wood, rope and aluminum
22"l x 17"w x 5"h
Tuesday, April 26, 2011
Georgie's Turn
http://www.youtube.com/watch?
1.) What is art therapy? The use of a creative outlet to psychoanalyze.
2.) Does your art making relate to therapy at all? If so, how? No, the motivation for making my work is not an emotional outlet.
3.) How do you feel art therapy can help someone with special needs? I think, not feel, that it would help someone with special needs because it is another means of expression, someone with special needs may not be able to express themselves verbally. Why would art therapy be the most appropriate method? Because other methods have been exhausted.
4.) Have you ever used art making (painting, drawing, photography, etc) as a way to deal with a personal issue? Please explain. No.
5.) Do you think, as an artist, we have any responsibility to help others deal with problems through art? No.
6.) Can you see any kind of relationship between this video and how I approach my artwork? Other than that you approach your work intuitively and emotionally, not really.
7.) Do you think any of my work is therapeutic? I think you may think of it that way, but only because of the article you chose and the questions you are posing.
8.) Do you think my art will change when I leave school? I think that it may, but I am not sure what that has to do with art therapy.
2.) Does your art making relate to therapy at all? If so, how? No, the motivation for making my work is not an emotional outlet.
3.) How do you feel art therapy can help someone with special needs? I think, not feel, that it would help someone with special needs because it is another means of expression, someone with special needs may not be able to express themselves verbally. Why would art therapy be the most appropriate method? Because other methods have been exhausted.
4.) Have you ever used art making (painting, drawing, photography, etc) as a way to deal with a personal issue? Please explain. No.
5.) Do you think, as an artist, we have any responsibility to help others deal with problems through art? No.
6.) Can you see any kind of relationship between this video and how I approach my artwork? Other than that you approach your work intuitively and emotionally, not really.
7.) Do you think any of my work is therapeutic? I think you may think of it that way, but only because of the article you chose and the questions you are posing.
8.) Do you think my art will change when I leave school? I think that it may, but I am not sure what that has to do with art therapy.
Robbie's article
1.) Did you find any similarities between the reading and the youtube video? Yes
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 think it is natural for us to question them, the evolution of society as a collective removes them.
3.) Are there any examples of people considered to be insane for their attempt to remove unnecessary beliefs within our society? Sure
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? I don't make work based off of emotions, so no.
5.) Do you agree, or disagree, with the opinions that Andrei Tarkovsky expresses about his view on art? Why? It is natural to make work around your own experiences, but it is not necessary for your experiences to be oppressive or hardening for you to make work, it just depends on the type of work that you are making or wanting to view.
6.) Do you find a similarity between my work and any of the information that I have presented to you? I think that you make work from a very personal and emotion state, but I also think that that comes through solely when talking to you about your work, there is not as much evidence when viewing the work.
7.) Are there any similarities between the work that you create and the presented information? My work stemmed from experiences, but does not stay on that platform.
8.) Is everything going to be okay? No. It will be better or worse, but that depends on you.
Tuesday, April 19, 2011
Dr. Hollinger's Article and Questions
reading/film for my discussion:
http://www.susansontag.com/
http://www.youtube.com/watch?
I would like to talk about both provided as I have structured my
questions that way.
Questions:
1. What, if any, are the similarities/differences of a slow, meditative medium such as drawing/painting compared to an instant appropriation tool such as photography? Would you consider a photograph an object, as you would a painting/sculpture? I think that it is the hand in the medium that determines the speed in the process, not the nature of the medium. For example, it may take a photographer hours to set up a shot, they meticulously go over every detail of the "stage", each color and texture, etc. And a painter, may be able to complete a painting in half and hour with more emphasis on immediacy and reaction. It depends on what is done with the photograph, sometimes I look at it as an image, sometimes I can see it as an object, but that is the same with a painting or sculpture as well.
