Tuesday, December 10, 2013
Monday, December 9, 2013
Project #7: Gif
Artist Statement
This project morphed many times. Multiple videos were taken, multiple ideas were scrapped, much frustration was to be had... However, the element that was stagnant was that I knew what I wanted the gif to say. I just struggled with deciding how to say it.
My project is about my personal definition of an artist. An artist is someone who shows us something we've never seen before, or shows us something we have seen before in a way we've never seen it. They see the world as it is, but also as it is not. They see it for more. And they make art to try and show the viewer that same amazing, beautiful world.
My gif tries to capture that idea through the use of color. At only a small section in the middle of the gif is the color true to reality. Through the rest of the piece the color is manipulated, capturing the reality of how an artist sees the world as they're making art.
Wednesday, December 4, 2013
Art Event 3 of 3
Sheppard Contemporary
(A) Muse
11/26/2013 - 1/26/2014
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Robert Morrison
Morrison's work isn't titled. It's made up of 10 pieces of installation / sculpture work - wax heads cast in bronze, which then act as some sort of lid for their corresponding bronze jar like bottoms. Though the heads are all different, the jar like bottoms are the same; and all are placed upon square slabs that are balanced on 4 tall skinny wooden legs that bring the sculptures to about chest height. The whole effect appears to be really tall tables meant for only one cup - or small head sculpture.
According to Morrison however, these pieces are NOT art. Instead, they are work from the late 90's where he was in a period of "quitting art" / working "mindlessly." Though Morrison admits he was possibly "playing" during this period, he also point out that it was not "fun." He is also adamant that any concept / meaning / theme behind the work came after the works completion.
None of this lack of direction is apparent whilst just looking at Morrison's work. Without reading the artist statement, the 10 pieces are obviously tied together, appearing very purposeful. I appreciate Morrison's abrupt honesty however. I am guilty of starting projects with no direction (at least conscious), only to discover my concept at the completion of the project (or in unfortunate cases discover weak concepts). Though it may not be the best method of making art, I disagree with Morrison that his work isn't art. Unplanned creations have just as much potential to be great as planned creations do - the only difference is there's a little less control and a little more mystery.
Jeffrey Erickson
Erickson's work is comprised of 6 photos, displayed on 3 dimensional canvases with a aluminum like appearance (the reason I specifically say aluminum is because I've had some automotive photography engraved into aluminum by aluminize.com, and the prints I've received appeared very similar to Erickson's). The title of the series is "There's a Certain Shade of Light" (a reference to the Emily Dickinson poem), and is part of larger body of work called "Landscape of Absence."
I try not to be to negative when looking at art in galleries. The art wouldn't be in a gallery if it was no good right? More than likely I just don't like the work. However, Erickson's work is one of the gallery works I don't like. Three of his six photos are sorely underexposed, which is fine if you have a reason for underexposing them, however none are apparent to me. Furthermore, in absence of his artist statement (which is very moving as the series is in response to the death of his first born child), his photographs are simply very weak.
Michael Sarich
Sarich's work is composed of a painted, wood, box filled with fake red and white flowers. Four large, painted, wood, petal-like structures protrude from each of cube's sides, and the whole thing is all in stark red, white, and black (with the exception of the inside of the box which is painted blue, and the stems of the fake flowers which are green).
In his artist statement Sarich focuses on the importance of wood in his piece, and the inspiration he finds from other artists who also work with wood. To me, Sarich's piece is somewhat underwhelming and lacking in meaning. However, it was the only piece I walked away from still not quite understanding what the artist was trying to say - so perhaps if I had better understood the concept I'd enjoy the piece a bit more.
Tamara Scronce
Scronce's body of work is made up of both "images and objects." Titled "Object of My Affection," the whole concept began with Scronce manipulating a grainy black & white photo of Joseph Beuys - placing herself within the image so that while he faces sternly to camera, she is profile (to camera left) licking his cheek. She claims the entire series is in part an "overtly romantic gesture," and in part her yearning for a "mentor."
I am very fond of the two images present in her work, and somewhat ambivalent to the objects in her series. They seem weak in comparison to the images with the exception of her chair "object," which I very much enjoy. The chair's seat is lined with rows of red roses, the chair itself worn and waiting.
(A) Muse
11/26/2013 - 1/26/2014
----------------------------------------------------------------------------------------------------------------------
Robert Morrison
Morrison's work isn't titled. It's made up of 10 pieces of installation / sculpture work - wax heads cast in bronze, which then act as some sort of lid for their corresponding bronze jar like bottoms. Though the heads are all different, the jar like bottoms are the same; and all are placed upon square slabs that are balanced on 4 tall skinny wooden legs that bring the sculptures to about chest height. The whole effect appears to be really tall tables meant for only one cup - or small head sculpture.
According to Morrison however, these pieces are NOT art. Instead, they are work from the late 90's where he was in a period of "quitting art" / working "mindlessly." Though Morrison admits he was possibly "playing" during this period, he also point out that it was not "fun." He is also adamant that any concept / meaning / theme behind the work came after the works completion.
None of this lack of direction is apparent whilst just looking at Morrison's work. Without reading the artist statement, the 10 pieces are obviously tied together, appearing very purposeful. I appreciate Morrison's abrupt honesty however. I am guilty of starting projects with no direction (at least conscious), only to discover my concept at the completion of the project (or in unfortunate cases discover weak concepts). Though it may not be the best method of making art, I disagree with Morrison that his work isn't art. Unplanned creations have just as much potential to be great as planned creations do - the only difference is there's a little less control and a little more mystery.
