Randomness

Just a couple different art pieces that I like ^_^

Crawling In Black & White...

Photography By: Jolene Kappes

Not Art...?

It was very hard to choose a piece of someones work and say that its not art, for who am i to say whats art and what is not? Who at all in this world has the right to say something isn't or is art? So this assignment to pick a piece from the Walker and describe my feelings and opinion on why somethings art was a truly difficult task. So I have chosen this particular piece out of many for i simply do not enjoy it or maybe just don't get it, and or would choose not to look at it longer than just a passing glance.

My Manifesto

It is hard to know already what I want to show in my art. I am really intrigued by the internet and technology. I like the idea of showing really high tech things in an old fashioned way. I have thought a lot about maybe taking screen shots on the internet and painting or drawing them. I want to do this to show my feelings about the internet and advancements in technology. With something that is moving and changing so fast I want to take a slow time consuming approach. I like the contradiction. I'm also interested in putting opposites together; a laptop in the forest, a religious statue in a science lab. I have a lot more to learn and i'm excited to see where my art goes.

Why is this art?

Untitled (joke)

by Richard Prince

This is currently showing in the Medtronic Gallery at the Walker. It is black ink on a white sheet of paper that is 6.75 x 11". It reads "On the bus today I had to change my seat four times" "Some guy get fresh?" "yeah, finally"

I get the joke, yeah it's funny. But why is this art? Why is something someone quickly wrote on a sheet of paper art? It doesn't seem like this person put a lot of thought or time into this. Why is this worthy of hanging on a museum wall?

if i have a manifesto - it feels like this

Kathryn Schulz: On being wrong

http://www.ted.com/talks/kathryn_schulz_on_being_wrong

Abandoned Yugoslavian Sculptures

These were commissioned in the 1960's and 70's but were abandoned once the Soviet Republic dissolved. They're all really cool.

http://www.cracktwo.com/2011/04/25-abandoned-soviet-monuments-that-look.html

Jim Meyer

Chloe talked about a Japanese artist who does wood block prints in class today, this is a local artist who is continuing the tradition using local scenery. His name is Jim Meyer and he regularly has work on display at the Grand Hand Gallery off Grand here in St. Paul. If you’re interested in printmaking, you should stop by and check his stuff out!

http://www.woodblockart.com/

MANIFIZZY

As an artist, the work that I produce is a reflection of what I see and issues I’d like to explore through the use of different mediums and concepts. I strive to create works that do not fall within boundaries or stereotypes. I don’t consciously make art that relates to other works, but subconsciously or indirectly my art is related to everything I have experienced in the visual world. All the stuff that I have thought of or seen over time has had an influence on the direction my art. I don’t like to characterize my work. My work is influenced by the hip-hop musical culture and lifestyle as well as friendships that have evolved, changed, and re-defined themselves through time. My artistic process is a direct reflection of my lifestyle: scattered at times, but with an underlying focus on elevating my culture. I create designs that are timeless and hungry. My designs show that life isn’t easy but you can still find a way through to the beauty that comes from pain. I might be smiling, but my work may tell a different story. I have attached a piece of my statement describing my artist collective project known as u(P):

(u)P is a collective movement of individuals who’s common interest is Art in all media forms. The concept of (u)P is really based on the biggest Project of all LIFE. Simply put (u)P is a never ending process.

Design Philosophy

My personal manifesto morphed into my philosophy on design, but these are the convictions behind the work I will create.

1) Design is distinct from art. Not because it’s functional or commercial – all art should have purpose and value – but because design flourishes within constraints.

2) Design is a way of thinking. It’s the principles of art and psychology applied to solve a communication problem.

3) Design is intentional. Everything communicates something, but designed things make their statement on purpose.

4) Design is objective. Solutions to a client’s needs must be evaluated based on how well they work, not based simply on aesthetic preference.

5) The best design is honest. It should clearly explain what something actually is, not be manipulative or pretend to be something it’s not.

6) The best design is timeless. It should be iconic enough to resist trends or fads.

7) The best design is the least design. It should be able to express profound thoughts without becoming haughty or complex.