2. What is the “message” of a photographic record? It is the idea of rememory and time, importance and exactness.
3. Would you consider “amateurism” when using a medium, an advantage or a disadvantage, while producing work? For example, is photo-realistic drawing the top of the heap? Does that knowledge/technique get in the way of some-sort of innocence/potential for inspiration? I think it is always better to have the knowledge, but it is also better to attain that knowledge for yourself even if you end up having others execute all or some portion of your work. I wouldn't consider you an amateur even in taking on a new medium such as silk screening, it is a new process but when it comes to the work, you are well aquatinted with understanding, producing and discussing your work.
4. In the film, The Blood of a Poet by Jean Cocteau, what images/sequences of voyeurism appear in the film? The idea of voyeurism comes up in the final section of the film. Does this have a relationship to photography as appropriation? I don't see photography as appropriation, unless it is an appropriation of an idea, but not as a moment or of an image in the real.
5. What does it mean psychologically when the theatre party applauds the death of the card shark? What does it mean, when viewing it as an artist? I am not entirely sure, but I thought of it as an idea of submission, as in to fate or dealt hands. He lost even when playing falsely, so his submission was praised by the audience. It also adds humanity to the viewer, they didn't like that not only the card player were violated but also the dead boy.
6. At what time does a highly personal, private, disgusting or elegant moment or event, becomes a spectacle? (Please refer to # 4 & #5) I think when you are doing something solely or solely motivated by the viewer or audience that it has become a spectacle.
7. (Made in 1930) Jean Cocteau uses several surrealistic motifs throughout the film, which is simultaneously intermixed with personal iconography. What about my work is self referential, and at the same time referencing the time in which we are living? Your archive of images is a set of documentation of a class within our generation, I think there is motif in your figure choices, but I think that the use of repetition in your form allows for subtle changes to be noticed and understood rather than it being singularly self referential.
8. Over the past two years, I have produced an extensive archive of images, with 35mm film only. What do you consider to be the differences between shooting in a digital format, and any sort of film format? I think that film slows you down and makes you look more, it makes each image thoughtful.
9. What are your observed advantages for me using photographic processes? The poetry in your work comes during the editing of your photographs, it allows you to grab and image and save it for later.
10. How hot is Lee Miller? She is way hot, we are talking like 3rd degree burns here!
http://www.susansontag.com/
http://www.youtube.com/watch?
I would like to talk about both provided as I have structured my
questions that way.
Questions:
1. What, if any, are the similarities/differences of a slow, meditative medium such as drawing/painting compared to an instant appropriation tool such as photography? Would you consider a photograph an object, as you would a painting/sculpture? I think that it is the hand in the medium that determines the speed in the process, not the nature of the medium. For example, it may take a photographer hours to set up a shot, they meticulously go over every detail of the "stage", each color and texture, etc. And a painter, may be able to complete a painting in half and hour with more emphasis on immediacy and reaction. It depends on what is done with the photograph, sometimes I look at it as an image, sometimes I can see it as an object, but that is the same with a painting or sculpture as well.
2. What is the “message” of a photographic record? It is the idea of rememory and time, importance and exactness.
3. Would you consider “amateurism” when using a medium, an advantage or a disadvantage, while producing work? For example, is photo-realistic drawing the top of the heap? Does that knowledge/technique get in the way of some-sort of innocence/potential for inspiration? I think it is always better to have the knowledge, but it is also better to attain that knowledge for yourself even if you end up having others execute all or some portion of your work. I wouldn't consider you an amateur even in taking on a new medium such as silk screening, it is a new process but when it comes to the work, you are well aquatinted with understanding, producing and discussing your work.
4. In the film, The Blood of a Poet by Jean Cocteau, what images/sequences of voyeurism appear in the film? The idea of voyeurism comes up in the final section of the film. Does this have a relationship to photography as appropriation? I don't see photography as appropriation, unless it is an appropriation of an idea, but not as a moment or of an image in the real.
5. What does it mean psychologically when the theatre party applauds the death of the card shark? What does it mean, when viewing it as an artist? I am not entirely sure, but I thought of it as an idea of submission, as in to fate or dealt hands. He lost even when playing falsely, so his submission was praised by the audience. It also adds humanity to the viewer, they didn't like that not only the card player were violated but also the dead boy.
