1. Art therapy is the use of art or the creation of art to help someone physically or mentally with whatever problem they may be facing.
2. When I make art it is therapeutic. I loose myself into a piece of work and its one of the best feelings
3. Art is a way of keeping ones hands busy, its like an ice breaker. Many times people dont want to verbally face their problems because they become to real. art is non committal communication.
4. I dont believe I have ever expressed my issues in my work, but I do use my work to take me somewhere that I enjoy
5. No. as a human we should help each other but with art is not required.
6. I actually dont see your work as relating to art therapy, but I haven't talked to you much about your pieces.
7. Your work could serve as a way to document and relive events and categorize them for your self but to the viewer I don't believe it would serve that purpose.
8. I think everyone's art will change when we leave school. School with deadlines and requirements takes so much of the relaxing joy out of art its not even funny.
Sunday, April 24, 2011
Robbies Questions
1.) Did you find any similarities between the reading and the YouTube video?
The youtube video has in my opinion kind of a silly message. They both speak of our experiences as an artist as a human and how they are always different and effect our beliefs.
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?
I dont believe removing the principles is the answer, but simply adding to them.
3.) Are there any examples of people considered to be insane for their attempt to remove unnecessary beliefs within our society?
Much if not all of science was originally thought to be insane until it was proven correct.
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?
No. If fact I don’t agree with it at all. I hear stories that have never happened to me and it still can stir up emotions as if I were participating in the event. I believe that our own experiences are the strongest but that we can learn from eachother.
5.) Do you agree, or disagree, with the opinions that Andrei Tarkovsky expresses about his view on art? Why?
I don’t believe all good art is created through struggle. I think that kind of strange to think about. It may not be as emotional or it is and we do not put the same value on good emotions.
6.) Do you find a similarity between my work and any of the information that I have presented to you?
Your work is based solely on what you want to create and a direct correlation to things you have done in your life whether they be good or bad.
7.) Are there any similarities between the work that you create and the presented information?
They are just talking about experiences so yes
8.) Is everything going to be okay?
Yes
The youtube video has in my opinion kind of a silly message. They both speak of our experiences as an artist as a human and how they are always different and effect our beliefs.
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?
I dont believe removing the principles is the answer, but simply adding to them.
3.) Are there any examples of people considered to be insane for their attempt to remove unnecessary beliefs within our society?
Much if not all of science was originally thought to be insane until it was proven correct.
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?
No. If fact I don’t agree with it at all. I hear stories that have never happened to me and it still can stir up emotions as if I were participating in the event. I believe that our own experiences are the strongest but that we can learn from eachother.
5.) Do you agree, or disagree, with the opinions that Andrei Tarkovsky expresses about his view on art? Why?
I don’t believe all good art is created through struggle. I think that kind of strange to think about. It may not be as emotional or it is and we do not put the same value on good emotions.
6.) Do you find a similarity between my work and any of the information that I have presented to you?
Your work is based solely on what you want to create and a direct correlation to things you have done in your life whether they be good or bad.
7.) Are there any similarities between the work that you create and the presented information?
They are just talking about experiences so yes
8.) Is everything going to be okay?
Yes
Friday, April 22, 2011
Dannielle's questions
1. He seems to think teaching art is irrational. I don’t feel that way. While yes I agree it is pretty impossible to teach anything beyond technique. If you are working in a contemporary world it is necessary for one to practice the discussions we have in class.
2. I believe he speaks of teching as literally the ideas of the artist, you can inplant those or anything in that matter that they will chose.
3. I believe there is a transition period in making art that needs to happen. Initially art is so new to people that I think having projects gives them a goal or an encouragement. But at a certain point those projects become to constraining, and the student needs to be set free. The issue is that everyone is different these transitions come all kinds of times.
4. I believe the building blocks of art can be taught and it is up to the artist to develop the mortar and style. There is no black and white in art
5. I don’t believe the classes at Ringling have prepared me for working outside of an academic setting but the opportunities I have pursued through Ringling have.
6. I believe if you had assignments and were required to use only one medium you would have still made these but at a much later date. They would only be ideas in your head with no time to realize them because you would be consumed by the projects and deadlines.
7. I feel successful but not by comparison. I think my experience here has be radically different from most students and that is where I have succeeded. I believe your work shifted from Belgium so much because of the tools available. You weren’t confined to canvas and paper anymore you could do anything.