Personal Manifesto

My personal manifesto represents the change I hope I can create; furthermore I want to create changes which are bigger than the fashion industry.

1.       I want to change the standards of beauty: Essentially the fashion industry is based on the concept that if your rich, Caucasian or possess Caucasoid features you are beautiful. Furthermore this ideology trickles down to fashion ad campaigns, the runways, and eventually to little colored girls who believe that is the only form of acceptable beauty

2.       I want to inspire people: I believe this is the most important thing a person can ever do in their lifetime.  Furthermore, I believe inspiring another being to change their ideology or inspire them to create something new is far more important than having material things

3.       AFRICA, AFRICA, AFRICA:  I want to expose the world to the greatness of the African culture. I believe Africa has been neglected for too long in the arts, in the political spectrum, everywhere Africa has been declared backwards. I plan on doing this by:

a.       Creating economic change

                                                              i.      I plan to open a textile factory in Ghana and hopefully multiple parts of Africa. By doing this many Africans will be able to get a paycheck which increases their purchasing power, which in effect will boost the economy of that particular region. This will also illustrate to other fashion houses that it is possible to have quality clothing sourced from Africa, which once again boosts the economy of Africa and creates interest in Africa’s labor market

                                                            ii.      I want to open several boutiques in Africa to illustrate to other fashion houses that Africans do have the purchasing power to buy their goods, and most importantly it illustrates to them that they can also have successful boutiques in parts of Africa

b.      Recreating the past of Africa

                                                              i.      Africa’s past before colonial times generally remains a mystery to most scholars, most of whom do not bother investigating the region. Furthermore this has caused Africa’s past to be identified by what happened in colonial times. To change this I plan on

1.       Sponsoring several archeological digs as well as scientific studies to uncover more of Africa’s past before colonial times

c.       Instilling a sense of pride in Africans

                                                              i.      I want every African person to be happy with who they are, and most importantly what each regions culture is.

d.      Take back Important African treasures:

                                                              i.      Many important African treasures as well as artworks were stolen during colonial times, and are today being housed in several high-profile museums across the world. I hope to change this and return many of these pieces back to their original place

4.       I want to be myself all day, every day, regardless of anyone’s opinions or beliefs: I believe this is the hardest thing for anyone to do; however I believe it is an important skill to possess as a person and an artist

Inspiration.

I don't know if you guys have heard of Dallas Clayton, but he's pretty great. I would give anything to intern with this guy for our junior internships. He wrote this book called "An Awesome Book" and he lets people read it online for free and then for every book he sells, he gives one away. He leaves his books in bookstores and writes weird little poems on his blog. When he isn't writing books for kids, he draws and writes for adults. He worked with Spike Jonze on a blog project for the new Where the Wild Things Are movie, called We Love You So (weloveyouso.com).

He's basically what I want to be when I grow up, even though I never want to fully grow up.

If you haven't yet, go to veryawesomeworld.com


PS: DID I MENTION HE'S MARRIED TO SHANNYN SOSSAMON AND THEY HAVE A SON CALLED AUDIO SCIENCE?!?!?!?!? Most beautiful family ever.

Manifesto!

While I'm not yet able to pinpoint exactly what I'd like to do with my life, I can name some qualities I'd like to bring to my work. In the documentary we watched called "The Art of the Steal", the conflict was over who owned the Barnes art collection. We watched educated, articulate people shrink to child-like insults as though they were fighting over a kick ball in the playground. Though I don't expect to have a career of such magnitude, I do hope that the things I make never affect people in a way that's less than positive. I'm not saying I want to create pieces filled with fluff or trying to distribute ignorant bliss, but I want my work to have meaning beyond who owns it and how much it costs. Ideally, I'll become an illustrator of some kind. I'd like to explore as many mediums as I can before I decide, but at this point it seems like the best decision for myself. Because I'm not sure what else I plan to do beyond that, this might seem a bit vague. I feel it's important to say, however, that I want my life inspire my career, not have a career that takes up my life.

