I thought the most interesting thing about this chapter was showcasing how Murakami has turned his practice into a business like Warhol, and he still creates high demand for his art even though everyone knows his hands did not create the work. Murakami gives credit to the artists on the back on the canvases. I view Murakami as a fine art Art director. I find it ironic that he says how he has difficulty communicating with the workers, but does not attempt to do the work himself.
I used to think that my staff were motivated by money, but the most important thing for creative people is the sense that they are learning. It's like video game. They have frustration with my high expectations, so when they get my 'yes' for their work, they like they have won a level."
I feel the same as Murakami's staff, the money is good but their is a staisfaction that comes from working so hard on something and then knowing you did it right. My boss two was a perfectionist and I used to complain when he was picky, but it has instilled in me a keen eye for detail that I am proud of.
Being good in business is the most fascinating kind of art... Making money is art and working is art and good business is the best art.
There is no artist that does not strive to make money. They can not survive without selling their work. If your selling your art its a reflection of your popularity which means you must be doing something right. Just because your succesful in your business doesn't mean you can not be a good artist to. Art is 90 percent business and 10 percent creativity.
I threw out my general life , so that I can make a concentration for my job.
Murakami shows the detication that it takes to be as succesful as he has become.
A studio is not just a place where artists make art but a platform for negotiation and a stage for performance.
In this chapter the discussed how you can learn so much from someones studio, its not just the art that is created their, but how it is created. Who creates it. Where it is created. All of these things reflect the artists. The studio reflects the artists, more then his work. The work is the final product, how the artist gets there is very telling of their character.
Never ever presell the work.
This is very important. I knew this before I read this but I wanted to note it. Me being a designer it is very important that you do not "presell" your work. What I mean is not to presell your work because design work is different but do not show unfinished worked to a client. It is similar to the quote in that if you say how much it will cost before its done you will not know if its the right price. If you show the work before its done you run the risk of the client liking it before its finished. So in both scenarios your screwed because you got impatient. Be patient.
Wednesday, December 2, 2009
Thursday, November 19, 2009
MFA Thesis Show
Overall I thought the show was ok content wise. I really enjoyed the portrait photographs to the right as you entered the gallery. I admired the quality of the photograph, the lighting, the way it was shot all that good stuff. The portraits were shot against a black background which creates a simple straightforward presentation. In my thesis research I have found that this is common thread with which I gravitate towards. Many of the photographs I shot contain a similar aesthetic. I did not relate to the content in the same way. I was not attracted to much else in the show, that does not mean the other works in the show were not good, but neither the content nor the physical qualities of the work generated interest.
The space I thought could have been better, I think this shows how important it is to setup the gallery space in a specific way. There is a rhythm or melody which goes along with the show. The impact each piece has on each other can be both good or bad. With this in mind I did not like the first room to the right. It contained very large and when I say large I mean freaking huge paintings on every wall. What bothered me was not the paintings themselves but the relationship of the paintings to the size of the wall and the size of the room. I can understand how the artist may have wanted to create a overwhelming sense in the room but I just seemed like to much. There was no room to breath you could not even get back far enough to really absorb the paintings. I felt like I was sitting at the front row of the movie theater and there were screens all around me. These problem could have been a result of having assigned walls.
The floating walls in the middle I thought were a bit cumbersome. I thought the idea of the walls was a thoughtful in that it broke up the space and allowed for more work to be shown. I think the idea struggles in the placement of the walls. They are right in the middle and quite large. Maybe it should be one wall or that the wall is place perpendicular to a grounded wall. I am not really sure what the answer is.
The space I thought could have been better, I think this shows how important it is to setup the gallery space in a specific way. There is a rhythm or melody which goes along with the show. The impact each piece has on each other can be both good or bad. With this in mind I did not like the first room to the right. It contained very large and when I say large I mean freaking huge paintings on every wall. What bothered me was not the paintings themselves but the relationship of the paintings to the size of the wall and the size of the room. I can understand how the artist may have wanted to create a overwhelming sense in the room but I just seemed like to much. There was no room to breath you could not even get back far enough to really absorb the paintings. I felt like I was sitting at the front row of the movie theater and there were screens all around me. These problem could have been a result of having assigned walls.