8. I think it helped. Because you already knew how to do the basics you felt comfortable enough to try something else. You were still encouraged to break out and do your thing.
2. I believe he speaks of teching as literally the ideas of the artist, you can inplant those or anything in that matter that they will chose.
3. I believe there is a transition period in making art that needs to happen. Initially art is so new to people that I think having projects gives them a goal or an encouragement. But at a certain point those projects become to constraining, and the student needs to be set free. The issue is that everyone is different these transitions come all kinds of times.
4. I believe the building blocks of art can be taught and it is up to the artist to develop the mortar and style. There is no black and white in art
5. I don’t believe the classes at Ringling have prepared me for working outside of an academic setting but the opportunities I have pursued through Ringling have.
6. I believe if you had assignments and were required to use only one medium you would have still made these but at a much later date. They would only be ideas in your head with no time to realize them because you would be consumed by the projects and deadlines.
7. I feel successful but not by comparison. I think my experience here has be radically different from most students and that is where I have succeeded. I believe your work shifted from Belgium so much because of the tools available. You weren’t confined to canvas and paper anymore you could do anything.
8. I think it helped. Because you already knew how to do the basics you felt comfortable enough to try something else. You were still encouraged to break out and do your thing.
Brittany's Questions
1. The similarities between slower mediums and quick mediums are the final product. While they man not be immediate similarities its still a visual experience. I struggle with the word object, due to my own mental constraints. Photos would be considered images to me, but can become objects.
2. The message of a photo is immediate. with photography one cannot escape the word documentation. Everything else about a photo can change except the documentation.
3. Well having a sense of amateurism is always important. Because it means one has not peaked. But being an amateur can interfere with the final intent if the necessary skills are not available.
4. While he is watching everyone through the key holes it shows the definition of voyeurism. As well as us the viewers watching these scenes and becoming voyers as well. Except with this film and photography alike we cannot get caught, and if we do we are simply becoming more cultured.
5. N/A zoned out
6. What it is brought to public eyes. Maybe someone secretly photographed... paparazzi
7. Your work references your self because of your relationship to those in the pictures. as for how you reference current times, your work references current hipster culture.
8. Film has a permanence that isn't achieved in digital work
9. It's more immediate. You can make large amounts of work.
2. The message of a photo is immediate. with photography one cannot escape the word documentation. Everything else about a photo can change except the documentation.
3. Well having a sense of amateurism is always important. Because it means one has not peaked. But being an amateur can interfere with the final intent if the necessary skills are not available.
4. While he is watching everyone through the key holes it shows the definition of voyeurism. As well as us the viewers watching these scenes and becoming voyers as well. Except with this film and photography alike we cannot get caught, and if we do we are simply becoming more cultured.
5. N/A zoned out
6. What it is brought to public eyes. Maybe someone secretly photographed... paparazzi
7. Your work references your self because of your relationship to those in the pictures. as for how you reference current times, your work references current hipster culture.
8. Film has a permanence that isn't achieved in digital work
9. It's more immediate. You can make large amounts of work.
Monday, April 18, 2011
Pauls Questions
1. Is the author of this book being overly simplistic?
I see nothing wrong with being simplistic in the approach of the subject. He is however creating an ideal idea of art education. He speaks about teaching the students the wrong subjects and the effect is has on their own personal development as critical thinkers. The true student however will think for himself or herself. If there is a particular subject one would be interested in it would be advisable to do research whether or not instructed to. A good education is dependent on the student.
2. Is the author being overly cynical?
I believe so. He is digging into art education as this awful construct when surely he has gone through it and done fine for himself. Why? Because he thinks for himself… you can teach that.
3. Can you be cynical and paranoid and still be correct in your assertions concerning matters that are highly subjective?
Of course. There are always moments of intelligent ranting. As far as how ideas are presented though there could be better ways of working around the subject.
4. Since "group think" is not only entrenched in the art world but the real world, should it not be encouraged in art school?
No. Group thinking can be welcomed on some level of morals. As far as education is concerned each student should be pushed in the direction they are seeking and not forced to jump on the band wagon as to not make waves.
