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. 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.

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.

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.