that is indicative of your opinion. I also think you should make "beautiful" work. <br /><br /><span style="font-weight:bold;">4. What is the similarity or difference between the "tone" of de Zengotita's writing/analysis and the "tone" of my drawings?</span><br /> Imposing, frightened.Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-13362736311940059332011-02-06T10:02:00.000-08:002011-02-06T10:07:58.998-08:00Hi everyone, <br /> Here is my article. <br />http://www.artinamericamagazine.com/reviews/adrian-piper/<br /><br />What stereotype do you identify with?<br /><br />During what activity do you feel most masculine?<br /><br />During what activity do you feel most feminine?<br /><br />May I take a video of you performing these actions?Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-13258486622147100072011-02-03T09:56:00.000-08:002011-02-03T10:16:15.895-08:00Reading questions answered for NathanQuestions about the reading itself:<br />Smithson mentions that entropy essential is a trending toward balance, how do you feel this relates to a creative practice’s trending toward completion?<br /> <br />Having been written in the early 1970’s this conversation mentions both energy crisis and the derelict remains of floundering housing projects, are these issues specific to the cultural climate, unavoidable and ubiquitous, or a combination of the two?<br /> <br />Smithson mentions the an intention to sculpt the sides of the Niagara Falls to make it look less “man made” and more natural, how does this relate to idea of entropy?<br /> <br /> Do you feel that you relate more positively to work that is more idyllic or dialectic, and why?<br /><br />Questions about my work in relationship to the reading: You can see my work on my website at www.nathanskiles.com or in the Keating Annex near the president’s office.<br /> <br />What does it mean to skip order and start from a state of incongruity? It's like saying let's skip the first step, let's start the car from second gear. It's sometimes a great decision that can save time and sometimes it ruins your car.<br /> <br />What order can be arranged from the remnants of a highly entopic existence? It depends on what material or form you are specifically referencing. This is an open ended question. I will relate it to the article. If we rearranged the remnants from Duchamp, humper dumpty, or the artifacts in Egypt; then we would have: small glass shards, a story about things that shatter, and carbon dust. Maybe. That is if we ignored the whole. And just looked at what gets left behind.<br /> OR<br />What is the role of iconography in a deteriorating system?<br />ORhaving curl equal to zero; irrotational; lamellar.<br />-noun<br />8. a person who is conservative in principles, actions, habits, etc.<br />9. a supporter of conservative political policies.<br />10. (cap.) a member of a conservative political party, especially the Conservative party in Great Britain.<br />11. a preservative.<br />Origin: 1350–1400; < LL conservātīvus, equiv. to L conservāt(us) (see conservation) + -īvus -ive; r. ME conservatif < MF < L, as above<br /> <br />Why do you feel that I chose to include the quote? As a further elaboration on your relation to entropy.<br /> <br />I decided to include several readings, how do you feel that relates to my studio practice, and why do you feel I do it? I dont know a lot about your studio practice. I see in your work that you pull from western cultures icons and stereotypes to make structures that resemble coocoo clocks. So I do t know how to answer this without hearing you talk.<br />Why swim against the current?<br /> <br />What do you feel are the essential differences between being a conservative and being a conservationist? A very strong dictionary definition separates the two. They share the tendency to preserve things. Nature, architecture, culture and traditions. EtcTherese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-90441004088040011062011-01-21T13:20:00.000-08:002011-01-21T13:21:11.303-08:00Artist statement for OralsTherese McPherson<br />Artist Statement <br /><br /> I have been working this year towards understanding the formal elements of communicating an idea visually; using traditional methods of arrangement, such as the diptych. My projects this year have all had the theme of "Identity," in common. My main inspiration to communicate ideas with has been television shows from the United States; ones that are aimed toward a family audience. I find television shows to have extraordinary character development, and I believe that television shows can offer general information about the culture in which they are made.Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com1tag:blogger.com,1999:blog-6290306164766391491.post-73165926481812890282011-01-15T09:54:00.000-08:002011-01-15T10:02:49.430-08:00So last night Jeremy and I racked each others brains after the crossley show. Congrats to Alex, Whitley, and Shellie for being awesome. <br /><br />Anyway, we narrowed down our ideas by writing everything down and selecting our three favorite ideas.. Then seeing what we had in common with that selection. <br /><br />We both like the power idea and the ballet post production. <br /><br /> Additions were made to the ballet post production idea that I am excited about. We would take turns filming, exporting and playing a video of the performance. I'll make a sketch up of it soon.