Jeffrey Erickson
Erickson's work is comprised of 6 photos, displayed on 3 dimensional canvases with a aluminum like appearance (the reason I specifically say aluminum is because I've had some automotive photography engraved into aluminum by aluminize.com, and the prints I've received appeared very similar to Erickson's). The title of the series is "There's a Certain Shade of Light" (a reference to the Emily Dickinson poem), and is part of larger body of work called "Landscape of Absence."
I try not to be to negative when looking at art in galleries. The art wouldn't be in a gallery if it was no good right? More than likely I just don't like the work. However, Erickson's work is one of the gallery works I don't like. Three of his six photos are sorely underexposed, which is fine if you have a reason for underexposing them, however none are apparent to me. Furthermore, in absence of his artist statement (which is very moving as the series is in response to the death of his first born child), his photographs are simply very weak.
Michael Sarich
Sarich's work is composed of a painted, wood, box filled with fake red and white flowers. Four large, painted, wood, petal-like structures protrude from each of cube's sides, and the whole thing is all in stark red, white, and black (with the exception of the inside of the box which is painted blue, and the stems of the fake flowers which are green).
In his artist statement Sarich focuses on the importance of wood in his piece, and the inspiration he finds from other artists who also work with wood. To me, Sarich's piece is somewhat underwhelming and lacking in meaning. However, it was the only piece I walked away from still not quite understanding what the artist was trying to say - so perhaps if I had better understood the concept I'd enjoy the piece a bit more.
Tamara Scronce
Scronce's body of work is made up of both "images and objects." Titled "Object of My Affection," the whole concept began with Scronce manipulating a grainy black & white photo of Joseph Beuys - placing herself within the image so that while he faces sternly to camera, she is profile (to camera left) licking his cheek. She claims the entire series is in part an "overtly romantic gesture," and in part her yearning for a "mentor."
I am very fond of the two images present in her work, and somewhat ambivalent to the objects in her series. They seem weak in comparison to the images with the exception of her chair "object," which I very much enjoy. The chair's seat is lined with rows of red roses, the chair itself worn and waiting.
Sunday, December 1, 2013
Discussion Questions for Reading #6
What New Media Is Not
by Manovich
1.
"In the 1920's Einstein speculated that film could be used to externalize-and control-thinking" (10).
This portion of Manovich's piece abruptly stopped me - mostly due to the fact that I could see the logic in it. Film has a quality to it that paintings, written works, and drawings do not. Perhaps a lessened room for interpretation. There is more empty space for the viewer to fill in with their own imagination when they read a book, or look at a painting or drawing. With a film - sounds and moving images are given to them without reprieve. What is left for them to fill in themselves but how they feel about what they've viewed?
All forms of art have been used at one time or another in attempt to control / influence thinking. Books have swayed thought, as have drawings and paintings when used with interventionist purpose. However, is film more powerful than all previous forms of art at influencing / controlling thought?
2.
"We are asked to mistake the structure of someone else's mind for our own" (13).
Is Manovich's claim true? Even though the viewer has a choice on when it comes to clicking on the hyperlink or not? Could the viewer not navigate away from the page completely? Go to another page entirely? Shut the computer off? Is there not perhaps more possibilities and more options than before digital media? Where the only option used to be: 1. Go to the gallery and see the art pieces someone else decided were noteworthy, or 2. Not go to the gallery and see the art pieced that someone else decided were noteworthy?
by Manovich
1.
"In the 1920's Einstein speculated that film could be used to externalize-and control-thinking" (10).
This portion of Manovich's piece abruptly stopped me - mostly due to the fact that I could see the logic in it. Film has a quality to it that paintings, written works, and drawings do not. Perhaps a lessened room for interpretation. There is more empty space for the viewer to fill in with their own imagination when they read a book, or look at a painting or drawing. With a film - sounds and moving images are given to them without reprieve. What is left for them to fill in themselves but how they feel about what they've viewed?
All forms of art have been used at one time or another in attempt to control / influence thinking. Books have swayed thought, as have drawings and paintings when used with interventionist purpose. However, is film more powerful than all previous forms of art at influencing / controlling thought?
2.
"We are asked to mistake the structure of someone else's mind for our own" (13).
Is Manovich's claim true? Even though the viewer has a choice on when it comes to clicking on the hyperlink or not? Could the viewer not navigate away from the page completely? Go to another page entirely? Shut the computer off? Is there not perhaps more possibilities and more options than before digital media? Where the only option used to be: 1. Go to the gallery and see the art pieces someone else decided were noteworthy, or 2. Not go to the gallery and see the art pieced that someone else decided were noteworthy?
Tuesday, November 26, 2013
Discussion Questions for Reading #5
Digital Divide by Claire Bishop
1.
Is there a difference between digital media artists and artists who use digital media? Or does using digital media in any step within the creation of ones art make the artist a digital media artist? What about art versus digital media art?
2.
Bishop raises an interesting question as to the point of using older technologies when making art. I myself have a dslr camera (new technology), a film camera (old technology) & a fujifilm instax (a new version of the old technology used by Polaroid cameras). I use all these cameras on a regular basis, but I must admit that only the dslr images show up on my photography page. The other two cameras I use mainly for the kind of art I make just for the love of making it.
So, is old technology only for personal use? Or is there something to be said for art made using old technologies?
*quote that interests me: As a result of the Information age, "we filter and graze, skim and forward."
Tuesday, November 19, 2013
Project 6.2: 3D "The Sequel"
Artist Statement
In all honesty, this is the project I am the least pleased with. That being said, it was a very useful learning experience. Trying to make my sculpture in 3D taught me to think in 3D, to view my object in my mind as it exists on multiple planes. This may seem a simple enough concept, but for me it was harder to grasp. I expect to reference back to this project / the mode of thinking that it taught me, in the future at some point. And for this reason, I am pleased with the personal outcome of this project.
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