5. Does the fine arts department at Ringling College of Art and Design represent a microcosm of the Art World?
I would say it does, but not willingly. Those who are not necessarily accepted as New York artist work their way in but are not always wanted.
6. As stated in the reading "does privileging words over visual expression encourage a narrowly didactic approach to art making?"
Placing words over visual expression stifles those who do not excel at expressing themselves with writing or verbally. Art is so subjective that it truly cannot be taught.
7. Is Automatism or any other intuitive approach discouraged in contemporary art academia?
Not here. I cannot speak for other colleges but there is not a whole lot of exploration that I have seen discouraged.
8. Do you believe my work would have been better served had I not attended art college?
I don’t believe so. I think getting your work into a critical eye helped you discover your motivations, and goals.
9. Do you believe my work to be self indulgent?
All of our work is self-indulgent. Why would be spend every day doing something we didn’t enjoy.
10. If all art is self indulgent to a certain extent, should I not embrace this approach?
Why not? Have fun, and eat some chocolate metaphorically.
11. Does the "it's all about me" approach to my work alienate you the viewer?
It alienates the viewer because they are not down with your symbols. We cannot understand what your head is trying to say because we don’t speak your language. The viewer can still enjoy your work from a voyeuristic point of view, but as far as fully understanding what your throwing our way it impossible.
I see nothing wrong with being simplistic in the approach of the subject. He is however creating an ideal idea of art education. He speaks about teaching the students the wrong subjects and the effect is has on their own personal development as critical thinkers. The true student however will think for himself or herself. If there is a particular subject one would be interested in it would be advisable to do research whether or not instructed to. A good education is dependent on the student.
2. Is the author being overly cynical?
I believe so. He is digging into art education as this awful construct when surely he has gone through it and done fine for himself. Why? Because he thinks for himself… you can teach that.
3. Can you be cynical and paranoid and still be correct in your assertions concerning matters that are highly subjective?
Of course. There are always moments of intelligent ranting. As far as how ideas are presented though there could be better ways of working around the subject.
4. Since "group think" is not only entrenched in the art world but the real world, should it not be encouraged in art school?
No. Group thinking can be welcomed on some level of morals. As far as education is concerned each student should be pushed in the direction they are seeking and not forced to jump on the band wagon as to not make waves.
5. Does the fine arts department at Ringling College of Art and Design represent a microcosm of the Art World?
I would say it does, but not willingly. Those who are not necessarily accepted as New York artist work their way in but are not always wanted.
6. As stated in the reading "does privileging words over visual expression encourage a narrowly didactic approach to art making?"
Placing words over visual expression stifles those who do not excel at expressing themselves with writing or verbally. Art is so subjective that it truly cannot be taught.
7. Is Automatism or any other intuitive approach discouraged in contemporary art academia?
Not here. I cannot speak for other colleges but there is not a whole lot of exploration that I have seen discouraged.
8. Do you believe my work would have been better served had I not attended art college?
I don’t believe so. I think getting your work into a critical eye helped you discover your motivations, and goals.
9. Do you believe my work to be self indulgent?
All of our work is self-indulgent. Why would be spend every day doing something we didn’t enjoy.
10. If all art is self indulgent to a certain extent, should I not embrace this approach?
Why not? Have fun, and eat some chocolate metaphorically.
11. Does the "it's all about me" approach to my work alienate you the viewer?
It alienates the viewer because they are not down with your symbols. We cannot understand what your head is trying to say because we don’t speak your language. The viewer can still enjoy your work from a voyeuristic point of view, but as far as fully understanding what your throwing our way it impossible.
Thursday, April 7, 2011
Trevor's questions
1. The idea that our world was not created by accident is very plausible, and in fact what I believe.
2. I mostly make my art in a blank state of mind. I become completely unaware of what is going on around me.
3. extraterrestrial alien art would be light. Who knows maybe our star system is their art, but I think their art would be more related to technology.
4. I think they are. My life deals a large amount with spirituality and within my life is quantum physics. They are somehow connected or they would not be able to exist together.
!. I think he stands with his ideas as fact and you stand as making things that make some sort of sense to you. You speak your own little language similar the the encoding in dna you encode in your art.
@. I'm still not 100% on what your talking about... sorry
#. Not particularly no. I think your drawings are very personal and you could really care less who sees them. I connect to the idea that they are art and how they are displayed but as far as ideas they skip past me.
