Monday, October 11, 2010
Sunday, October 10, 2010
Artist #6 M. W. Burns
Artist #6 M. W. Burns Sound Art
Extra something to think about:
Sound in Context (Full Film) from Sound and Music on Vimeo.
why: Although this artists website does not have resent work I am curious about sound and incorporating that into what I could be doing with my work. I am exploring sound and the effects words or sound has on individuals that may or may not be aware that sound will be incorporated in an instillation. I really enjoyed the 2001 audio clip of the Observer that Burns has on his website. As i continue to explore sound I am sure I will find more current sound artists to talk about.
Artist Biography From artists website: M.W. Burns is a Chicago-based audio artist using sound to conceptually activate space. Many of his recent installations rely on tactics of public address, projecting the voice into existing urban conditions. Other projects integrate pre-recorded sound into an environment, instigating the perception of events taking place. Burns has had solo exhibitions at the TBA Exhibition Space, Chicago; Northern Illinois University Art Museum; Tough, Chicago andthe Lab, San Francisco. His sound installations have been included in numerous group exhibitions, including the 2000 Whitney Biennial at the Whitney Museum of American Art, New York; Sound/Video/Film, the Donald Young Gallery; Contextual: Art and Text in Chicago, at the Chicago Cultural Center; Time Arts at the Museum of Contemporary Art, Chicago; The Body at the Renaissance Society at the University of Chicago; and Takeover at the Hyde Park Art Center. Other projects include Sound Canopy, a public sound system supporting audio work created to participate in the urban environment.
Quote 1- " Sound art is a diverse group of art practices that considers wide notions of sound, listening and hearing as its predominant focus. There are often distinct relationships forged between the visual and aural domains of art and perception by sound artists.
Quote 2- "
M. W. Burns SOUND WORK. Web. 11 Oct. 2010. <http://dotminus.net/index.html>.
- a link to an interview with the artist or a review
MoCPhttp://www.mocp.org/exhibitions/2001/10/audible_imagery.php
link to gallery representing artist
N/A
http://www.coroflot.com/public/individual_activity.asp?from_url=true&job_seeker_id=275910&
link to artist website
http://dotminus.net/index.html
WORK:
http://dotminus.net/id13.html
Extra something to think about:
Sound in Context (Full Film) from Sound and Music on Vimeo.
why: Although this artists website does not have resent work I am curious about sound and incorporating that into what I could be doing with my work. I am exploring sound and the effects words or sound has on individuals that may or may not be aware that sound will be incorporated in an instillation. I really enjoyed the 2001 audio clip of the Observer that Burns has on his website. As i continue to explore sound I am sure I will find more current sound artists to talk about.
Artist Biography From artists website: M.W. Burns is a Chicago-based audio artist using sound to conceptually activate space. Many of his recent installations rely on tactics of public address, projecting the voice into existing urban conditions. Other projects integrate pre-recorded sound into an environment, instigating the perception of events taking place. Burns has had solo exhibitions at the TBA Exhibition Space, Chicago; Northern Illinois University Art Museum; Tough, Chicago andthe Lab, San Francisco. His sound installations have been included in numerous group exhibitions, including the 2000 Whitney Biennial at the Whitney Museum of American Art, New York; Sound/Video/Film, the Donald Young Gallery; Contextual: Art and Text in Chicago, at the Chicago Cultural Center; Time Arts at the Museum of Contemporary Art, Chicago; The Body at the Renaissance Society at the University of Chicago; and Takeover at the Hyde Park Art Center. Other projects include Sound Canopy, a public sound system supporting audio work created to participate in the urban environment.
Quote 1- " Sound art is a diverse group of art practices that considers wide notions of sound, listening and hearing as its predominant focus. There are often distinct relationships forged between the visual and aural domains of art and perception by sound artists.
Like many genres of contemporary art, sound art is interdisciplinary in nature, or takes on hybrid forms. Sound art often engages with the subjects of acoustics, psychoacoustics, electronics, noise music, audio mediaand technology (both analog and digital), found or environmental sound, explorations of the human body, sculpture, film or video and an ever-expanding set of subjects that are part of the current discourse of contemporary art.[1]"
Citation from Wikipedia:
Attali, Jacques. 1985. Noise: The Political Economy of Music, translated by Brian Massumi, foreword by Fredric Jameson, afterword by Susan McClary. Minneapolis: University of Minnesota Press. ISBN 0-8166-1286-2 (cloth) ISBN 0-8166-1287-0 (pbk.)
Citation for wikipedia:
Gann, By Kyle. "Sound Art." Wikipedia, the Free Encyclopedia. Web. 11 Oct. 2010. <http://en.wikipedia.org/wiki/Sound_art#cite_note-0>.Quote 2- "
Since sound simultaneously occupies physical and psychological space, I think of sound installation as injecting something into the space between the observed and the observer. The work is something understood as present and something that includes you. " M. W. BURNS
M. W. Burns SOUND WORK. Web. 11 Oct. 2010. <http://dotminus.net/index.html>.
- a link to an interview with the artist or a review
MoCPhttp://www.mocp.org/exhibitions/2001/10/audible_imagery.php
link to gallery representing artist
N/A
http://www.coroflot.com/public/individual_activity.asp?from_url=true&job_seeker_id=275910&
link to artist website
http://dotminus.net/index.html
WORK:
http://dotminus.net/id13.html
Thursday, October 7, 2010
Idea post #6 October 7th, 2010
Idea Post #6
Frustration/ discouragement
Relation to my work:
This week I have become frustrated and discouraged about creating work in all of my classes. I need to get over it and start making work again. This week with my Idea post I was hoping to get a better sense of other peoples solutions to frustration. I had no idea before looking this up that discouragement was a religious word. . . non religious people get frustrated too. (and its not because they need more god in their life I don't believe.)