The floating walls in the middle I thought were a bit cumbersome. I thought the idea of the walls was a thoughtful in that it broke up the space and allowed for more work to be shown. I think the idea struggles in the placement of the walls. They are right in the middle and quite large. Maybe it should be one wall or that the wall is place perpendicular to a grounded wall. I am not really sure what the answer is.
Thursday, October 29, 2009
5 Grad Programs
Programs I have interest in.
1. Yale University
2. School of Visual Arts, New York
3. Parsons New School of Design
4. University of the Arts
5. University of Penn
1. Yale University
2. School of Visual Arts, New York
3. Parsons New School of Design
4. University of the Arts
5. University of Penn
Gallery Visits
I decided that me being a graphic designer that a design exhibition would be interesting to me, but in this case I was wrong. I saw the post on the Thesis Blog for the Zach Feuer Gallery, showcasing an exhibition by the Pop artist, teacher, and nun Sister Mary Corita and decided to go there for class.
Overall I felt the exhibit was very similar to that of the Black Panther exhibit at the New Museum. This could be a result of the time period, but overall it felt very documentary. I think that is a problem with presenting design in a gallery, because design is primarily viewed in a print format. Where as paintings are presented on canvas, and then when they are documented they are placed inside books or catalogs. So when trying to view artwork in a print format, I think I view it as documentary. The lack of current design, and the lack of interest in her style, may have also strongly fueled my negative interest in the work.
Another problem I find with design work is the amount of design work usually found in a exhibit. I found this problem in both the New Museum and Zach Feuer Exhibit. I think anyone who views the work just gets bored. In this case it was the same style over and over again, and shown twenty or more times. In comparison consider a painting gallery there may only be a 5-6 paintings all of which usually contain a similar style, but the content will differ. Therefore in my experiences I just find none design exhibits more exciting. This being I have yet to go to the AIGA Museum. It on my todo list....
I attended to other exhibits that I found to be much more influential and entertaining. One gallery was for the photographer Edward Burtynsky and the other a Painter/Illustrator named Olaf Bruening.
Edward Burtynsky showcased multiple large scale photographs. My initial attraction was to the size and detail off the photographs. Each photograph showed images in great detail and the images he choose to represent contained incredibly vast spaces. The images which were represented ranged from vast parking lots of cars, oil fields and highways that appeared to go on forever. The size of the spaces in which he captures reminded me of Andreas Gursky's spaces although his are digitally altered where as Burtynsky's are not. In contrast to the detailed city based photographs he also showcased abstract arial photographs of quereies and natural landscapes. These images contained the same large scale, high detail, vast spaces which he includes in his other photographs, but gave a much more abstract and distant feel.
After looking at his photographs I read his press release, then went and looked at the photographs again. I found the format and content which he presented was very appropriate for his concepts. Burtynsky attempts to capture the vast spaces which consume oil, the vast spaces which capture oil, and the vast spaces created by searching for oil. His infatuation with oil shows through in his photographs and I believe his format is very telling of his message.
The last exhibit showcased the artist Olaf Breuning, and consisted of wooden sculptures, and hand painted drawings on the wall with black paint.
His drawings and sculptures "speak about the simple questions one could have about life." He creates the initial drawings in self-imposed isolation prior to the exhibition. By translating his simple drawings into large scale they become very approachable and humorous.
Upon entering the gallery I was immediately drawn to his illustrations because I strongly enjoy illustration. I thought it was nice to see illustration used in the gallery for a change. He incorporated sculptures along with illustration into the gallery space. The images were very humorous and relative. They spoke strongly and confidently about the problem's which humans face. The comical aspects of his work when combined with the simple illustrations and sculptures make his work translate very well. I really enjoyed the image of a set of hills, with a car full of people at the top and the bottom of each hill. The people at the top were smiling while the people at the bottom were not. It was so simple, but so easy to understand. He was just saying how there are ups and downs in life and that you need to be positive when times are not so good and when your own top don't get arrogant. I enjoyed this a lot. I relate to it a lot.