Manifesto

Recently, I discovered my direction in life. I want to illustrate and write children's books.
I guess the reasons were always there, but I've just now connected them all together.
I want kids to know that there is no wrong way to live their lives as long as they are not hurting anyone. And I believe the best time to reach them is when they are very young. From what I've seen, kid's books generally portray the nuclear family and don't even acknowledge anything that goes against conservative values. For that reason, I also want to give parents a resource to share with their children that portrays more accepting and loving values. When I have kids, I want to have a book I can read to them at bedtime that can help me instill respectable values into them in addition to the examples I set. I want kids to know that there is no wrong way to live their lives, as they grow up. Happiness is most important, as long as no one else is unhappy as a result. I want to get kids early, before they are exposed to all the unsolicited hate and negativity in the world. I don't want to oversimplify things, I want to render them into something more easily understandable without censoring or omitting.

Piss Christ Destroyed

"The controversial work Piss Christ by the New York photographer Andres Serrano has been destroyed at a gallery in France after weeks of protests.

The photograph, which shows a small crucifix submerged in a glass of the artist's urine, outraged the US religious right in 1987, when it was first shown, with Serrano denounced in the Senate by the Republican Jesse Helms. It was later vandalised in Australia, and neo-Nazis ransacked a show by the artist in Sweden in 2007.

The work has previously been shown without incident in France, but for the past two weeks Catholic groups have campaigned against it, culminating in hundreds of people marching through Avignon on Saturday in protest.

Just after 11am on Sunday, four people in sunglasses entered the gallery where the exhibition was being held. One took a hammer from his sock and threatened security staff. A guard restrained one man but the remaining members of the group managed to smash an acrylic screen and slash the photograph with what police believe was a screwdriver or ice pick. They then destroyed another photograph, of nuns' hands in prayer.

Piss Christ is part of a series by Serrano showing religious objects submerged in fluid such as blood and milk. It was being shown in an exhibition to mark 10 years of the art dealer Yvon Lambert's personal collection in his 18th-century mansion.

Last week the gallery complained of "extremist harassment" by Christians who wanted the image banned. The archbishop of Vaucluse, Jean-Pierre Cattenoz, called the work "odious" and said he wanted "this trash" taken off the gallery walls. Saturday's street protest against the work gained the support of the far-right National Front, which has recently done well in local elections..."

I found this article and image at: http://www.guardian.co.uk/world/2011/apr/18/andres-serrano-piss-christ-destroyed-christian-protesters
Follow the link to read more.



It just doesn't make sense to me that people think it's acceptable to destroy artwork as a means of protest. This whole series was really awesome, with various religious items submerged in liquids such as milk and blood. I'm pretty upset about this. Also, they slashed through the center of the photo. WITH AN ICEPICK. That seems to me like it's beyond repair.

Artist Manifesto

In my opinion, the most successful art serves a communicative purpose. It illuminates an idea, a narrative, or an emotion in a visual way. It supports and organizes information, with the goal of helping people see more clearly.

In no particular order, these are the qualities I want to bring to my own work:

1. I want to help other people solve communication problems. Conveniently, helping other people solve their communication problems is a fairly easy and fairly pleasurable way to make money. But creating visual solutions to real problems is also immensely rewarding on a non-monetary level. 

2. I want to be kind to the people I work for and with. Most people do not know how to synthesize, organize, and present information effectively. That doesn't mean that they are stupid or lazy. It just means that they need help from the people who can do these things well. Sometimes this is difficult to remember.

3. I want my work to convey a sense of joy, humor, and humanity. People, especially business people, are way too serious most of the time. They need to have more fun. I want to help them have it.

4. I want to master as many physical and digital media as possible. I believe that different communication problems require different types of visual solutions. My goal is to master a broad spectrum of media, techniques, and styles so that I can create relevant, appropriate work. Though my own personal style and taste will always color my work, I aim to become as stylistically diverse as possible.

5. I want to retain sympathy for the viewer. There are (at least) two types of artists: those who challenge themselves to communicate more clearly, and those who challenge their viewers to decode more rigorously. I want to be the first kind of artist. It is important to me that my work be accessible to average people. Ideally, it will be deep enough and rich enough that the rigorous decoders will be rewarded for their efforts, too.