<br /> This dynamic reminds me of plato, and his mimetic theories. We would be showing both the performance and the piece of art in the gallery. This would question what kind of experience we were presenting to the audience with our video.<br /><br />My pursuit of detatching myself from the video process has come to a conclusion. I do not believe that I can present " the truth" through a video. I can only offer one angle/experience of the performance.Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-6924444216675401462011-01-13T10:19:00.000-08:002011-01-13T10:33:43.729-08:00Idea: Lost<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJfcZuHz_4T9xS7ZfHsaKzV9avVZvo87lh6Bipnq0YnNggIUGLZ5o_Tvbif19K2aCMEne27rfF_gZwDaXhjK0qrDrcJT8PJvme1WkQGnFZTKguxGP6wVrJH0FR6cGXCgy8n_irxZY8KFQ/s1600/lost+.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 314px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJfcZuHz_4T9xS7ZfHsaKzV9avVZvo87lh6Bipnq0YnNggIUGLZ5o_Tvbif19K2aCMEne27rfF_gZwDaXhjK0qrDrcJT8PJvme1WkQGnFZTKguxGP6wVrJH0FR6cGXCgy8n_irxZY8KFQ/s400/lost+.jpg" alt="" id="BLOGGER_PHOTO_ID_5561738840583814626" border="0" /></a>So Jeremy. We talked about making the gallery into a maze the other day. Here is a quick sketch of an idea of what I think would be a good maze to make. In the "t", I dropped one of the sides and figured we could put some sort of person in there. Then we could play clips from "lost" of people looking "lost". ;)Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com2tag:blogger.com,1999:blog-6290306164766391491.post-22014594223666000012011-01-13T07:41:00.000-08:002011-01-13T10:35:02.215-08:00Idea two:production<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd8E-0F4lQVVYDmGFdC5drxqsIvxEG2QEEr-aneS3kCQsaRJlMzRlwyE_1Xb3KkWxsAQ9z3fLo3p-5CvmtceKhqKqexqHPSOKUM9g8e7tAYWyvXtTfdhwpIw9J1FiZ4mV6t-MGMVOg7f4/s1600/post+production.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 278px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd8E-0F4lQVVYDmGFdC5drxqsIvxEG2QEEr-aneS3kCQsaRJlMzRlwyE_1Xb3KkWxsAQ9z3fLo3p-5CvmtceKhqKqexqHPSOKUM9g8e7tAYWyvXtTfdhwpIw9J1FiZ4mV6t-MGMVOg7f4/s400/post+production.jpg" alt="" id="BLOGGER_PHOTO_ID_5561696360097470050" border="0" /></a><br />Jeremy and I think it would be really cool to have a live performance in the gallery. Whether its a balley, a comedy sketch, a play, we don't know..but we like all of them..The biggest part of the project is that we would set up a production area that would seperate the visitors from the performance. We would film, edit, and post the video. The name of the show would be the link to the video site. Before the video goes up, on our site we would offer "tweets" of progress so that people could anticipate the performance and see it go through pre-production. At the end of the opening the only thing that would remain from the performance is the video we made..and it would be shown large scale on the wall.and seating arrangement, semi circle, would be brought in.Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-54102623670151967842011-01-13T06:57:00.000-08:002011-01-13T10:36:25.217-08:00RE:Powerful<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPBUECOxEDjzKMDpIQA_4v4IKXvqcJfsPDmoD3aFRmOyXWlIXea3Rn1XS12JBYy8gp4hfsTurOW7ScuIxU6nmR9ItlRn4wgeX-EWqAaGHXc83wsCyhZkqgpnA1-YwxPC0dHvWUzrdqU9o/s1600/powerful+_rd_2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 347px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPBUECOxEDjzKMDpIQA_4v4IKXvqcJfsPDmoD3aFRmOyXWlIXea3Rn1XS12JBYy8gp4hfsTurOW7ScuIxU6nmR9ItlRn4wgeX-EWqAaGHXc83wsCyhZkqgpnA1-YwxPC0dHvWUzrdqU9o/s400/powerful+_rd_2.jpg" alt="" id="BLOGGER_PHOTO_ID_5561685093891557090" border="0" /></a><br />I thought about it more, and came to the conclusion that I didn't need a full circle for seating. I want to direct my audience to focus toward one direction. I predict that people would like to sit on the inside ring of the couch facing the wall; kind of like greek theatres, only not raised beyond one level of seating.Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-36634105983189711192010-12-12T18:33:00.000-08:002010-12-12T18:44:12.000-08:00More articles<p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#cccccc;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size: 22pt;font-size:6;"><span style="background: #000000">"Anti-Mainstream Museum's Mainstream Show" by Roberta Smith; 2010</span></span></span></span></p><div style="text-align: -webkit-left;"><span class="Apple-style-span" style="font-family:Arial, Tahoma, Helvetica, FreeSans, sans-serif;font-size:6;"><span class="Apple-style-span" style="font-size: 22px;"><br /></span></span></div> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.28in"><span style="color:#666666;"><span style="font-family:Georgia, serif;"><span style="font-size: 13pt;font-size:100%;"><span style="background: #000000">Roberta Smith analyzes the use of traditional white walled galleries. The show "Skin Fruit," at the new museum was the center of her Criticism. She explains that a gallery with white walls is a very comfortable and poorly curated idea. She seems to focus on the integration of installation and works. She expresses a desire to see each decision thought through carefully and uniquely. </span></span></span></span> </p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.28in"><br /></p> <p style="margin-bottom: 0in"><span style="font-size: 13pt;font-size:100%;"><span style="background: #000000"><span style="color:#666666;"><span style="font-family:Georgia, serif;">What if work is made for the white wall? Is it not the heart of art to be able to freely express and present yourself? Is it pejorative to dismiss the traditional gallery and to way curatorial practices to heavily on work that may need to exist on a white wall?