Overall I felt the exhibit was very similar to that of the Black Panther exhibit at the New Museum. This could be a result of the time period, but overall it felt very documentary. I think that is a problem with presenting design in a gallery, because design is primarily viewed in a print format. Where as paintings are presented on canvas, and then when they are documented they are placed inside books or catalogs. So when trying to view artwork in a print format, I think I view it as documentary. The lack of current design, and the lack of interest in her style, may have also strongly fueled my negative interest in the work.
Another problem I find with design work is the amount of design work usually found in a exhibit. I found this problem in both the New Museum and Zach Feuer Exhibit. I think anyone who views the work just gets bored. In this case it was the same style over and over again, and shown twenty or more times. In comparison consider a painting gallery there may only be a 5-6 paintings all of which usually contain a similar style, but the content will differ. Therefore in my experiences I just find none design exhibits more exciting. This being I have yet to go to the AIGA Museum. It on my todo list....
I attended to other exhibits that I found to be much more influential and entertaining. One gallery was for the photographer Edward Burtynsky and the other a Painter/Illustrator named Olaf Bruening.
Edward Burtynsky showcased multiple large scale photographs. My initial attraction was to the size and detail off the photographs. Each photograph showed images in great detail and the images he choose to represent contained incredibly vast spaces. The images which were represented ranged from vast parking lots of cars, oil fields and highways that appeared to go on forever. The size of the spaces in which he captures reminded me of Andreas Gursky's spaces although his are digitally altered where as Burtynsky's are not. In contrast to the detailed city based photographs he also showcased abstract arial photographs of quereies and natural landscapes. These images contained the same large scale, high detail, vast spaces which he includes in his other photographs, but gave a much more abstract and distant feel.
After looking at his photographs I read his press release, then went and looked at the photographs again. I found the format and content which he presented was very appropriate for his concepts. Burtynsky attempts to capture the vast spaces which consume oil, the vast spaces which capture oil, and the vast spaces created by searching for oil. His infatuation with oil shows through in his photographs and I believe his format is very telling of his message.
The last exhibit showcased the artist Olaf Breuning, and consisted of wooden sculptures, and hand painted drawings on the wall with black paint.
His drawings and sculptures "speak about the simple questions one could have about life." He creates the initial drawings in self-imposed isolation prior to the exhibition. By translating his simple drawings into large scale they become very approachable and humorous.
Upon entering the gallery I was immediately drawn to his illustrations because I strongly enjoy illustration. I thought it was nice to see illustration used in the gallery for a change. He incorporated sculptures along with illustration into the gallery space. The images were very humorous and relative. They spoke strongly and confidently about the problem's which humans face. The comical aspects of his work when combined with the simple illustrations and sculptures make his work translate very well. I really enjoyed the image of a set of hills, with a car full of people at the top and the bottom of each hill. The people at the top were smiling while the people at the bottom were not. It was so simple, but so easy to understand. He was just saying how there are ups and downs in life and that you need to be positive when times are not so good and when your own top don't get arrogant. I enjoyed this a lot. I relate to it a lot.
The Fair CHAPTER 3
"with young artists, you find the greatest purity. When you buy from the first or second show, you're inside the confidence-building, the identity-building of an artist. Its not just about buying a piece. It's about buying into someone's life and where they are going with it."
I enjoyed this comment because it showed that a work of art is more then just a product you can buy at a store. I think this is especially true of new artists, they haven't been corrupted by commercial influences. I feel that when artists first emerge they are somewhat naive to what goes on thus they are making art for the sake of making art.
"There are no prices or red dots on the wall. Such an overt gesture at commerce is considered tacky. Moreover, a prospective buyer's query about cost is, according to Scott Wright, "an opportunity for engagement."
The fair differs greatly from the auction. There are many more factors that contribute to selling a painting at the fair then at the auction. The dealers are able to manipulate the buyer, and choose who they think the painting is best suited for. They also can spur competition between buyers like in the auction. In short the purchasing of paintings is much more intimate then the auction. You don't just put a price on a painting, then have someone say ok ill buy that one here is the money.
"The art world has no rules," he explains. "so i attribute the longevity of the gallery to the fact that i wrote my own."
