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.
Tuesday, March 29, 2011
alex and shellie
Questions from Alex
1. How important is the process of destroying something ( personal object/ mental image/photograph) to create a piece of work that is abstract?
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.
2. In your own work, how do you feel that the medium that you choose best expresses your meaning, message & own truth?
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.
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..
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..
5. In my own work, do you feel that i convey a sense of environment & mood?
Sure, color pallets are a sure fire way to convey a feeling to someone.
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.
Sure. I dont know what to tell you really. I don't look at your work often enough.
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?
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.
8. What do you think of my color palette for my paintings? What colors do you think I should use in my next painting.
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.
Shellie
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?
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..
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?
Sometimes I feel surrounded by people who seem to fit that criteria..but I just do what I do.
3. Would you say you art leans more towards needing emotional or intellectual appreciation? Does this relate to the aesthetics?
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.
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.
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.
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.
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.
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?
I don't know where yours is. Mine depends..I guess I feel balanced..
7. Why do you think I tend to reject intellectualizing art?
I don't want to go there.
8. I would consider my work to be relaxing to the viewer. Do you agree/why?
Totally. Color choice..subject matter..framing..everything has a natural.smoothness..beauty..it really is relaxing..
1. How important is the process of destroying something ( personal object/ mental image/photograph) to create a piece of work that is abstract?
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.
2. In your own work, how do you feel that the medium that you choose best expresses your meaning, message & own truth?
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.
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..
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..
5. In my own work, do you feel that i convey a sense of environment & mood?
Sure, color pallets are a sure fire way to convey a feeling to someone.
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.
Sure. I dont know what to tell you really. I don't look at your work often enough.
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?
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.
8. What do you think of my color palette for my paintings? What colors do you think I should use in my next painting.
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.
Shellie
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?
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..
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?
Sometimes I feel surrounded by people who seem to fit that criteria..but I just do what I do.
3. Would you say you art leans more towards needing emotional or intellectual appreciation? Does this relate to the aesthetics?
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.
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.
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.
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.
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.
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?
I don't know where yours is. Mine depends..I guess I feel balanced..
7. Why do you think I tend to reject intellectualizing art?
I don't want to go there.
8. I would consider my work to be relaxing to the viewer. Do you agree/why?
Totally. Color choice..subject matter..framing..everything has a natural.smoothness..beauty..it really is relaxing..
1. 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?
Well for me, I value experimentation..the experiments creep into my work and sometimes strengthen it. I learn from "doodling."
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)?
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.
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
4. What's more satisfying: the work? Or the piece that work produces?
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.
5. Does my work tell you anything about me/my experiences?
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..
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..
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?
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.
Well for me, I value experimentation..the experiments creep into my work and sometimes strengthen it. I learn from "doodling."
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)?
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.
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
4. What's more satisfying: the work? Or the piece that work produces?
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.
5. Does my work tell you anything about me/my experiences?
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..
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..
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?
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.
Tuesday, March 22, 2011
1. Why is meditative patterning an important part of my art?
Because you like the idea of existing? This is like a trick question.
2. Do you think it is possible to gain an unaffected state of mind, even for a moment, through meditative drawing?
Sure, meditation is an act of clearing your mnd.
3. What role does subtlety play in my art?
I honestly can't answer this.
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.
5. How do you view spectacle in relation to pop culture?
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..
6. What is the difference between survival and existence?
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.
7. How do you view previous generations and their opinion of art, taking into consideration the statements made in this article?
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..
8. How has civilization compromise autonomy?
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.
Because you like the idea of existing? This is like a trick question.
2. Do you think it is possible to gain an unaffected state of mind, even for a moment, through meditative drawing?
Sure, meditation is an act of clearing your mnd.
3. What role does subtlety play in my art?
I honestly can't answer this.
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.
5. How do you view spectacle in relation to pop culture?
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..
6. What is the difference between survival and existence?
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.
7. How do you view previous generations and their opinion of art, taking into consideration the statements made in this article?
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..
8. How has civilization compromise autonomy?
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.
Tuesday, February 22, 2011
Five 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.
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.
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.
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.
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.
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.
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.
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.
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.
In six months, I will learn which company will take me on. I am saving money and getting prepared to move.
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.
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.
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.
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.
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.
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.
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.
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.
In six months, I will learn which company will take me on. I am saving money and getting prepared to move.
Gingers
questions :
- which part of the reading did you personally find the most interesting?
- 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?
- pretend that you are designing your own class... what does it look like?
- 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?
- do you feel that you are leading an interesting life? (based off your own interpretation of the word "interesting")
if not, what is something, within your current capabilities, that you could do to make it more interesting to you?
- do you feel that my work has anything to do with education?
- 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?
- do you see any connections between this article and my work? if so, what are they?
- which part of the reading did you personally find the most interesting?
- 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?
- pretend that you are designing your own class... what does it look like?
- 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?
- do you feel that you are leading an interesting life? (based off your own interpretation of the word "interesting")
if not, what is something, within your current capabilities, that you could do to make it more interesting to you?
- do you feel that my work has anything to do with education?
- 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?
- do you see any connections between this article and my work? if so, what are they?
answers to Jeremy's questions
1.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?
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.
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.
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?
Completely. I work directly from observations.
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?
Should, no need for anything to be exact. Some say we laugh at other peoples pain because of empathy. A certain nervous reaction, maybe.
5. Is it ultimately futile for me to investigate an experience I may never consciously take part of?
No, but because your are conscious I think it may be one of those inevitable things.