</span></span></span></span></p><p style="margin-bottom: 0in"><span style="font-size: 13pt;font-size:100%;"><span style="background: #000000"><span style="color:#666666;"><span style="font-family:Georgia, serif;"><br /></span></span></span></span></p><p style="margin-bottom: 0in"><span style="font-size: 13pt;font-size:100%;"><span style="background: #000000"><span style="color:#666666;"><span style="font-family:Georgia, serif;"><span class="Apple-style-span" style="color: rgb(204, 204, 204); font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 12px; line-height: 16px; "></span></span></span></span></span></p><span style="font-size: 13pt;font-size:100%;"><span style="color:#666666;"><span style="font-family:Georgia, serif;"><h3 class="post-title entry-title" style="margin-top: 0.75em; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; position: relative; font: normal normal normal 22px/normal Arial, Tahoma, Helvetica, FreeSans, sans-serif; "><span class="Apple-style-span" style="color:#000000;"><a href="http://rachelrobbinz.blogspot.com/2010/11/who-needs-white-cube-these-days-by.html" style="text-decoration: none; ">"Who Needs a White Cube These Days?" by Roberta Smith; 2006</a></span></h3><div><span class="Apple-style-span" style="font-size:6;"><span class="Apple-style-span" style="font-size: 22px; line-height: normal;"><span class="Apple-style-span" style="color:#000000;">Roberta Smith expresses yet again a need to deviate from traditional gallery spaces. She desires a new way to approach curatorial practices. </span></span></span></div><div><span class="Apple-style-span" style="font-size:6;"><span class="Apple-style-span" style="font-size: 22px; line-height: normal;"><span class="Apple-style-span" style="color:#000000;"><br /></span></span></span></div><div><span class="Apple-style-span" style="font-size:6;color:#000000;"><span class="Apple-style-span" style="font-size: 22px; line-height: normal;">Does a new way count for a new kind of work?</span></span></div><div><span class="Apple-style-span" style="font-size:6;color:#000000;"><span class="Apple-style-span" style="font-size: 22px; line-height: normal;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size:6;color:#000000;"><span class="Apple-style-span" style="font-size: 22px; line-height: normal;">Would that new work be the new way?</span></span></div></span></span></span><p></p><p style="margin-bottom: 0in"><span style="font-size: 13pt;font-size:100%;"><span style="background: #000000"><span style="color:#666666;"><span style="font-family:Georgia, serif;"><br /></span></span></span></span></p><p style="margin-bottom: 0in"><span style="font-size: 13pt;font-size:100%;"><span style="background: #000000"><span style="color:#666666;"><span style="font-family:Georgia, serif;"> </span></span></span></span></p><span style="font-size: 13pt;font-size:100%;"><span style="color:#666666;"><span style="font-family:Georgia, serif;"><p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#3e3e3e;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size:7;"><b><span style="background: #000000">Contemporary Art @</span></b></span></span></span></p> <p style="margin-bottom: 0in; line-height: 0.25in"><span style="color:#929388;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size:180%;"><span style="font-weight: normal">by </span></span></span></span><a href="http://vimeo.com/user887726"><span style="color:#4186bf;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size:180%;"><span style="font-weight: normal">Trent Weaver</span></span></span></span></a></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="font-size: 13pt;font-size:100%;"><span style="background: #000000"><span style="color:#666666;"><span style="font-family:Georgia, serif;"><span style="font-size:130%;">The video was of poor quality and the guy was kind of cheesy they used a a song that probably was not liscenced to them. It reminded me of a book by anne Stanezewski about what art is and isnt. He runs through the progression of movements of art all the way until the conceptual age. He talks about the importance of the idea in todays art. </span></span></span></span></span> </p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><br /></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="font-size: 13pt;font-size:100%;"><span style="background: #000000"><span style="color:#666666;"><span style="font-family:Georgia, serif;"><span style="font-size:130%;">Where does relational aesthetics come in?</span></span></span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="font-size: 13pt;font-size:100%;"><span style="background: #000000"><span style="color:#666666;"><span style="font-family:Georgia, serif;"><span style="font-size:130%;">What about other art forms that are not conceptual?