"the art fair is no place for an artist." One of Baldessari's oft-repeated jokes is that an artist entering an art fair is like a teenager barging into his parents' bedroom while they're having sex.
I thought Baldessari's comment was funny. It is quite apparent from the reading the fair is not a place for an artist. Although it does show how an artist's carreer is very relant upon business, and that it is not all about making art in your studio. There are many other outside factors that go into being a succesful artist.
"you can't use money as an index of quality. That is a fallacy. That will drive you crazy!"
If you are making art purely as means to make money then you are not a real artist.
"If they are any good, they make art because they have to," he says. "they don't do it to please the market."
This relates to my previous quote in that her it shows that at some point an artist may be forced to make art to maintain his practice, but that is the sole purpose. They do not make commercially driven art to please the market.
I enjoyed this comment because it showed that a work of art is more then just a product you can buy at a store. I think this is especially true of new artists, they haven't been corrupted by commercial influences. I feel that when artists first emerge they are somewhat naive to what goes on thus they are making art for the sake of making art.
"There are no prices or red dots on the wall. Such an overt gesture at commerce is considered tacky. Moreover, a prospective buyer's query about cost is, according to Scott Wright, "an opportunity for engagement."
The fair differs greatly from the auction. There are many more factors that contribute to selling a painting at the fair then at the auction. The dealers are able to manipulate the buyer, and choose who they think the painting is best suited for. They also can spur competition between buyers like in the auction. In short the purchasing of paintings is much more intimate then the auction. You don't just put a price on a painting, then have someone say ok ill buy that one here is the money.
"The art world has no rules," he explains. "so i attribute the longevity of the gallery to the fact that i wrote my own."
"the art fair is no place for an artist." One of Baldessari's oft-repeated jokes is that an artist entering an art fair is like a teenager barging into his parents' bedroom while they're having sex.
I thought Baldessari's comment was funny. It is quite apparent from the reading the fair is not a place for an artist. Although it does show how an artist's carreer is very relant upon business, and that it is not all about making art in your studio. There are many other outside factors that go into being a succesful artist.
"you can't use money as an index of quality. That is a fallacy. That will drive you crazy!"
If you are making art purely as means to make money then you are not a real artist.
"If they are any good, they make art because they have to," he says. "they don't do it to please the market."
This relates to my previous quote in that her it shows that at some point an artist may be forced to make art to maintain his practice, but that is the sole purpose. They do not make commercially driven art to please the market.
Monday, October 5, 2009
How Do You Feel Today?
There is always something to be said, but not everyone says it. You ask, "how are you doing" and then someone says, "I am good". Occasionally people are good, but most of the time people have a story to tell. Tell me your story.
How do you feel today? Is a graphic design project of mine, which is to explore the idea of clichés and how they can change from one person or place to another. I would be very happy if you would participate in the project.
There is a bunch of ways in which to participate.
First you need to go to the group link on facebook then...
1. Download the template. That’s easy. Just right click on the group profile image and select save as.
2. Now that you have it open the image in paint (for pc users) or illustrator/photoshop (for mac users).
3. How do you feel today?
4. Upload.
5. If you do not have access to these programs you can also download the image, print it out, and then respond. You would then have to take a picture or scan it to get it back on the computer.
There is no format to your responses. The template can be used in any fashion. All I ask is that you participate and upload your image to the group. Thanks to everyone who participates, I hope that the project evolves into something greater.
Best Regards,
Justin
Interview with Neil Tropel
JB: do you want to be a painter? I saw you had photographs as well? Do you have more interest in one then the other?
N: yes I do, but I also like do photography because I like taking pictures and work on photo shop. Photography allows me to get out there and take picture of reality and for the money
JB: have you ever had thoughts of being a graphic designer?
N: sometimes I have thoughts being graphic designer
JB: when you talk about photography making you money...would you be a fine arts photographer or something more practical like photojournalism?
N: I would be a fine arts photographer
JB: when it comes to your paintings do you like working with specific themes? I noticed some themes of realism and beaches? I also noticed some portraits which looked like family? Is there a specific focus you think you will gravitate towards?
N: yes, the beach scene paintings and paintings of
JB: what’s your primary focus now?