$. Yes. I think we create code all the time while we make work. Our own languages are embedded into every move and mark we make. This is why I think they can match your handwriting.
2. I mostly make my art in a blank state of mind. I become completely unaware of what is going on around me.
3. extraterrestrial alien art would be light. Who knows maybe our star system is their art, but I think their art would be more related to technology.
4. I think they are. My life deals a large amount with spirituality and within my life is quantum physics. They are somehow connected or they would not be able to exist together.
!. I think he stands with his ideas as fact and you stand as making things that make some sort of sense to you. You speak your own little language similar the the encoding in dna you encode in your art.
@. I'm still not 100% on what your talking about... sorry
#. Not particularly no. I think your drawings are very personal and you could really care less who sees them. I connect to the idea that they are art and how they are displayed but as far as ideas they skip past me.
$. Yes. I think we create code all the time while we make work. Our own languages are embedded into every move and mark we make. This is why I think they can match your handwriting.
Wednesday, April 6, 2011
Rachel's questions
1. I would like to live long enough to see my children grow up, and If I could I want to die whitewater kayaking w/no helmet on. quick
2. I don't believe we are anywhere near computers having a consciousness nor do I think they ever will. Our mind is incredibly complex and I don't believe it can be perfectly recreated. Microchips and grey brain matter will always be different.
3. I would say he is somewhere in between. But that is he worry about things that are not worth worrying about. Machines make our lives easier, and for technology to improve will benefit us.
4. Absolutely, see previous answer.
5. I think that it aids my work to be able to use technology but without it I think my art would change a little but not much. Keeping electricity out of my work is always a fun part of it.
6. Your work is becoming very technical. I think you are fascinated by human interaction with technology and create your work around it. It's very refreshing because you are still embracing the natural with the boxes materials.
7. I think artwork dealing with technology is the big thing right now, and guessing the next big thing which will also probably be technology related will give you a jump on where the art world is headed and be directly effected by it.
8. Technology has never been a huge interest of mine. Sometimes I enjoy living blissfully unaware.
2. I don't believe we are anywhere near computers having a consciousness nor do I think they ever will. Our mind is incredibly complex and I don't believe it can be perfectly recreated. Microchips and grey brain matter will always be different.
3. I would say he is somewhere in between. But that is he worry about things that are not worth worrying about. Machines make our lives easier, and for technology to improve will benefit us.
4. Absolutely, see previous answer.
5. I think that it aids my work to be able to use technology but without it I think my art would change a little but not much. Keeping electricity out of my work is always a fun part of it.
6. Your work is becoming very technical. I think you are fascinated by human interaction with technology and create your work around it. It's very refreshing because you are still embracing the natural with the boxes materials.
7. I think artwork dealing with technology is the big thing right now, and guessing the next big thing which will also probably be technology related will give you a jump on where the art world is headed and be directly effected by it.
8. Technology has never been a huge interest of mine. Sometimes I enjoy living blissfully unaware.
Tuesday, April 5, 2011
Sandra's Questions
1. If a piece of mine became an Internet meme I would be upset. Art especially contemporary/conceptual art is looked at in a poor light by many people. This would just further that opinion.
2.They inform nothing and they dismantle nothing. In my opinion this piece has no substance, and nothing to destroy.
3. I would still applaud. Just because this particular event was not a success does not mean the next one wont be great, and I don’t want to discourage them from creating the next one.
4. I'm defined as many things that can be seen as negative in society. Thus is life you deal with it.
5. I try and keep my work offline of social sites. For many reasons including ridicule.
6. In my opinion time heals all unless you run for president.
7. I dont think your work would get that kind of negative attention. Stop motions are awesome
8. It tells me you are up to date on internet fads. I wasn't even sure what a meme was until you brought the article to my attention.
2.They inform nothing and they dismantle nothing. In my opinion this piece has no substance, and nothing to destroy.
3. I would still applaud. Just because this particular event was not a success does not mean the next one wont be great, and I don’t want to discourage them from creating the next one.
4. I'm defined as many things that can be seen as negative in society. Thus is life you deal with it.
5. I try and keep my work offline of social sites. For many reasons including ridicule.
6. In my opinion time heals all unless you run for president.
7. I dont think your work would get that kind of negative attention. Stop motions are awesome
8. It tells me you are up to date on internet fads. I wasn't even sure what a meme was until you brought the article to my attention.