</span></span></span></span></span></p> </span></span></span><p></p>Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-82128704844257226512010-12-12T17:10:00.000-08:002010-12-12T18:18:07.314-08:00CritsI have had several individual critiques. <div>During the critiques I interview the person.</div><div><br /></div><div><br /></div><div><span class="Apple-tab-span" style="white-space:pre"> </span>Ojai Mitchel, A graphic designer on campus was excited about my investigation of Gender. I only showed him drawings on my studio wall of empty squares arranged as diptychs, grids, and triptychs. I filled in the blanks by talking about the formal arrangements of the squares, I also talked about how gender could be talked about in these arrangements and the different mediums I thought would properly express my idea. </div><div> He liked the pursuit and thought it was relevant. He agreed with my ideas on the formal issues of arrangement and the messages i thought the mediums carried. I asked him about his views on masculinity and femininity and found that he felt most masculine when he was not talking about pooping or other things considered "rude or disgusting" to be talked about in front of ladies. We rooted his influence on masculinity back to his childhood in Jamaica. He went to an all boys school. We went off topic and talked about his color and about the transition from Jamaica to America. "I woke every morning and saw the prime minister who was black. I had never once doubted the power of my color. I think it's an American thing."</div><div><br /></div><div><br /></div><div> I began to think more and more about the role of authorship as related to the roles of gender and race after this interview. I found it hard to separate his childhood and experiences with his family from his ideas of gender. </div><div><br /></div><div> <span class="Apple-tab-span" style="white-space:pre"> </span>I spoke with Athena Tori about a painting I had completed of tooth brushes in our bathroom. She liked it and said it worked well and that I should make more of other objects. I argued that the painting was too expressive and that I was looking for something less expressive. She thought that it gave my paintings a unique style that was indicative the progression of my paintings. I agreed, but still did not agree that I should make more. We talked about the simplicity of depicting gender with colors. Pink for female, blue for male. We also talked about the romance that the objects had in the painting. I grew to like my painting from our conversation, but I still did not see painting as a medium for my thesis any longer. I brought up photography and felt as if it would be the answer to my trouble with the paintings. The camera, which I had designated before as a tool for portraiture was now free to work topologically. Athena and I looked at images and discussed the Bechers. The idea of travel was introduced into my ideas and I agreed to ride with Athena in her car to pick up logs over an hour away. </div><div><br /></div><div> My original intent was to document Athena to try to "show moments of masculinity," and to explore her ideas of "the Failure of masculinity." I wanted to show the struggle of her feminine form attempting to pick up heavy logs. Our previous conversations about Topology were still on my mind during the travels. During the ride I took pictures of shopping centers that we passed. I noticed that they were gendered and started to think about how gender can affect city planning. The billboards we passed stood out as gendered too. Shops with first names, gendered. Plazas with first names, gendered. All the pictures I took were lost during a download. </div><div><br /></div><div><span class="Apple-tab-span" style="white-space:pre"> </span>Jeremy Fisher frequented my studio and talked with me both about my ideas and participated in a couple of interviews. He was one of the first people to see my video on Gender. It was arranged as a diptych for immediate visual comparison of cartoon characters displaying masculinity on the left and femininity on the right. I made the choice to start with cartoons I watched as a kid because the process was laborious(I had to watch a lot of seasons of cartoons to find moments I remembered seeing). Jeremy also liked the direction I was going in and suggested that I rotoscope out the characters to separate them from the background which he considered distracting. I tried it out and disagreed. I liked the aura that whole picture gave. The sense of place and time. It was about the interaction of the character in the environment. </div><div> </div><div> Athena Torri came into my studio and viewed a video I made of Britney Hollinger. She liked the shots, but suggested I not go handheld. I agreed, but defended myself by mentioning that it was a deliberate process for me. I was using a new camera and really wanted to get the weight of it in my hand despite the uneven compositions and shake that came as a result.