Monday, February 21, 2011

Shane's questions

1. Do you agree that this is all conceptual art is?
No I do not agree that this is all conceptual art is. I think that it could be used as a jumping off point to create conceptual art, but I am not a conceptual artist so my opinion is probably incorrect.

2. How does that fact that there is an eHow on making contemporary art affect your ideas of art?
It honestly does not. I actually think this is a great thing. It opens up the art world to more people who may have feared it. I have known for a long time that conceptual art is often times seen in a negative light, and I think this helps. Not only that it reaffirms the idea in the second reading that everyone is a conceptual artist.

3. Is there a difference between this and the old Bob Ross painting shows?
Yes. Bob Ross taught you how to create his specific piece; this is how you paint a tree, a bush, and water. This is a more open ended set of instructions.

4. Can high art survive in the modern world?
High art has survived long enough. There will always be intellectuals and art collectors and philosophers who believe that there is a hierarchy in art. High art will be around for as long as people feel the need to label it as such.

5. 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 many forms of postmodern art are based around the internet to begin with. I am struggling with this question a little, as I don’t see the connection of your conceptual art norms to the internet. Much of postmodern art is based around quick information, blurbs of facts, and instant gratification. I don’t see how the internet has made any form of postmodern art irrelevant.

6. I feel my work attempts to make the intangible not just tangible but accessible, is there a point where accessibility tips to eHow?
First off I find it interesting that you refer to yourself as intangible, and are you referring to yourself as being intangible to us? Or yourself? I think twitter and facebook have beaten you to the punch line of bordering on eHow. Tons of people make themselves as accessible as eHow every day by tweeting there every move and feeling. Is your art any different than overly open people on the internet?

7. 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.
Of course there is. Just thinking of a great concept does not create great art. Great conceptual art comes with the execution of concept in whatever art form one deems most appropriate. I would like to hear more on your ideas of how your piece is dangerous and relevant? I understand the deep aspect; I just want you to elaborate on those two topics. Would you consider your work to be more relevant to your audience or yourself?

8. Do you feel there is a difference between my work and something someone would make after reading this eHow.
Well to answer that, since I don’t believe this to be the worse representation on how to create conceptual art. All one would have to do is compare our artwork. Yes there is a difference.

Friday, February 18, 2011

Therese's questions

1. What stereotype do you identify with?
I don’t think you can make your own stereotype, I asked the person next to me though and she said conservation artist. If you went to my hometown they would say typical Florida nature girl. It all depends on who you and and where you are.

2. Answer is the same as question one

3. During what activity do you feel most masculine?
When I work on my car I feel the most masculine or fixing my house, mostly because my father always told me I needed to know these things because men weren’t learning these skills from their dads anymore.

4. During what activity do you feel most feminine?
It sounds a little strange but when I shave my legs I feel the most feminine… or like a super awesome professional swimmer!

5. May I take a video of you performing these actions?
If my car were broken sure… and no on the shaving of my legs.

6. How do you feel about Adrian piper being on a suspicious travelers list?
Given the year she was put on it I think it’s a little absurd, but if compared to the people on the suspicious travelers list now its average. I personally know five people on the list and one of them is only 5. We have become an even more cautious country and soon we will all be on the suspicious travelers list.

7. Would you makes the same decision that Adrian piper did if you were put on the list?
No. I like where I live and I’m comfortable here. I would not let the government dictate where I go and when.

8. What do you think about Adrians work that was mentioned in the article?
I feel like she is so well known because of her ethnicity and dealing with feminist issues. There is a level of confusion though that I have. I feel as though she deals with almost to many issues at a time. She is a renowned feminist artist but she also deals with race and ethnicity. It becomes a little overwhelming. I would like to see these pieces on video or in real to truly talk about them.

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?
Its an interesting question but I feel like it’s a pretty appropriate approach to the subject given how we are as a whole. We want everything instantly, our lives continually get faster, and even this video seemed a little long winded on the subject. While it may be ill serving to a subject such as death and our place in this world; would it get the point across if it were any longer? I guess it depends on the audience he wants to attract.

2. Do you consider your religious or non-religious beliefs before creating art?

I would have to say that my religion effects everything I do.

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?
My artwork directly reflects some of my favorite experiences in life. It is my personal way of entering back into the experiences. Making art is like an escape similar to the subject that I make art about. I feel that I exist in a hectic world, and try and escape whenever I can.