N: My focus is on the human body and machines like engines and stuff.
JB: is that something you would consider dealing with in your thesis project?
N: yes
JB: with that said...I guess my final question would be do you have any ideas for more develop concepts for your thesis. If so what are they, if not what are the problems you’re having?
N: yes I have some ideas and did a lot of sketches and trying figure out how to present my ideas into a painting. There’s this one painting that i'm still working on
Not finished yet
N: When did you first start painting? Is painting the only medium you do?
JB: I started painting in high school I took studio art classes, but I didn’t get serious until sophomore yr? I have taken photography, but my concentration is in graphic design. I have interest in all of them and sometimes try to incorporate all of them together.
N: cool me too
JB: yea I think that you can take information that you learn from other disciplines and incorporate into others whether it’s indirectly or directly
N: Looking at your paintings does prefer working from life or from photos or imagination?
JB: I find you trap yourself a little bit when you work from photographs. I feel when you work from real life there’s something more there
N: true
JB: when painting from photographs it can come off flat. There’s a dimension in object that exists in front of you but I do think photographs can be valuable resources when painting. I just don’t think you should copy them directly
N: cool.
What made you decide to take graphic design?
What or who inspired you?
JB: honestly I wanted to do something more practical at first, wanted an easier career but after practicing for a couple years I really enjoy it for the problem solving aspect. That can be applied to all art though the best art comes from solving problems, you create a problem for yourself and then try and solve it. I have always had interest in painting and drawing as well as being an illustrator but it would be on the side while working as a graphic designer. I will always want to be involved in art no matter the format.
N: cool
N: What are some of the important themes you prefer or concentrate in your paintings? I saw some of your painting that deal with abstract forms and geometric shapes. Do have any ideas what you are going for in your concentration?
What do you see yourself in four years from now?
Have you ever considered in taking advertising because I saw a lot of logos and ads in your work?
JB: I am doing graphic design by necessity, I would have done painting and graphic design but I don’t have the credits. In regards to themes your spot on I lot of my graphic design and illustration habits carry over into my paintings. I try to meld the flatness of graphic images with the three dimensionality of painting. Much of the work has a geometric quality, I sometimes find myself tightening up, but recently as off last year have tried to become a little looser.
Four years from now I hope to have a successful job in graphic design, and build a career as a painter on the side.
The logos and ads our projects for graphic design, I enjoy doing them, and I have considered working for an advertising agency, but would rather work within a independent design firm that is hired by companies to do advertising campaigns
N: Last Question, after looking at your work. Do have any sense of idea for your thesis going to be? Do have any problem of thinking about what are going do for your thesis? Are you going to show works of paintings and graphic design work or just graphic design work?
JB: Right now I guess you could say I have a sense of where I want my thesis to go but not of what I want to do exactly. I am trying to apply the same tactics I used last year in painting to extract from myself something that interests me that I can make design work about. I would like to find content that I can utilize both graphic work and painting in something that will allow me to combine the two; I wouldn't want them to remain separate. I want to combine what I have learned in graphic design and what I have learned in painting into one grand final piece you could say. So well see where the road takes me.
7 Days In The Art World (the crit)
First of all, I really enjoyed reading this book so far. I think it is very appropriate for what we are going through right now.
"When there is nothing to say, that becomes the question, in which case that's a really interesting conversation."
I think this statement summarizes the entire point behind Asher's ridiculously long critics. I think its the truth. I think that after you have sat their and talked about all the stuff you "LIKED" and then you talked about what you "DIDNT LIKE". That after that you begin to really explore what the work is really about, or if you have not got to that point. You can then explore what the work could potentially be. It creates a platform in which to expand your work conceptually. I think that critics are crucial for the success of any artist, I do not care how good you think you are or how good everyone tells you you are. If you dont have a critic you will fail because you ll miss things, or get stuck reproducing the same thing over and over again.
"It used to be said that some art colleges instructed their students only up to the wrist they focused on craftsmanship while cal arts educated its artists only down to the wrist its concentration on the cerebral was such that it neglected the fine art of the hand."