</div><div><br /></div><div><span class="Apple-tab-span" style="white-space:pre"> </span>I talked about my thesis often outside of the studio. I did not enjoy being in the studio. I made a lot of the work and thought about the work outside of the studio. I spoke later with</div><div><br /></div><div>Susan Trovas about my thesis in the company of Jill Lerner and Athena Torri. They were interested in the idea, and also thought it had a fertile ground to work with. Susan and I began to talk more about the possibilities outside of Masculinity and Femenity. We considered everything from the single person who had no one to compare gender with, to the accepted european models of gender roles that were begining to be noticed in American culture: women working and men taking care of children. I mentioned to her an interview I had done with a middle aged woman who was married and had no children. The husband did not work but also did not participate in daily house chores. He exclaimed that house work was reserved for women. She works full-time, cooks, cleans, and pays the bills. Susan and Jill were a great addition to the conversation. They were able to help me see some issues that might arise during a conversation about gender roles. Mainly related to culture, time, and age. Again I was reminded of the engrained beliefs that people obtain at an early age from social interaction, culture, and direct family values and norms. </div><div><br /></div><div><br /></div><div> </div>Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-71696213260347182262010-12-12T17:06:00.000-08:002010-12-12T17:10:02.828-08:00submitted applicationI have made this resume and have started submitting to jobs. <div>I am ready for on campus recruiters.</div><div>I would like to work for an Advertising Agency or production company. </div><div>Either in Production or as a creative director.</div><div>JWT and W+K are my goals. </div><div><br /></div><div>I am also fabricating Business cards. </div><div><br /></div><div><p style="margin: 0.1px 0.0px 0.0px 0.0px; text-align: center; line-height: 23.0px; font: 12.0px Helvetica"><b>Therese McPherson</b></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; text-align: center; line-height: 23.0px; font: 11.0px Helvetica">Ringling College Of Art And Design</p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; text-align: center; line-height: 23.0px; font: 11.0px Helvetica">1761 Milan St</p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; text-align: center; line-height: 23.0px; font: 11.0px Helvetica">Sarasota, FL 34234</p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; text-align: center; line-height: 23.0px; font: 11.0px Helvetica"> 941-822-2650</p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; text-align: center; line-height: 23.0px; font: 12.0px Helvetica"><span style="font: 11.0px Helvetica"> </span><span style="text-decoration: underline">Tmcphers@c.ringling.edu</span></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; text-align: center; line-height: 26.0px; font: 12.0px Helvetica; min-height: 14.0px"><b></b><br /></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 12.0px Helvetica"><b>OBJECTIVE</b></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica"> Creative, production, or Management position with a multimedia design company where my creativity, techinical, and communication skills may be utilized. I am also interested in working with teams. </p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica; min-height: 13.0px"><br /></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 12.0px Helvetica"><b> EDUCATION</b></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica"><b>Ringling College of Art and Design, Sarasota, FL</b></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Fine Art Department, BFA, Spring 2011</p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Major: Fine Art(Strong focus in Multimedia)</p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">GPA: 3.39/4.0</p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Featured on the Deans List</p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica; min-height: 13.0px"><br /></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 12.0px Helvetica"><b>EXPERIENCE</b></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica"><b>Videography </b></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Paid Production Internship for Bravo Media, Chelsea, New York</p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Professional Video for Ringling Colleges Design Center; worked alongside a creative team.</p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Professional Video for Media Relations of Ringling College.</p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Professional Video Freelancer. </p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 12.0px Helvetica"><b>Teaching</b></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Digital Photography, Painting, and Drawing classes to ages 13-18 for continuing education. </p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica; min-height: 13.0px"><br /></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 12.0px Helvetica"><b>Organizational</b></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Knowledge Management for Media and Community Relations of Ringling College.</p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 12.0px Helvetica; min-height: 14.0px"><b></b><br /></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 12.0px Helvetica"><b>EMPLOYMENT HISTORY</b></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica"><b>Bravo Media- Chelsea New York</b></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Production Intern 5/2010 to 8/2010</p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Director of Photography for Corporate Green screen shoot.