Tuesday, March 29, 2011

Alex's questions

1. How important is the process of destroying something ( personal object/ mental image/photograph) to create a piece of work that is abstract?
It is incredibly important if that is the whole idea behind your piece. Than on the other hand if you are just trying to create an abstract image or sculpture and you are destroying something incredibly personal to do so with no reasoning, it would completely change your idea.

2. In your own work, how do you feel that the medium that you choose best expresses your meaning, message & own truth?
I believe my truth could in all actuality be expressed in any medium as well as my message. As far as my own truth that is where my medium comes into play. Printing brings out my meticulous side it shows a certain amount of care and appreciation to the process that I believe could be lost with any other medium.

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). Do you believe that these particular abstract photos were selected because of an "over-all" sense of platonic beauty? Do you believe that the GP Gallery wanted to appeal to the "masses" in order to make a better sale?
I 100% believe that the GP gallery wanted to appeal to the rich south westerners that visit their gallery. Everyone needs to pay their bills I don’t blame them for wanting to make some sales.

4. What are the similarities between art & documentation?
I think historically that is where this discussion is most relevant. Before photography we were the documenters of history. Currently we still document our feelings our experiences. Maybe not photographically but it is impossible to avoid your own personal experiences in your work.

5. In my own work, do you feel that I convey a sense of environment & mood?
I feel through the colors you use you do convey a sense of mood, you pick your colors according to what I assume is mostly gut feeling. As far as environment is concerned you do create abstract landscapes but being as personal as they are at times can come across as just abstract. This is neither good nor bad because your pieces can still be enjoyed even if the entire idea is not conveyed.

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.
I am not sure if you could have the same message in any other medium, but I do think it would be beneficial to try another and see how you feel about it.

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?
I think you have been playing it safe for a while. This semester when you started to paint absolutely huge it was beneficial to allow the viewer to be enveloped into an atmosphere, and I would like to see more of those. Be bold!

8. What do you think of my color palette for my paintings? What colors do you think I should use in my next painting.
That is a super hard question. I don’t know what your new painting is about. Why you’re doing it, or any thing else. I think it should be black and white. Break out of your norm, do something monochromatic. See were it takes you. Maybe ever work tiny! See If you can express yourself in a 12”x12” image.

Wednesday, March 16, 2011

Link to Reading

Im asking that you read chapter 6 from "Woody Allen and Philosophy" that is page 89-100


Questions for the Reading

Chapter 6 From the Book “Woody Allen and philosophy”

Woody on Aesthetic Appreciation p. 89-100


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?

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?

3. Would you say you art leans more towards needing emotional or intellectual appreciation? Does this relate to the aesthetics?

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.

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.

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?

7. Why do you think I tend to reject intellectualizing art?

8. I would consider my work to be relaxing to the viewer. Do you agree/why?

Thursday, March 10, 2011

Max's questions

1. How did Albert fish come to meet Grace Budd?
Albert met Grace when he went to her brothers house to “hire him” but when the brother was larger than Fish expected he turned his sights on Grace.

2. What are the details that led to Fish’s first incarceration?
He was arrested for embezzlement.

3. Give a brief description of the history of mental illness amongst Fish’s family.
He had an uncle who suffered from religious mania, a brother in a mental hospital, another brother died of hydrocephalus, and his sister had a mental affliction. His mother is also said to have hallucinations.

4. What religious activity did psychiatrist Fredric Wertham claim that Albert Fish associated with cannibalism?
He associated cannibalism with the idea of communion.

5. What do you think about rituals involved in making art? Your art? My art?
I think ritual in this instance is really only relevant as its definition of regular behavior, maybe repetition would be a better word. I don’t have any particular ritual when I make my art. I do similar things to get my ideas but I think that is just part of how I work. Your art from what I know about you which isn’t very much is that you just draw to draw. Maybe for you drawing is your ritual.

6. What do we gain for knowing someone’s motivations?
Knowing someone’s motivations helps us to further understand our surroundings. In the case of Fish, knowing his motivations could help to identify persons of the future with a similar ailment or just like I said understand our world. People are generally morbidly curious. This guy definitely falls into the category.

7. What role do chance/coincidence play in our intentions?
They can radically change our intentions. I would like to point out however that not everyone believes in chance or coincidence. Since not everything can be foreseen in our lives we are governed by chance. We are required to re schedule and re plan constantly.

8. Do you think more importance is placed on an artist or on a specific work of art? Why?
This is dependant on the artist. A print by Picasso is worth a ridiculous amount of money and it super important just because it was done by Picasso. It has noting to do with quality or anything like that. For a lesser-known artist however the work holds the importance.

Friday, March 4, 2011

laurens questions

1. Why is meditative patterning an important part of my art?
I believe you meditate through your art. This is important because it takes you away from how hectic and over stimulating the world is now. We are bombarded by images and bright colors, and by the use of black and white patterns calm the mind and by having no predetermined goal let one just relax.

2. Do you think it is possible to gain an unaffected state of mind, even for a moment, through meditative drawing?
There is no doubt in my mind that we can gain an unaffected state of mind through meditative drawing. That is what brought me to art in the first place. You can just loose yourself when working on a piece. Some times I build thinks and paint them back just because painting solid black lets me loose myself. I don’t have to focus on anything and my mind rests.

3. What role does subtlety play in my art?
I think your concept is the subtle part of you work. The black and white imagery is very bold. Initially when I see your work I look for pattern, and things that stand out. Once I realized that wasn’t present I looked for an overall theme. The imagery is interesting with the only connection being the way they are catalogued. That is your meditation on work that isn’t ink related. Your subtlety is in the details. The wax, the soft strokes, and the titles.

4. How does the ephemeral quality of paper deal with the idea of impermanence?
They have a direct connection. The paper we print on will eventually deteriorate the only issue now is the inks. Even though the paper will disappear the inks are permanent plastics if printing screen. Maybe the creation of your own natural inks would further aid in the idea of impermanence.

5. How do you view spectacle in relation to pop culture?
Pop culture is all about spectacle. Everything is in your face all the time, eye catching.

6. What is the difference between survival and existence?
Survival is fighting to literally survive, and existence is in my opinion being comfortable and not needing to find food or shelter.

7. How do you view previous generations and their opinion of art, taking into consideration the statements made in this article?
I feel as though the majority of older generations put a much higher value on things with a function like furniture, or lighting. Because art is not a necessity it qualifies as a luxury to many. I do think that the older generations do enjoy making it though as just an enjoyable pastime. This is not to say everyone is the same.

8. How has civilization compromise autonomy?
I’m assuming by civilization your referring to the common need for people to elect a governing body. This is autonomy, we govern ourselves. I feel its similar to our situation with the senior show. There are to many minds and fighting and arguments would break out. My question is, “is autonomy a necessity in civilization?”