6. At what time does a highly personal, private, disgusting or elegant moment or event, becomes a spectacle? (Please refer to # 4 & #5) I think when you are doing something solely or solely motivated by the viewer or audience that it has become a spectacle.
7. (Made in 1930) Jean Cocteau uses several surrealistic motifs throughout the film, which is simultaneously intermixed with personal iconography. What about my work is self referential, and at the same time referencing the time in which we are living? Your archive of images is a set of documentation of a class within our generation, I think there is motif in your figure choices, but I think that the use of repetition in your form allows for subtle changes to be noticed and understood rather than it being singularly self referential.
8. Over the past two years, I have produced an extensive archive of images, with 35mm film only. What do you consider to be the differences between shooting in a digital format, and any sort of film format? I think that film slows you down and makes you look more, it makes each image thoughtful.
9. What are your observed advantages for me using photographic processes? The poetry in your work comes during the editing of your photographs, it allows you to grab and image and save it for later.
10. How hot is Lee Miller? She is way hot, we are talking like 3rd degree burns here!
Batman/Paul's Questions
"What's Wrong With Contemporary Art?"
This is available on Google Books. read pages 28-33.
Questions
1. Is the author of this book being overly simplistic? Define overly simplistic? Every author has to define an idea through words it is what they do, words put restrictions on ideas. But yes, he is breaking down to the simplest idea.
2. Is the author being overly cynical? Yes, a bit, "THi sis how art history is used: not as open enquiry, but in order to give recent art a legitimizing historical lineage and to reinforce the notion that art is nothing more than a variety of rational discourse about social issues." and "All they (young student artists) need is the right look and the ability to attract attention to themselves. A deal with a commercial gallery can be expected follow and their careers are off to a flying start. From that magical beginning, most of them will never recover."
3. Can you be cynical and paranoid and still be correct in your assertions concerning matters that are highly subjective? Sure, but I don't think that he is correct in all of his assertions. His ideas on how the phd in studio art works/doesn't work, I can see how this would be an issue for your process but fit perfectly with mine, so it can not be a completely thoughtful structure.
4. Since "group think" is not only entrenched in the art world but the real world, should it not be encouraged in art school ? I think it shows up in art school, but that is natural and happens in these settings, it shouldn't be discouraged but always challenged.
5. Does the fine arts department at Ringling College of Art and Design represent a microcosm of the Art World? Hahah, I don't think so, maybe the first level of it's structure, but none of us get turned away from showing at the Crossley gallery and there is not a distinctive difference between those who succeed and those who are failing, even when those who are failing are doing so because of a tangible thing (such as they have not produced work or have not done required writings, etc)
6. As stated in the reading "does privileging words over visual expression encourage a narrowly didactic approach to art making?" This goes back to the questions, when is the art "made", when the idea is had, put into a sketch, when you have the physical object? when that object is accepted? But yes, I think it can.
7. Is Automatism or any other intuitive approach discouraged in contemporary art academia? I think more analytical work is encouraged but that more intuitive work is accepted as long as it is supported by thoughtful dissection of purpose, intent, motivation, etc.
8. Do you believe my work would have been better served had I not attended art college? No, I think that there are a lot of really good studio practices that you have figured out about your way of working, process, restraints, experiences, etc, that have really enhanced your work and I am not sure you would have gotten there as quickly without being in this setting. It may have taken you more than a decade outside of this setting.
9. Do you believe my work to be self indulgent? A bit, but I indulge in it as well. All of our work is a bit. We make something and then say hey, look at this thing I have made. It is part of the experience.
10. If all art is self indulgent to a certain extent, should I not embrace this approach? Do it, I support that, but I also know that you will continue to read and think about work because that is the type of person you are, so I know that won't be lost in the work.
11. Does the "it's all about me" approach to my work alienate you the viewer? Not when they can relate to you. Maybe we should alienate the viewer occasionally.
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