</p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Production Assistant for various projects. </p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Camera Operator for various green screen shoots. </p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Recognized as a valued intern within the first week of working. </p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica; min-height: 13.0px"><br /></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica"><b>Ringling College Design Center- Sarasota, FL</b></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Professional Videographer- 1/2009 to Current</p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Executed various video projects; Events, Interviews, Educational, and stock video. </p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Worked alongside Graphic Designers, Photographers, and Programmers on large projects.</p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Worked Independently on smaller projects as director, camera, sound, and editing. </p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica; min-height: 13.0px"><br /></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica"><b>Media Relations Of Ringling College- Sarasota, FL</b></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Knowledge Management and Videographer: December 2008 - Current</p> <p style="margin: 0.1px 0.0px 0.0px 36.0px; text-indent: -36.0px; line-height: 23.0px; font: 11.0px Helvetica">Shooting video of events.</p> <p style="margin: 0.1px 0.0px 0.0px 36.0px; text-indent: -36.0px; line-height: 23.0px; font: 11.0px Helvetica">Working with a creative team to launch a store front.</p> <p style="margin: 0.1px 0.0px 0.0px 36.0px; text-indent: -36.0px; line-height: 23.0px; font: 11.0px Helvetica">Research for the public relations data base.</p> <p style="margin: 0.1px 0.0px 0.0px 36.0px; text-indent: -36.0px; line-height: 23.0px; font: 11.0px Helvetica">Public relations calendar, posting events, contacting local press.</p> <p style="margin: 0.1px 0.0px 0.0px 36.0px; text-indent: -36.0px; line-height: 23.0px; font: 11.0px Helvetica">Solving technical problems related to video or computer equipment and curatorial issues.</p> <p style="margin: 0.1px 0.0px 0.0px 36.0px; text-indent: -36.0px; line-height: 23.0px; font: 12.0px Times New Roman; min-height: 15.0px"><br /></p> <p style="margin: 0.1px 0.0px 0.0px 36.0px; text-indent: -36.0px; line-height: 23.0px; font: 11.0px Helvetica"><b>Ringling College Continuing Education Department- Sarasota, FL</b></p> <p style="margin: 0.1px 0.0px 0.0px 36.0px; text-indent: -36.0px; line-height: 23.0px; font: 11.0px Helvetica">Teaching Assistant Summer of 2008 and 2009</p> <p style="margin: 0.1px 0.0px 0.0px 36.0px; text-indent: -36.0px; line-height: 23.0px; font: 11.0px Helvetica">Ages 13-18 Digital Photography, Painting, and Drawing. </p> <p style="margin: 0.1px 0.0px 0.0px 36.0px; text-indent: -36.0px; line-height: 23.0px; font: 11.0px Helvetica">Was recognized for outstanding performance.</p> <p style="margin: 0.1px 0.0px 0.0px 36.0px; text-indent: -36.0px; line-height: 23.0px; font: 11.0px Helvetica">Allowed to create lesson plans.</p> <p style="margin: 0.1px 0.0px 0.0px 36.0px; text-indent: -36.0px; line-height: 23.0px; font: 11.0px Helvetica">Organized final showing of student work.</p> <p style="margin: 0.1px 0.0px 0.0px 36.0px; text-indent: -36.0px; line-height: 23.0px; font: 11.0px Helvetica; min-height: 13.0px"><br /></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 12.0px Helvetica"><b>SPECIAL SKILLS</b></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 11.0px Helvetica">Red One, Sony HDV, Panasonic, Adobe Creative Suite 4.0: PhotoShop CS4, Illustrator CS4, Garageband, Adobe Bridge; After Effects CS4, Microsoft Office; Neo Office, Keynote, Final Cut Studio ; Mac platforms.</p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 23.0px; font: 12.0px Times; min-height: 14.0px"><br /></p> <p style="margin: 0.1px 0.0px 0.0px 0.0px; line-height: 26.0px; font: 12.0px Times; min-height: 14.0px"><br /></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times New Roman; min-height: 15.0px"><br /></p></div><div><br /></div><div><br /></div>Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0tag:blogger.com,1999:blog-6290306164766391491.post-78926004814913962002010-12-12T17:02:00.000-08:002010-12-12T17:04:33.612-08:00Missed Articles<p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span class="Apple-style-span" style="line-height: normal;"><span class="Apple-style-span" style="font-family:ArialMT, sans-serif;font-size:7;"><span class="Apple-style-span" style="font-size: 29px; line-height: 21px;"> </span></span></span></p><span class="Apple-style-span" style="font-family:ArialMT, sans-serif;font-size:7;"><p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;">Among the Inept, Researchers Discover, Ignorance Is Bliss By ERICA GOODE; 2000</span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"> <span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;">This essay reviews the research of Dr. Dunning a professor at Cornell University whose hypothesis is that people who believe they are not good at something usually tend to do better than the people who think they are at the top of their game.