6. I want to avoid snobbery, snark, and bitterness in my work. It is hard to cultivate quality without becoming a snob, it is hard to cultivate humor without stooping to snark, and it is hard to think critically about the world's problems without feeling bitter toward the world's people. I struggle daily to balance these dichotomies, but I hope that in life and in work I will manage to hang onto whatever remains of my original grace and generosity.

7. I want to make work I am proud to call my own. Shame is a terrible emotion. I hope to avoid it at all costs by doing the best work I am capable of doing.

How to Make Stuff

Guys, last month's Wired magazine had this really awesome section on how to build stuff. I thought some of you 3D rock stars might enjoy it:

Q&A: Open Source Electronics Pioneer Limor Fried on the DIY Revolution

Your Guide to 21 Awesome DIY Projects

How Four Makers Mastered Their Medium

The art of the Steal

The Art of the Steal   (Taken from Netflix)

"2009 NR 101 minutes

A gripping tale of intrigue and mystery in the art world, this film traces the history of the Barnes collection of Post-Impressionist paintings, which was worth billions and became the subject of a power struggle after the 1951 death of the owner. Dr. Albert Barnes collected 181 Renoirs, 69 Cézannes, 59 Matisses, 46 Picassos and many other valuable paintings. But the political wrangling over the collection eventually led to its division." - Netflix

 

http://movies.nytimes.com/2010/02/26/movies/26artof.html

Movie Review

The Art of the Steal (2009)

February 26, 2010

Manifesto From the Battle for the Barnes Collection

By MANOHLA DARGIS

Published: February 26, 2010

Money, power, race, a mansion stuffed with treasure, a city plagued by scandal — about all that’s missing from “The Art of the Steal,” a hard-hitting documentary about a high-cultural brawl, is a hot woman with a warm gun. At the heart of the movie, energetically directed and argued by Don Argott, is the celebrated Barnes Foundation, which houses a private collection in suburban Philadelphia (here, a city of brotherly love and loathing) groaning with European masterworks, African sculptures, Asian prints, American Indian ceramics, among other items. The foundation even owns a farmhouse furnished with decorative arts, and its surrounding 12-acre arboretum is filled with rare flora from around the globe.
It isn’t the Chilean monkey puzzle tree, though, that has had curators, academics, journalists and politicians pointing fingers and crying foul in recent years: it’s the art, especially the post-Impressionist and early Modernist paintings signed by the likes of Cézanne, Picasso, Renoir, Degas, Manet, Monet and Van Gogh. Amassed by a working-class striver turned collector named Dr. Albert C. Barnes (1872-1951), these paintings are the glittering prizes in the foundation that bears his name and that in total has been valued at more than $25 billion, though the collection is sometimes breathlessly described as priceless. In his will Barnes stipulated that the collection was to remain in its original locale, far from the reach of the Philadelphia elite he despised.
But contracts can be broken, wills challenged, legacies dismantled. And in the years after Barnes’s death, the collection became the focus of a fascinating fight among an array of interests. Much of the louder part of the battle involved its location: some wanted it to stay put, thereby honoring Barnes’s wishes. Others wanted it moved to Philadelphia, where it would be more accessible and, of course, could become a desirable, lucrative tourist attraction. Mr. Argott wisely doesn’t pretend that any of this is a mystery: shortly after some introductory text, he shows the former Philadelphia mayor John F. Street announcing the foundation’s planned relocation to the city, joking how he had biked past the original site recently and waved, “See you soon.”
Mr. Argott also doesn’t feign disinterest. As its title suggests, “The Art of the Steal” is nothing if not agenda-driven, having been paid for by a former foundation student, Lenny Feinberg, who — to quote the movie’s notes — “initiated, funded and was intimately involved in the making of ‘The Art of the Steal.’ ” That partisanship helps explain the movie’s vibrancy and sense of urgency. Construction on a new central Philadelphia home for the foundation began last year, and some galleries in the original building have already been closed for the expected move in 2012. Although a judge in 2008 refused to consider a request for a new hearing by opponents of the move, the fight continues off the screen and, now, on.
But while its bias enlivens the movie — nothing perks up talking heads like outrage — it eventually also weakens it. “The Art of the Steal” features loads of smart, witty, elegant tastemakers and cultural elites, including Christopher Knight, the art critic for The Los Angeles Times, and Julian Bond, the civil rights activist whose father once ran Lincoln University, the historically black institution to which Barnes willed control of his foundation. Both Mr. Knight and Mr. Bond have interesting things to say about the collection, its complex history and scandalous present. But because of how Mr. Argott has pieced together his movie, or, more precisely, constructed his argument — pitting critics and curators against less persuasive figures, like Pennsylvania’s bullish governor, Edward G. Rendell — these distinctive voices soon blur.
That’s too bad because surely there are more nuanced arguments for the move than those found here, which could only strengthen the documentary, saving it from caricature. At times the fight comes across as a smackdown between art snobs who want to preserve Barnes’s right to exhibit his masterworks however he wanted because, well, he paid for them (a curiously underexamined refrain), and vulgarians who want to turn his patrimony into tourist bait along with the Liberty Bell and an actor in a Ben Franklin getup. What remains unanswered, finally, is the larger question of whether deep pockets ensure custodial rights forever.
Even so, though Mr. Argott stacks the deck heavily, and while his movie is, like many documentaries these days, overly indebted to Errol Morris (enough with the Philip Glass already), “The Art of the Steal” is often very fine. Serving as his own cinematographer and working with the editors Demian Fenton and Judah-Lev Dickstein, Mr. Argott marshals a wealth of archival and new material, expertly weaving interviews together with still photographs, home movies, television reports, newspaper clippings and even charts. One weakness is the too-brief, tantalizing peeks inside the Barnes. Yet, like the movie as a whole, this limitation comes with dividends: it made me want to hop on a plane to Philadelphia as soon as possible to see the original before it’s emptied.
THE ART OF THE STEAL
Opens on Friday in New York and Philadelphia.
Directed by Don Argott; director of photography, Mr. Argott; edited by Demian Fenton; associate editor, Judah-Lev Dickstein; music by West Dylan Thordson; produced by Sheena M. Joyce; released by IFC Films/Sundance Selects. Running time: 1 hour 41 minutes. This film is not rated."