This spoke very true to the format the I THINK Rutgers follows. There are times when I hear many people speak about how they dont teach you how to do stuff, or how to use the programs. I think this is the best way to learn because the professors push you to expand your thinking. How you create a work and what goes into it are the most important. Creating the ideas are the hard part, excuting them through programs or techinical skills can be aquired. Thus you are better off learning how to think then learning how to do.
"that any artist whose work fails to display some conceptual rigor is little more than a pretender, illustrator, or designer."
I think to call someone whose work is not conceptual a designer is crap. Much of the work designers do is based concept. I dont not think designers have as much freedom sometimes as painters, but I dont agree that design work is not conceptual. More specifically we are conducting a project in design 3 which is all about concept. It isn't commercially based. There is no client. It is purely the designer trying to make its mark on the world, just like any other artist.
"you have to find something that is true to yourself as a person-some non-negotiable core that will get you through a forty-year artistic practice."
This is very true and touches on what we have to do for our thesis project. I started in this direction is painting 2 last semester. I completed a series of small paintings, went through hours of frustration merely thinking about what interested me, what I wanted to say, what I wanted to make art about, and in the end I found my direction. It was something I had a lot of interest in and a lot of passion behind. That is the kidn of content and direction you need if you want to make art for the rest of your life.
"There is no point in being to brazen."
Very simple, when it comes to critique, "please leave your feelings at the door."
"When there is nothing to say, that becomes the question, in which case that's a really interesting conversation."
I think this statement summarizes the entire point behind Asher's ridiculously long critics. I think its the truth. I think that after you have sat their and talked about all the stuff you "LIKED" and then you talked about what you "DIDNT LIKE". That after that you begin to really explore what the work is really about, or if you have not got to that point. You can then explore what the work could potentially be. It creates a platform in which to expand your work conceptually. I think that critics are crucial for the success of any artist, I do not care how good you think you are or how good everyone tells you you are. If you dont have a critic you will fail because you ll miss things, or get stuck reproducing the same thing over and over again.
"It used to be said that some art colleges instructed their students only up to the wrist they focused on craftsmanship while cal arts educated its artists only down to the wrist its concentration on the cerebral was such that it neglected the fine art of the hand."
This spoke very true to the format the I THINK Rutgers follows. There are times when I hear many people speak about how they dont teach you how to do stuff, or how to use the programs. I think this is the best way to learn because the professors push you to expand your thinking. How you create a work and what goes into it are the most important. Creating the ideas are the hard part, excuting them through programs or techinical skills can be aquired. Thus you are better off learning how to think then learning how to do.
"that any artist whose work fails to display some conceptual rigor is little more than a pretender, illustrator, or designer."
I think to call someone whose work is not conceptual a designer is crap. Much of the work designers do is based concept. I dont not think designers have as much freedom sometimes as painters, but I dont agree that design work is not conceptual. More specifically we are conducting a project in design 3 which is all about concept. It isn't commercially based. There is no client. It is purely the designer trying to make its mark on the world, just like any other artist.
"you have to find something that is true to yourself as a person-some non-negotiable core that will get you through a forty-year artistic practice."
This is very true and touches on what we have to do for our thesis project. I started in this direction is painting 2 last semester. I completed a series of small paintings, went through hours of frustration merely thinking about what interested me, what I wanted to say, what I wanted to make art about, and in the end I found my direction. It was something I had a lot of interest in and a lot of passion behind. That is the kidn of content and direction you need if you want to make art for the rest of your life.
"There is no point in being to brazen."
Very simple, when it comes to critique, "please leave your feelings at the door."
NYC Gallery Visits
ROBERT MILLER GALLERY/Barthelemy Toguo: The Pregnant Mountain
I thought that this show was interesting to say the least. The paintings largely consisted of abstract forms, many which appeared like mutilated figures. The paintings were quite large. There was a point when I was staring at about 5 paintings, all of which contained a very spiral like pattern. It created a very dizzying and unsettling feelings. Also I could not see the relevance of the club symbols in each painting. Was he trying to imitate playing cards? WHO KNOWS?
