Unknown Known, or Iraq's initiation into Democratic Practice

In Rumsfeld’s “Unknown Known,..” it begins to open our eyes to the violent culture we live in as Americans. It points out the connection between the humiliations in the prison camps and our own hazing rituals to gain entrance into sororities, secret clubs, gangs, or nearly any inner circle. The difference however in the humiliation and our own hazing is the reasoning behind it. Our hazing creates camaraderie within the groups, where the humiliation in the prisons lets them know they are different and not part of our group. Throughout the essay he also mentions the measures taken to stop this torture. These include, renaming them (ex: long exposure to bright light is referred to as visual stimulation,) outsourcing them (sending our prisoners to other countries where they can torture them for us,) and lastly simply not allowing cameras in the prisons so these actions cannot be recorded. I do not feel that this article pertains to my art even in the slightest. This is a political information piece directed to enlighten persons on the events that are taking place in our country and how they also affect others. My art may be try and be persuasive, but it does not address the direct behavior of our culture like this essay does.

1. Does the prison torture really qualify as torture if it mirrors the same humiliation we inflict on our own, or is it simply hazing?
2. How did we become a violent nation?
3. If all you had to do was torture a man to save your entire family would it justify the means of retrieving the information

Ziek and the crossdressing to the sound of music

In Ziek and Cross dressing to the Sound of Music the author is summarizing the video of another man expressing how much the movie "The Sound of Music" mimics the Nazi agenda. The movie is set in a similar home town to the one that Hitler grew up in, and includes the idealization of the blond hair blue eyed woman and children.
This also does not have much to do with my art. Mostly because this essay is only speaking about double meanings and hidden agendas. I would like to think that my art is rather straight forward.

1. Is this man out of his mind?
2. Is the over interpretation of this movie a step to far
3. Do the video and the movie have separate meanings, or are they exactly the same in that their relational aesthetics are only meant to bring joy?

The sound of music

In the four minute video in the metro station the crowd breaks out in a group dance to the "do re mi fa so la ti do" number from "The Sound of Music." Who knew so many people were professional dancers in Antwerp. It is a social piece involving all of those in the station. While only some are dancers, even the persons of the crowd seem to jump in and enjoy the dance.
This piece really does not relate to my work at all. Mostly because it is a piece to create surprise, and a performance. This moment truly feels as though it is just intended to make the crowd happy.

1. Is this relational aesthetics?
2. Is it rude to play such a stereotypical song in the country the move was played in?
3. Does the involvement of children make it slightly inappropriate?

First sculpture of the year, almost done

In Claire Bishops 2004 essay "Antagonism and Relational Aesthetics" she speaks about current trends in art and how to view them. It is no longer the 60's and we cannot view art from that point of view any longer. We must keep in mind the world we are living in and how it is effecting the art produced. Our society has shifted from goods to service based, and is reflected in many modern artists work. An example of this is Tirananija. He cooks curry for his visitors, but the focus is not on the food itself but the involvement of the audience. There is an emphasis on the use of the piece rather than the contemplation of it.
This topic opens up all kinds of questions about functioning art. This debate has been going on for some time now, and something I have to address in my own work. My prints and my sculptures both fall into the category of having more than one purpose. My prints are intended to make you think about the beauty of something but are also intended to hang on someones wall. Does that give them a double function as fine art and decoration? My prints on the other hand are just purely fine art but the boats themselves could be fully functional in the way they are created.

1. Can art be both decorative and fine art?
2. Does performance art border on the edge of functioning art because at times it can be beneficial for society.
3. At what point are you considered a sell out?

The Work of Art in the Age of Mechanical Reproduction

In Walter Benjamin’s writing, The Work of Art in The Age of Mechanical Reproduction (1936), he touches upon key points discussing the influence of mass production, photography, and film. A byproduct of mass production was the loss of uniqueness within art. A single piece now has the ability to exist in more than one location, taking away its exclusivity. However, the removal of this exclusivity allows the work to be viewed by a larger audience, reactivating its importance. The invention of photography brought with it new ways of viewing the world. Photography has the ability to capture things unseen by the naked eye. Film was the next step in mass production. It had, and still has the capacity to express dreams and fantasies as reality. The only thing separating our minds from the fantasy of film is the unseen equipment used in its production. The ability of art to be seen by a larger audience due to mass production created a more progressive environment for artistic change.

As a printmaker, my work is considered one of the earlier forms of mass production. It is interesting to think that because I work in multiples, my art may not carry the same influence as a painting. I feel however, that because of my ability to work in editions, I can match the influence exuded by painting simply because my work can reach a larger audience.

1. Do the pros of mechanical reproduction outweigh the cons?

2. Does film separate ourselves too far from reality?

3. Is traditional lithography still considered mass production within a culture of laser-jet printers?

Artist Statement

My work revolves around the eco-culture of a Florida native. With printmaking, I express the natural details of wetlands that may have been overlooked, and issues of their destruction within my sculpture. My respect for Florida wetlands spawns from the nostalgic experiences of my life, and is represented by the craft and aesthetic sensibilities in the work. With the sale of my artwork, I hope to contribute to wetland restoration projects, help care for my home, and preserve these experiences for others.