http://movies.nytimes.com/2010/02/26/movies/26artof.html

 

 

Pablo Coelho:

A little inspiration for your day:

"Tell your heart that the fear of suffering is worse than the suffering itself. And that no heart has ever suffered when it goes in search of its dreams, because every second of the search is a second's encounter with God and with eternity." 

— Paulo Coelho (The Alchemist)

Other artists we mentioned today

ana mendieta





cornelia hesse honegger







Gary Baseman





camille rose garcia

where do i begin..........

I define art the way I define creativity... it's a creative work, it has to be built...

we were looking at chuck close -  the sum of all these parts, boxes, that creats this image, that does this thing to you...  taking these peices, adding the human sprit that does something more.... it's something of him in it...  it's onoble, valuable... the whole post modern movement - nothing matters... it's like destruction... like a vat of paint...  not only am I not creating something-  i'm honering the element of destruction rather than creating

she's saying nothing matters...

Abby:  why is she saying that

Courntey:  it's something you can avoid

Matt:  you can't ecape it
you can deflect it... you're forced to wathc...
part of you goes, I don't want to watch - but you do....  it's the point of her work.. 

is this errotic, is this offensive???  do


Courntey:  it's like the woman with the box allowing men to grope her - and later they get how wrong it is.
it's about the conflict

Matt:  it's asulting the viewer....  i was interested and looked and now I feel ashamed that I looked.  She gave this fertility thing

Abby:  i think she filmed this in serbia...  she got the concept...  i believe it's real and not filmed


Marhia:  I think it's offensive that people find it offensive.  why is bearing her breasts wrong, it was her choice...  shes comfortable with her body

Matt:  I felt concerned for her - what would make you want to do this?  not just expose yourself, but to make you want to use your body to assult people who go by?

Marhia:  why is it anassult?
Abby:  that's really unfair.. her body is her work, but you see art photos, sculptures, all of women's breasts - and there is no problem with it..  it might be the element of time - that it's video

Matt:  it's the statement...  not her breasts

Cortney:  what if the statement is i like my body ?