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?
Part of life is being able to laugh at inappropriate things to make them bearable, and to be able to laugh at your self. I don’t agree however that we suffer from the day we are born to the day we expire. Humor is a tool to make people more comfortable, and depending on the message can hinder or help an artist.

5. Is it ultimately futile for me to investigate an experience I may never consciously take part of?
Investigating this ahead of time will most likely help you in your own walk partially preparing you for the situation should it arise. You are also ultimately interested in the topic and its only natural to be curious about death, so why not study it. As far as many people in your video are concerned life is futile anyways. Does it really matter what we do?

6. Is my pursuit of personal meaning through the creation of art absurd in relation to my perception of the meaninglessness of the universe?
When you put it that way yes. What is the point of pursuing personal meaning if the universe is meaningless? On the other hand rolling over and just letting things happen and not caring why or how wastes the mind. Your pursuit of personal meaning may not only benefit you but those who you come in contact with. Its similar to those who are currently influencing your ideas and art.

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?
It depends, are you becoming your past with the knowledge of your present? Or are you just dead as Sartre puts it in his article. I feel as though he is speaking about ones inability to be present anymore, but if one passes away their art would have already been created in the past. That is not to say that you could not live on through your artwork though. Many people use the word “timeless” to describe artwork, as though the image will never be outdated. If your art expresses this “timeless” it will not drift into the past; only the memory of you creating it will.

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?
I think this makes a huge difference. That if by some chance someone close to you dies, your view on it may change. If you have never experienced the feelings that come with death how can you know. On the other hand maybe studying death to the extent that you have will cause you to become indifferent to death when it happens, and nothing will change. Death does not only include people though. I am sure you have had brushes with dead animals/plants. Why not include these in your repertoire as brushes with death?

Thursday, February 17, 2011

Nathans Questions

1. Smithson mentions that entropy essential is a trending toward balance, how do you feel this relates to a creative practice’s trending toward completion?

I may be misinterpreting this question. For Smithson entropy essential is trending towards balance because we want to keep our world equal. We don’t want too many man made things, as well as natural things. We are attempting to keep our world from disappearing but at the same time need to keep it changing. I think as an artist our work is similar. A creative practice needs to be constantly changing but it can’t change to quickly as we are often prone to hold onto old habits, styles and techniques. In the same way we don’t want our creative process disappearing but need it to keep changing, and this dynamic informs its completion.

2. 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?

Although this dialogue was written in the 70’t it could be taken into our modern context quite easily. These places still exist, and are still parts of our lives. I also believe they are a combination of both unavoidable and ubiquitous. The difference now is their cause. Our headlines now read economical crisis and housing decline. The issues are a constant but the causes are subject to the cultural climate.

3. 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?

This is our way of fighting entropy. Like what was spoken about during the talk. People are generally afraid of entropy, constantly fighting decay. They actually stopped Niagara Falls to fix not only the decay but also nature itself. It is an insane idea, but because we are always fighting with the balance of man v. nature, and decay v. pristine it was voted as a necessary improvement.

4. Do you feel that you relate more positively to work that is more idyllic or dialectic, and why?

I relate more positively to work that possesses idyllic qualities. I feel as though art is governed by hierarchical nonsense. A status has been placed on dialectic work as being more sophisticated and important, most of the time dealing with political, social or economical issues. There are enough problems in the world being dealt with in my opinion. I look at art as an escape, not only through the creative processes it but also from the viewer’s perspective. To relate back to Kim’s reading, we are faced with many many choices. I want art to take me to one place and give my mind peace. That is not to say I don’t enjoy being informed, but is it really arts place to inform someone?

5. What does it mean to skip order and start from a state of incongruity?

To skip order and start from a state of incongruity is allowing the process to inform the outcome. Starting out of order would ultimately disrupt the original plan and create something not necessarily understandable. I feel as though this relates to your work quite well actually, mostly because I don’t know your process at all. I have never really had a discussion with you about your work but the clocks seem to pull from whatever is going on that day, or last week, or what you ate or found funny. There doesn’t seem to be an order to you work. I know there is a connection between the objects on the clocks but I struggle to make it.

6. Why swim against the current?

According to the salmon that is how you get to the best place to have sex. I wonder if this question relates to you work? I feel as though your work fits pretty well into mainstream contemporary art. It has all of the necessary attributes: Witty, different, interesting mark making, uncommon use of object/materials. Most artists swim against the current metaphorically because it stirs people up. I don’t really think its possible to swim against the current anymore. People are to accustom to people trying to swim against the current.

