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November 26, 2008

Image Combination: PolarPuddle

Project2 PolarPuddle.jpg

One of a set for Photoshop practice in splicing images. These two images were not taken by myself...I just wanted to experiment.

November 24, 2008

Nash Gallery Response

Response from early on in class...seem to have not mentioned any specific pieces, apologies.

The current presentation in the Nash Gallery requires a pretty specific audience. To me, I see pieces of random stuff pasted together much like I did in my youth with the remains of my father's latest carpentry project. The presentation of a found object with deeper meanings has always been lost to me. You are taking the work of someone else and gluing it into yours, thus altering the true meaning and story of that piece. I understand that I assimilate what I've seen into my work, wether I am completely aware or not, but somehow their method always comes across as plagiarism. Your piece could not exist without the help of another artist, and whilst you are saying that the piece was found, you again are claiming that YOU found it, it is YOURS to use. Ranting aside, I did not feel as though I could connect with the pieces. The first few photo collages were appealing in a color and composition sense, but the meanings often went right over my head. This is entirely my fault as I do not follow much on the politics of the world, or have much knowledge whatsoever on other countries. The pieces also took on a rather repetitive nature. While it is important for a collection to connect, it is also important to have enough variety that the viewer is interested in which the next piece has to tell, not just "oh, another photo altered piece with floating old people and their history in images." While individuality can also be elaborated on within the added text (little white information sheets to the side), page long elaborations weaken the piece. Visiting the Nash, this time and on other occasions, has merely stressed to me that I have issues situating myself within the "intended audience" category of today's art.

Regis Hallway Art Response

Gallery Resonse – Regis hallway

Victoria Lynn Turke: It didn’t matter anymore.
I thought they were all quite interesting (Turke’s set of silver gelatin prints), but I thought this one in particular stood out. The thin flower and the barely visible words just clicked. The fragility of the last petal created the hopelessness of the piece. I was simple to get the point as many of us share the experience of plucking a flower and playing the “X loves me, X loves me not? game. The artist was also rather sneaky with her faint words, forcing the viewer to come closer t her works to try to read them (or the text panel provided below).

Drew Peterson: BlueFooted Booby.
I guess I liked the chaos in the piece, yet it was very exact at the same time. The color choice was also ver pleasant, with the golden yellows and baby blues. Also appealing from both far and near as the multiple layers and images blurred together become defined, precise, prints closer up. I barely understand the technique behind sreenprinting, bt such small details seem like they’d be hard to maintain when adding laer on layer. He and David Dobb (his pieces were complex dotted lines on large canvas) seem to enjoy tedious work, personally I think I’d beat my brains out first~

Walker Response

Response to two pieces in Walker:

Pierre Huyghe: A Journey That Wasn’t: 2006
Of all the pieces on display at the Walker, I definitely enjoyed this one the greatest (in fact many of the others simply earned my disdain). At first I had reservation about the pitch-black, narrow entrance to the viewing area with the creepy music playing, but curiosity won out. I ended up watching all 24 plus minutes of it out of a resounding need to see what could possibly come next in this certainly odd viewing experience. The misted orchestra almost had a quality of Disney’s Fantasia to it as the lights lit the vague players in time with the disjointed (but strangely intriguing) music. Shifting back and forth between the players and the stadium lights with the city in the background gave a delightfully fantastical air to something we view as a nitty-gritty reality. The sudden change the artic came as a bit of a shock (I’d thought it had switched to a different art piece!) but worked itself together with the coordination of the ever-blaring lights and the ever-blaring notes. It felt like they were going to signal aliens, but how it was cut almost seemed like the little albino penguin was somehow being drawn by these strange intrusive lights and people. At times it seemed like a penguin’s documentary of the aliens that visited his shore. The artist truly created a pocket in reality, a peculiar fiction, with its lack of resolution leaving a variety of paths for the viewer to consider when leaving. Was the penguin calling out to the boat? Was that just an angle trick? Where does this combination of wetlands and city exist? What do the lights mean? Who understands this jilting clash of music and lights? All these questions and no answers but the one’s our imaginations can concoct to fill the blanks.

Sigmar Polke: Mrs. Autumn and her Two Daughters: 1991
First of all, its massive size was enough to instantly bring attention to it from across the gallery room. Then it drew me close with these tiny little (what I first believed to be imperfections on the canvas) snowflake protrusions. It was interesting to see the reactions of the synthetic fabric’s reaction to the watery acrylics smeared across its surface. What I found most perplexing was that the work of a German artist almost had a tang of Chinese nature paintings. Drawing attention with the black print of Mrs. Autumn and her daughters spreading what appeared to be snowflakes. These women have a highly European appearance to them, but the softness of the imagery in the background, to me, spoke to a more Asian landscape in watercolor (sans color). The dim black paint builds a rounded mountaintop and as it recedes into the top right corner it is almost as mist is obscuring more of the range from being seen. The interactions between the white swath and the black also create a frozen waterfall, to my mind at least, and the yet unfrozen river that spans the bottom of the piece. Perhaps I’m just seeing things, but the soft interplay between the materials is what makes this piece work, bringing something natural to that which is synthetic.

And personally? Most of the Walker could rot for all I care. The most pleasant thing about that place is the free outside area, especially at this time of the year. Sculptures framed by the natural splendor of golden autumn leaves? The Standing Glass Fish glittering clear and sharp in the glow of an overcast day? Canadian geese going about their lives in the pond surrounding the Spoonbridge and Cherry? Not much exists that’s better than that. The more I think about it, the two pieces I picked out of the gallery involved nature, no surprise though. Nature is inspiration. Simple as that.

MCAD works also, too me, seemed only describable as meh. Nothing terribly impressive, the student works on display did not speak to me in any way whatsoever. The building was certain amusing though, very open.

Qingsong Response

A response to Chinese artists presented in class:

In regards to Qingsong, it is amazing just how much he thinks about it. Reading his statements on the overview of his pieces are quite intriguing. As having little to none, and highly incorrect, information concerning China, reading his thoughts on the matter is very enlightening. The sense of questioning what a person should do, can do, can be, what comes next, how to survive today, etc is so prevalent it almost boggles the viewer. I definitely feel that he has progressed as an artist, after paging through the years of his art. I enjoyed the "Past, Present and Future" piece(s) he created. His present people needed a bit more silver on them, but future and past almost tricked me. That in its self is interesting, that the people of the present are easiest to pick out as people, the people of the past have historical connection to us (and a twinge of pinkish fleshy undercolor to alert of to their humanity), but the people of the future are wrought almost perfectly as we think of the distant possibility that we have no connection to.