Abby:  I think it's degrading to say that you are worried about her.  She'san artist she's choosing what to do...  her body is her canvas...  you're not giving her enough credit as an intellectual and a choice

Cortney:  she cast herself.  it's not like it's someone else

Matt:  I know she wants to  - but my concern about it - i feel like art should be building up - rather than taking it appart.

it feels like the statement doesn't really matter

I don't have anything to hide.. modesty doesn't matter

Marhia:  is it the lack of modesty that offends you, or is it the statement

Matt:  it's like the same statement - the creation process doesn't matter

Abby:  I'm not clear on what shes destroying

Courtnet:  she's destroying societies expectations that women should stay covered up

Abby:  in Serbia - there are topless beaches
Cornty: but shes showing it in america
Marhia:  but why are breasts always sexual
Jeff:  it's more of an informative piece  -it's a freedome of expression, if she hadn't allowed herself to do it in a museum - showing the actula act  - is the art

Matt:  so is any expression art?
I think there aresome that don't

her point was to make me drawn it..... 
and then to turn it around "ha you looked

Jeff:  i think it's the conflict of one's self.  I haven't seen it,  -  but knowing about it - now i see it as informative not sexy

Abby:  it is kinda sexy

Matt:  in an american gallery - it does feel sexy
cultural

MArhia:  but why should it just make men feel uncomfortable?  I apprecaited the sexieness of it - but I don't feel like i should feel bad about it.  WHy is America so worked up about Sex?  everyone has it

Matt:  but she's definitely trying to make the viewer uncomforatble.  I see that as low art... I can take a photo that is offensive nad graphic...  but vs. chuck close - hours and hours of work..


Marhiia: she's tearing someting down?

Matt:  socoal constructs and sexuality

Abby:  Yes please - could we please tear those things down?

Coruntery;  i think the only thing that bothered me is that it was in public, and that people could judge me

Abby:  what would you think if this was an actual live performance????
she does preform live?

Matt:  just because it's a video...
the medium makes it art

Marhia:  i think it's mocking media
cournty:  she had some dramatic angles

Abby:  I think she's more dedicated to art than other artists, she's almost died doing some of her performances, she walked the wall of china, and walked and met in the middle, and then broke up..

this is such a great discussion
Abby:
what is art???

is it an instense life????

I have the balls to make a painting, but not the guts to do what this woman does

Marhiha:  i think this is what she wanted

Matt;  I feel the way that I define art -

chloe:  activism for arts sake

Abby:  she's not a young woman anymore..  it's not like she was an 18 year old porn star 

chloe:  a lot of art that is more activiim -  a statement to be a statement....


Jeff:  like graphitii?

Chloe:  but if it's activiskm like tags
like Banski does art and then there are people who do gang stuff and swwear words and

speaking of origami...

ok this really isn't related to what we're learning directly, but it's relevant to all of us forever.

THIS IS HILARIOUS

re-examining -- Winslow Homer's The Gulf Stream (1899) vs Gulf Stream Kerry James Marshall 2003

http://collections.walkerart.org/item/object/11870

yves klein's

     



Chloe:  i don't agree with that   often i regect a work until i hear and learn about the context
Abby:  I'm really enjoying art history because I'm seeing the context and why they were so important.

Chloe:  Van Gough - i get it now
Abby:  what is a museum?? - a place where this work is REALLY out of context

Are galleries - what is the purpose?
- who is the intended patron


curation  - there are reasons... but it's not apparent unless you are steeped in the history

Abby:  I hate Eves Cline - the whole body of work didn't make me like it.
Abbi:  but he made" the pigment

Matt:  is it important that the artists tells people about their work????  Do you need

Courtney: I think you need just enough.  just enough to start an idea - but you can branch off...  lets you be fluid in seeing what you want to

Chloe:  want something to hook you in
Matt:  i think it's part of the artists job to be clear about what they are doing rather than provide you with a vat of paint.... 