6. Is my pursuit of personal meaning through the creation of art absurd in relation to my perception of the meaninglessness of the universe?
damn, the hell if I know.
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?
Only if you made the history books for your art. Or if your family remembered you for your art. etc.
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?
Well, you technically are dying. So gods speed.
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.
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.
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?
Completely. I work directly from observations.
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?
Should, no need for anything to be exact. Some say we laugh at other peoples pain because of empathy. A certain nervous reaction, maybe.
5. Is it ultimately futile for me to investigate an experience I may never consciously take part of?
No, but because your are conscious I think it may be one of those inevitable things.
6. Is my pursuit of personal meaning through the creation of art absurd in relation to my perception of the meaninglessness of the universe?
damn, the hell if I know.
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?
Only if you made the history books for your art. Or if your family remembered you for your art. etc.
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?
Well, you technically are dying. So gods speed.
Response to Shane Murphy's reading
1) Do you agree that this is all conceptual art is?
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
2) How does the fact that there is a eHow on making conceptual art affect your ideas of art?
It doesn't have an affect on my idea of art, or making conceptual art.
3) Is there a difference between this and the old Bob Ross painting shows?
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.
4) Can High Art survive in the modern world?
It is existing and surviving in every high art gallery in the world.
1) My work is firmly entrenched in conceptual art norms, what forms of postmodern art has the internet made irrelevant, or are there any?
I think that the internet makes information more accessible to artists.
2) I feel my work attempts to make the intangible not just tangible but accessible, is there a point where accessibility tips to eHow?
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.
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?
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.
4) Do you feel there is a difference between my work and something someone would make after reading this eHow?
I don't know. I don't know who that person is.
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
2) How does the fact that there is a eHow on making conceptual art affect your ideas of art?
It doesn't have an affect on my idea of art, or making conceptual art.
3) Is there a difference between this and the old Bob Ross painting shows?
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.
4) Can High Art survive in the modern world?
It is existing and surviving in every high art gallery in the world.
1) My work is firmly entrenched in conceptual art norms, what forms of postmodern art has the internet made irrelevant, or are there any?
I think that the internet makes information more accessible to artists.
2) I feel my work attempts to make the intangible not just tangible but accessible, is there a point where accessibility tips to eHow?
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.
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?
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.
4) Do you feel there is a difference between my work and something someone would make after reading this eHow?
I don't know. I don't know who that person is.
Saturday, February 19, 2011
Show idea
I 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.
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.
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.
Tuesday, February 15, 2011
Response to Kim
1. What does de Zengotita mean by "optional"?
From our conversations I get that Zengotita is talking about a reality that is subconsciously mediated by public opinion.
2. OK, fellow mediated person, what is your constructed identity and lifestyle?
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.
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?
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.
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?
I would study reflexivity and then practice it.
Questions about my work in relationship to the reading: You can see my work on my website at kimrusso.net
1. I think my work has the "whatever" quality to it that de Zengotita describes. Do you agree?
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.
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?
3. What else can I/should I do to more successfully describe, in my work, the mediated/optional environment we live in in America?
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.
4. What is the similarity or difference between the "tone" of de Zengotita's writing/analysis and the "tone" of my drawings?
Imposing, frightened.
Sunday, February 6, 2011
Thursday, February 3, 2011
Reading questions answered for Nathan
Questions about the reading itself:
Smithson mentions that entropy essential is a trending toward balance, how do you feel this relates to a creative practice’s trending toward completion?
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?
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?
Do you feel that you relate more positively to work that is more idyllic or dialectic, and why?
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.
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.
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.
OR
What is the role of iconography in a deteriorating system?
ORhaving curl equal to zero; irrotational; lamellar.
-noun
8. a person who is conservative in principles, actions, habits, etc.
9. a supporter of conservative political policies.
10. (cap.) a member of a conservative political party, especially the Conservative party in Great Britain.
11. a preservative.
Origin: 1350–1400; < LL conservātīvus, equiv. to L conservāt(us) (see conservation) + -īvus -ive; r. ME conservatif < MF < L, as above
Why do you feel that I chose to include the quote? As a further elaboration on your relation to entropy.
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.
Why swim against the current?
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. Etc
Smithson mentions that entropy essential is a trending toward balance, how do you feel this relates to a creative practice’s trending toward completion?
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?
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?
Do you feel that you relate more positively to work that is more idyllic or dialectic, and why?
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.
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.
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.
OR
What is the role of iconography in a deteriorating system?
ORhaving curl equal to zero; irrotational; lamellar.
-noun
8. a person who is conservative in principles, actions, habits, etc.
9. a supporter of conservative political policies.
10. (cap.) a member of a conservative political party, especially the Conservative party in Great Britain.
11. a preservative.
Origin: 1350–1400; < LL conservātīvus, equiv. to L conservāt(us) (see conservation) + -īvus -ive; r. ME conservatif < MF < L, as above
Why do you feel that I chose to include the quote? As a further elaboration on your relation to entropy.
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.
Why swim against the current?
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. Etc
Friday, January 21, 2011
Artist statement for Orals
Therese McPherson
Artist Statement
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.
Artist Statement
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.
Saturday, January 15, 2011
So last night Jeremy and I racked each others brains after the crossley show. Congrats to Alex, Whitley, and Shellie for being awesome.
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.
We both like the power idea and the ballet post production.
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.
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.
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.
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.
We both like the power idea and the ballet post production.
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.
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.
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.
Thursday, January 13, 2011
Idea: Lost
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". ;)
Idea two:production
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.
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