1.) What is art therapy? Art therapy is a technique used by mental health counselors to identify and solve mental health issues.
2.) Does your art making relate to therapy at all? If so, how? Not by the definition.
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.
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.
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.
6.) Can you see any kind of relationship between this video and how I approach my artwork? I'm not sure.
7.) Do you think any of my work is therapeutic? I do not know.
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.
BALL
1.) Did you find any similarities between the reading and the youtube video? Yes
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.
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.
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.
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.
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.
7.) Are there any similarities between the work that you create and the presented information? Depends on what work it is.
8.) Is everything going to be okay? "I'm OK- You're OK" Thomas A. Harris, MD
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.
Questions:
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
artist?
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
format?
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?
hawt.
Paul
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?
Sure.
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..
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.
Questions:
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
artist?
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
format?
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?
hawt.
Paul
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?
Sure.
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..
Tuesday, April 5, 2011
Would 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.
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.
What do you think about Kurzweil's predictions? Do you think he is valid, totally crazy, or somewhere in between? Who knows.
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.
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.
Do you see any connection between this reading and the things that I make? Sure.
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..
Is this subject at all interesting to you?yes.
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.
What do you think about Kurzweil's predictions? Do you think he is valid, totally crazy, or somewhere in between? Who knows.
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.
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.
Do you see any connection between this reading and the things that I make? Sure.
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..
Is this subject at all interesting to you?yes.
.) 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.
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.
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
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.
________________________________________________________________________________________________________
!.) 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
About your ways of life..cheeseburgers. Yeah I don't know how to take it seriously.
@.) 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.
#) 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.
$) 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.
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.
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
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.
________________________________________________________________________________________________________
!.) 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
About your ways of life..cheeseburgers. Yeah I don't know how to take it seriously.
@.) 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.
#) 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.
$) 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.
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