ANDREA MEISLIN GALLERY/Jed Fielding: Look At Me
I enjoyed this show. Right when you walk in you are met by a portal in which to view the gallery. It seems a little straight forward, but I like it. The space seemed a little crowded. I wish their had been more space for which to display the works. Besides that I felt the work was personal. The ways in which Fielding portrayed the figures were very diverse. Sometimes the children looked like normal children, just playing and hanging out. Other times he captures what appears to be the pain and frustration which exists within each child. Although I do think it is ironic that he depicts images of blind children. One final note, I feel that the portraits are more real because the children can not see what they look like, therefore they are not trying to show off to anyone. They are merely representing themselves as they are.
MITCHELL-INNES&NASH/Enoc Perez
I enjoyed this show as well. The paintings clearly projected a mood and sense out into the room. The color pallete was very appropriate for what Enoc was going for. The most successful aspect of the paintings were the surfaces. The roughness of the paint surface sent me back in time. I associated the overall rough nostalgic feel with xerox copies. Overall my favorite piece was the painting of the two figures, it really captured the mood more then any of the others. In response to the gallery space, it was large, and I enjoyed the juxtaposition of the large scale painting with the much smaller one. The smaller painting gave me some relief from the much larger paintings in the exhibit.
I thought that this show was interesting to say the least. The paintings largely consisted of abstract forms, many which appeared like mutilated figures. The paintings were quite large. There was a point when I was staring at about 5 paintings, all of which contained a very spiral like pattern. It created a very dizzying and unsettling feelings. Also I could not see the relevance of the club symbols in each painting. Was he trying to imitate playing cards? WHO KNOWS?
ANDREA MEISLIN GALLERY/Jed Fielding: Look At Me
I enjoyed this show. Right when you walk in you are met by a portal in which to view the gallery. It seems a little straight forward, but I like it. The space seemed a little crowded. I wish their had been more space for which to display the works. Besides that I felt the work was personal. The ways in which Fielding portrayed the figures were very diverse. Sometimes the children looked like normal children, just playing and hanging out. Other times he captures what appears to be the pain and frustration which exists within each child. Although I do think it is ironic that he depicts images of blind children. One final note, I feel that the portraits are more real because the children can not see what they look like, therefore they are not trying to show off to anyone. They are merely representing themselves as they are.
MITCHELL-INNES&NASH/Enoc Perez
I enjoyed this show as well. The paintings clearly projected a mood and sense out into the room. The color pallete was very appropriate for what Enoc was going for. The most successful aspect of the paintings were the surfaces. The roughness of the paint surface sent me back in time. I associated the overall rough nostalgic feel with xerox copies. Overall my favorite piece was the painting of the two figures, it really captured the mood more then any of the others. In response to the gallery space, it was large, and I enjoyed the juxtaposition of the large scale painting with the much smaller one. The smaller painting gave me some relief from the much larger paintings in the exhibit.
Bucket of Blood
I thought the Bucket of Blood video was incredibly entertaining. Not only was it bizarre and humorous, but it really spoke to the true meaning of art. It showed that art can be just about anything from a dead cat covered in clay to a urinal turned upside down. So I guess if you are to present something as art then you must be willing to receive it as art, no matter how ridiculous it may be. You do not have to love it. You can hate it, but you must be willing to view it within the context of the art world.
As for the other video.... The Alex bag video was not nearly as entertaining as Bucket of Blood. It was quite bizarre and confusing. Alex says it herself around 20:20 "boring, boring, boring".
As for the other video.... The Alex bag video was not nearly as entertaining as Bucket of Blood. It was quite bizarre and confusing. Alex says it herself around 20:20 "boring, boring, boring".
The New Museum Visit
The visit to the new museum was interesting, I had never been there before. I first noticed the bright green elevators. It was a very strong contrast to white gallery space. It was mirrored similarly on the fifth floor in the media center. While walking through the museum I viewed the artwork, but also paid a lot of attention to way in which it was mounted. Specifically, I noted the large scale prints. They were hung in a very simple way. Merely using 4 nails and 4 clips to hold the print. It was a nice contrast to the older photographs, which were framed and presented in a more traditional fashion. The black panther exhibit was interesting. They faced the problem of presenting graphic work, a problem I may also face in the future in my thesis exhibition.
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