</span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;">Does self confidence help the less able to achieve more?</span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span class="Apple-style-span" style="font-size: large; ">Could the lack of confidence be the eminent downfall of the "genius?"</span></p><p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;"><br /></span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;">Rumsfeld's Unkown Known, or Iraq's Initiation into Democratic Practice by Slavoj Zizek</span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"> <span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;">This compares american torture to Iraqi Torture. In Zizeks opinion, American torture is far more dangerous than Iraqi torture because of its nature. He regards it as being a spectacle that defends itself; while Iraqi torture is unaimed brutality. Guilt is relieved from America by ignorance.</span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;">Is the violence of Iraqs militant groups not a spectacle?</span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;">Is America not guilty or concerned about it's militaries violence?</span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><br /></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;">"Antagonism and Relational Aesthetics" by Claire Bishop</span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><br /></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"> <span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;">Bourriaurd, the founder of Relational Aesthetics, is criticised by Claire Bishop. Bishop claims that the works of Thomas Hirschom and Santiago Sierra are more apt to fit the criteria of relational aesthetics because of their political nature. They are less open ended than the works Bourriaurd Identifies. He picks out Liam Gillick and Rirkrit Tiravanija as artists to be the poster children for Relational Aesthetics.</span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><br /></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;">Nicolas Bourriaurd is a writer and a gallery owner, how does this effect the validity of his choice?</span></span></span></p><p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;"><br /></span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;">"The Death of the Author" by Roland Barthes; 1977</span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"> <span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;">Roland Barthes brings up an interesting discussion that exists in Literature about the role of an authors biography in relation to the interpretation of a work. When reading a piece of literature one may consider the personal background of an Author in relation to the content of a work and thus an affecting the existence and interpretation of a work. Barthes criticises the value of this interpretation and asks us to step back and consider works first and authors second if at all.</span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;">Would Barthes consider the works of famous the famous author Yukio Mishimi to be more or less with the element of personal biography introduced? (Yukio commited seppeku in the 70s after writing and staring a role that depicted it.)</span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"> <span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;">Can you ever really seperate the author from the work and receive a full understanding of an artwork?</span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><br /></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;">"The Work of Art in the Age of Mechanical Reproduction" by Walter Benjamin; 1936</span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><br /></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;">Walter Bejamins essay is relevant til today because of his accurate description of the revolution of reproduction. He starts by addressing basic printmaking techniques all the way up to lithography, which he quickly dismisses an mentions the quick progression that photography made at the begining of the industrial revolution. Then he goes on to talk about Film and about the experience of viewing a film. He mentions that the previous "aura" that the viewing of an art object projected is lost, but replaced by films ability to transform you to another place.</span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;">Was Walter Benjamin the first to coin the saying "life feels like a movie?"</span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><span style="color:#000000;"><span style="font-family:ArialMT, sans-serif;"><span style="font-size:130%;">Would Walter Benjamin agree with me that Aristotle had a similar thought about the catharsis of a play as related to his idea of a "transformation of location" when watching a film.</span></span></span></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><br /></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><br /></p> <p align="LEFT" style="margin-bottom: 0in; line-height: 0.22in"><br /></p> <p style="margin-bottom: 0in"><br /></p> </span><p></p>Therese McPhersonhttp://www.blogger.com/profile/06682314349189772843noreply@blogger.com0