7. What do you feel are the essential differences between being a conservative and being a conservationist?

Loved this question in class. They are exactly the same only dealing with different subject matter. Both are trying to keep an environment alive and well. Conservatives are dealing with a way of life. They are holding onto old traditions, politics, and values, and will vote to keep those all day and night. Where was a conservationist is fighting for, for the most part, a natural environment. The best part is they are both fighting the natural time line. The only constant is that things change. Natural selection/and adaptation is how a species or environment survives or dies. This is just a case of fighting entropy on both parts.

8. 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 think this is how you make-work. Your work is not necessarily opinion but it is facts. Lots of facts compiled into one piece that at times can be a little confusing but they are all connected even if only in a small way. When you spoke you talked about not wanting to form opinions necessarily but only wanting to take in facts to know what is going on in the world. This is how your pieces present themselves. One clock with all of these objects attached to it. Like your mind rolls around and picks up little bits and pieces of everything.

Sunday, February 13, 2011

Questions: Kims Reading

Thesis questions, Kims reading

1. What does zengoitita mean by “optional”? what is a good example of “real”? What is an example of “mediated”?

When Zengoitita speaks about optional I believe he is speaking literally about all of the options we are faced with today. Specifically speaking about the options relating to goods and services. An example given of this would be cereal choices. 60 years ago there were only 4 choices, now the possibilities are endlessly combined. To escape these options would be to experience the real. I believe nature is the best provider of that, if you can escape to a place that is unmediated by people. It is easier to give an example in America however of a natural place mediated. One of these is our very own lido beach. Every day it is combed, de weeded and watched by lifeguards. One is never allowed to see the natural growth that would occur, or the depth of the ocean, or how nasty sand can become when not precisely combed every day. It is real but only in the sense that it is in front of you.

2. What is your constructed identity and lifestyle?

My constructed lifestyle like most Americans is complicated. I have chosen bits and pieces from lifestyles I have taken time to dabble in so far. I surf, kayak, print, vote logically but tends to be republican, want to be an artist/batman home mom (as Jeffery puts it), and southern by birth. Those are the pieces of me that people catch/ are allowed to see. It is a really hard question, because I love being conservative, but my feet want to go on the town sometimes and run around like a wild woman. However I don’t think my feet count, because only my close friends know them.

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?

I’m pretty aware of our entire world, real and unreal melding into one blob of insanity. It’s not a new idea; we are bombarded with images all the time. If someone asks me if I know the pyramids I say yes… have I been there, no. Mediation is a blessing and a curse. On one hand my entire thesis is about mediation. Yes, technically it’s about conservation, but the images I draw are mediated to create a perfect environment. No bugs, no snakes, no fog, no sweat. I only show you what I want you to see/edit out because that is how I see these environments. On that side it’s a blessing I can mediate these places I love so much so you can experience them the same way I do.

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?

My goal to escape mediation is reoccurring. I escape the mediated world by going into nature. Specifically trying to find someplace untouched by people. That means no signs, no paths, and especially no one telling me what I can’t do. This is generally judged by if I’m out on the water, and I can kayak naked. I have found somewhere unmediated.

1. I think my work has the "whatever" quality to it that de Zengotita describes. Do you agree?

Whatever is not a word I would use to describe your work. I feel like whatever implies a disregard for anything. Your work is in the contemporary art world. It automatically gives another layer… or so it’s assumed. Meaning when I look at your work I’m grasping for a connection to the images. There must be a reason they are on the same page. Art in general will always lack the “whatever” quality at this point.

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?

I agree. With your art you have created semi believable environments with Things going on that could happen. They probably would not, but very well could. In all reality you could have taken a picture of a fan man herding pigeons into an oil drilling area. Likely its not, so we try and connect the three images acting as if they are separate. This could just be a strange occurrence such as the bear man suit in the mountains.

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 still struggle with the idea that you’re actually dealing with mediation. I feel your work is simply mediated because that is how you make your work. Physically showing us choices would speak louder about mediation than giving us multiple unrelated images. We don’t have to choose between them. We can have them all.

4. What is the similarity or difference between the "tone" of de Zengotita's writing/analysis and the "tone" of my drawings?

This question is lost on me. I have only seen two of your pictures in person, and tone is not something I think about for the most part. I cannot give you a response with writing down.