Justine's questions
1. Of course. The line that defines them is almost purely functionally.
2. We would never stop wearing clothes but I dont see why people wouldn't consider fashion. Maybe fashion will never be viewed as art but clothes have been used in art for many many years.
3. I don't think fashion could be conceptual but items of clothing most certainly can be.
4. That would be an extra bonus. if you created a wearable sculpture and didn't wear it. On extra layer of what is added to things.
5. Because you work solely with female attire you can initially come of as feminist, but with further research you would be categorized elsewhere.
6. I don't believe they would be fashion. It is a hard distinction through because truly anything can be art, not everything can be fashion.
7. I dont believe your dresses are very fashionable. having them pinned the way to do eliminates some of their value. hangers truly are a distinguisher.
8. Absolutely different its a gender change, your position would change on the fashion aspect. Why the focus on women's clothing? and only on business and formal attire?
2. We would never stop wearing clothes but I dont see why people wouldn't consider fashion. Maybe fashion will never be viewed as art but clothes have been used in art for many many years.
3. I don't think fashion could be conceptual but items of clothing most certainly can be.
4. That would be an extra bonus. if you created a wearable sculpture and didn't wear it. On extra layer of what is added to things.
5. Because you work solely with female attire you can initially come of as feminist, but with further research you would be categorized elsewhere.
6. I don't believe they would be fashion. It is a hard distinction through because truly anything can be art, not everything can be fashion.
7. I dont believe your dresses are very fashionable. having them pinned the way to do eliminates some of their value. hangers truly are a distinguisher.
8. Absolutely different its a gender change, your position would change on the fashion aspect. Why the focus on women's clothing? and only on business and formal attire?
Arun's questions
1. Most of the effective styles are those I have stumbled upon while creating previous work and built on that.
2. The artist who does this for me is Mattias Plessing. his art is functional you see a bench its just a bench, but its construction is absolutely epic
3. Absolutely. I study people responses to my own techniques to know what is and isn't getting my point across.
4. I would say the work is more satisfying, but sometimes the finished piece is exactly what you want and its a great feeling.
5. Your work is entirely about people and things you come across. It's like you own visual journal.
6. I think it will be a jumping off point for when you can truly do what you want.
7. There is no one better to see your mistakes then you. We are all hyper critical. As long as you grow from mistakes it wil be beneficial.
2. The artist who does this for me is Mattias Plessing. his art is functional you see a bench its just a bench, but its construction is absolutely epic
3. Absolutely. I study people responses to my own techniques to know what is and isn't getting my point across.
4. I would say the work is more satisfying, but sometimes the finished piece is exactly what you want and its a great feeling.
5. Your work is entirely about people and things you come across. It's like you own visual journal.
6. I think it will be a jumping off point for when you can truly do what you want.
7. There is no one better to see your mistakes then you. We are all hyper critical. As long as you grow from mistakes it wil be beneficial.
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.
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
http://books.google.com/books?id=pn2BMESshtAC&pg=PA91&lpg=PA91&dq=over+intellectualized+art&source=bl&ots=Wlfs9z9jSd&sig=H2ROJfP4a-PgGGLVgLFTopUf8z8&hl=en&ei=bwF5TfSrK4Xp0gG1kZ3sAw&sa=X&oi=book_result&ct=result&resnum=5&ved=0CDYQ6AEwBA#v=onepage&q&f=false
http://books.google.com/books?id=pn2BMESshtAC&pg=PA91&lpg=PA91&dq=over+intellectualized+art&source=bl&ots=Wlfs9z9jSd&sig=H2ROJfP4a-PgGGLVgLFTopUf8z8&hl=en&ei=bwF5TfSrK4Xp0gG1kZ3sAw&sa=X&oi=book_result&ct=result&resnum=5&ved=0CDYQ6AEwBA#v=onepage&q&f=false
Questions for the Reading
Chapter 6 From the Book “Woody Allen and philosophy”
Woody on Aesthetic Appreciation p. 89-100
Questions:
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?
Woody on Aesthetic Appreciation p. 89-100
Questions:
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.
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?”
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?”
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.
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.
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?
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.
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.
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.
Subscribe to:
Posts (Atom)