Abby:  I'm o.k. with having to work for it - I may get it or not

Matt:  I want people to be clear about what you're saying... so we can have ad ialog

Mariah:  part of art that is so awesome is the mass about of ways something can be interpretaed, and the ways it's loved and hated.  That's the connection and people'sconnection to it - it's realative

Abby:  it's like a joke, knock knock jokes, no one over the age of 3 likes them because you don't have to work for it.  If you feel a little smart for getting it - reward. 
the Milton Glazer - I heart NY - before it was just a little bit of a puzzle....  people love puzzles

Matt:  the vat of paint, you didn't give me anything other than having to have me do research about it, if you didn't care enough to give me a statement.. why should I care

Chloe:  it's a little narsistic

Matt:  maybe it's about achivement and status?

Abby  but you g back to Ives line - he was part of an art world darling, he was a big personality...  I don't think a smaller personality would have gotten away with the work he did

Chloe:  I think the puzzle analogy really makes sense to me

Abby:  people love Mystery novels
if you figure it out too early, you cease to be interested....
I thnk someone who ames a color after himself....


his work was about a visual affect
almost like  a trippy experient
"did that blue not next before"

group  = IT EXISTED

Matt:  "that couch is the same color"

No one did it before.
and the fact that we are still talking about it....

Not Art?

I had to change the piece I chose to something I could expand a little more on, so this is the Walker piece by Carmen Herrera "Untitled" that I don't think is art.

Infographic

Is the AT&T/T-Mobile deal anticompetitive? You decide:

Is this real life?

I love stuff like this: .
It's shadow art, made from shaping random objects and projecting light onto it. My favorite are the slightly bent pieces of paper that have shadow-faces coming out of them.

A Hateable Work from the Walker

Etching, aquatint on paper. 1987.

This is a Sol LeWitt piece from the Walker. Next week I'm going to write about why it's hateable.

Okay, it's this week now! This morning in OAD we discussed the merits of this piece as well as several others, with the Marina Abramovic piece generating the best debate vis-a-vis "Is It Art?"

I said much of this in class, but here it is in writing, for points, because that's how school works:

I find this Sol LeWitt piece , like many of Sol LeWitt's pieces, boring and ugly. It's just four triangles on a grey background, and there's little in the colors or the composition to capture or hold my interest. It's a blah piece, and if I'd seen it on its own on a museum wall I would have walked right past.

But I didn't see it alone. I saw it as part of the Walker's recent Sol LeWitt exhibition. I saw it in its proper place, as one of a series. Here are a couple more from that series:

And because I saw it in a series, and because I saw it in the context of Sol LeWitt's larger body of work, I saw it as art. I see it as art. This assignment was an excellent reminder of how important context is in determining what art is, and what art is not. These pieces, with their repetition and their reliance on simple forms, fit so well into the artist's oeuvre. His work, as some random Wikipedia person put it, "is not about the singular hand of the artist; it is the ideas behind the works that surpass each work itself." Of course, it is easy for the ideas to surpass the work when the work is as ugly as this one. (Some of the other pyramids, like the ones above, incorporate a more attractive color scheme; the one with the yellow background is my favorite. We must also remember that these pieces are from the eighties, when some of these colors were a little more au courant than they are today.)

One of the main failures of this piece, in my opinion, is that the idea behind the work is not particularly apparent. Is this a color study? A shape study? I'm not sure what Sol LeWitt was aiming at when he made these pyramids. There was a Sol LeWitt quote on one of the walls at the Walker. I didn't write it down, but it went something like this: "It is meaningless. That is art."

Sometimes, I guess meaningless is enough to satisfy me, so long as there's lots of meaningless stuff on display, an entire life's work worth of meaningless stuff.

we're going to watch.............................

We;re going to watch the film  "Beautiful Loosers"

Making you watch "Helvetica", or talking about what is the magic that makes art art.........  I felt guilty, wrong, I think it's better to be inspired  - inspired by doing.

Bring coloring tools:
drawing, etc...

use your visual notebook, make art while we watch this.
I feel this is more where "ART" is going... something honest and simple.  Some place between graphics & art - film, photo, fashion.....  good times




the work of:

Margret Kilgallen
 



Barry McGee

 


Thomas Cambell

 



Jo Jackson












Shepard Fairey
 



Chris Johnson

 


Geoff Mcfetridge





Mike Mills




Harmony Korine
 



Stephen Powers
 






Ed Templeton
 
.......  and more