Quote 1:
"Most, if not all, artists have times when they are discouraged about their work, or about how their work is received. Certainly if we look at artists from the past, many of the best ones struggled financially, emotionally, professionally, or all of the above. As sports players have slumps, artists go through periods that are fallow or difficult, when nothing seems to work, or we can't find the key, or we feel like we are laboring in obscurity."
Although this website seems to be from a small artist, Her article intro was nice. Although we all seem to know that everyone gets discouraged when it comes to creating art it always seems nicer when we hear someone else telling us its true.
Contemporary Fine Art, Art Instruction, Art History, Ancestor Portraits, and Irish and Immigrant Images by a Professional Artist. Web. 07 Oct. 2010. <http://www.ndoylefineart.com/index.html>.
Quote 2:
I as looking for a quote that had the 'get over it' feel. I found.
“To escape criticism – do nothing, say nothing, be nothing.” -- Elbert Hubbard
Boddy-Evans, By Marion. "Artists Quotes Criticism -- Artists Quotes on Dealing with Criticism." About.com Painting -- Learn How to Paint, Painting Tips, Creativity. Web. 07 Oct. 2010. <http://painting.about.com/od/artandartistquotes/a/quotescriticism.htm>.
Elbert Hubbard was a writer in the mid 1800's to early 1900's. I found the quote on a website with many other quotes, which normally I would avoid at all coast but I found this quote to be highly fitting.
Monday, October 4, 2010
Julika Rudelius Artist Lecture Questions
Artist lecture October 5th, 2010
http://www.rudelius.org/
- What was the most interesting quote of the lecture and why?
I very much enjoyed that she noted that her projects were "triggered by anger or discomfort"
- Using three words, define the core of the artist's practice and artwork.
predetermined, untrue, controlled
- What is the most interesting thing you learned about the artist that you did not know before?
I did not know that her subjects were prompted to behave the way she thought would create the known reaction, or a reaction.
- What image or artwork do you find the most compelling and powerful after hearing the artist describe it?
Compelling and powerful maybe an overstatement but I found the women of the Hamptons to be pretty shocking.
- Do you have any new questions in regards to the artist?
what would happen if they behaved the way they did normally? I wonder how compelling they would or wouldn't be...or if the spontaneity would be interesting.
Two Questions:
In past interviews you said your work is about body language and feeling uncomfortable. do you do things in your videos that creates an outcome that you intend to happen? or are things organically created?
it was very clear that she had a decided outcome for her videos so she would direct the subjects or prompt them with questions.
What is the purpose of splitting the video up into multiple screens of information? (like in the first work you show in the attached lecture?)
She mentioned the use of multiple screens and each having their own subtitles, but I did not catch her logic behind splitting them up.
|
http://www.rudelius.org/
- What was the most interesting quote of the lecture and why?
I very much enjoyed that she noted that her projects were "triggered by anger or discomfort"
- Using three words, define the core of the artist's practice and artwork.
predetermined, untrue, controlled
- What is the most interesting thing you learned about the artist that you did not know before?
I did not know that her subjects were prompted to behave the way she thought would create the known reaction, or a reaction.
- What image or artwork do you find the most compelling and powerful after hearing the artist describe it?
Compelling and powerful maybe an overstatement but I found the women of the Hamptons to be pretty shocking.
- Do you have any new questions in regards to the artist?
what would happen if they behaved the way they did normally? I wonder how compelling they would or wouldn't be...or if the spontaneity would be interesting.
Two Questions:
In past interviews you said your work is about body language and feeling uncomfortable. do you do things in your videos that creates an outcome that you intend to happen? or are things organically created?
it was very clear that she had a decided outcome for her videos so she would direct the subjects or prompt them with questions.
What is the purpose of splitting the video up into multiple screens of information? (like in the first work you show in the attached lecture?)
She mentioned the use of multiple screens and each having their own subtitles, but I did not catch her logic behind splitting them up.
Artist Entry #5 Tina Barney Monday October 4, 2010 :
Artist Entry #5 Tina Barney: Monday October 4, 2010 :
- Small paragraph explaining why you have chosen this artist in relation to your Studio practice
When I found Tina Barneys' photographs I was immediately struck by the eye contact and strangeness of the individuals in the photographs. I had been wanting to achieve a strange oddness in my photos that did not come across cheesy or immature. I find there to be a guarded hollowness in her photographs that I find disturbing. There is a lot of technical things I find appealing about her photographs though.
- Artist Biography (can use quotes from critics or galleries)
Born in New York, New York in 1945, Barney now lives and works between Rhode Island and New York City. Barney has had a multitude of solo and group shows some more resent have been; “The Portrait. Photography as a Stage”, Kunsthalle Wien, Austria“, "The Art of Caring,” New Orleans Museum of Art, and New Orleans, LA, and “The Portrait. Photography as a Stage” Kunsthalle Wien, Vienna in 2009. Barneys' editorial work has been in such publications as, The New York Times ,The Daily Telegraph, W Magazine, The Fashion, and Vogue Homme
- 2 Quotes - provide quotes with MLA citations commenting on ideas you are interested in the artist you are highlighting
"A narrative is suggested, but as the title [Marina’s Room, 1987] implies, the picture is as much about the things found in the room, as it is about the people who occupy it."
Museum of Contemporary Photography. Web. 03 Oct. 2010. <http://www.mocp.org/collections/permanent/barney_tina.php>.
“When people say that there is a distance, a stiffness in my photographs, that the people look like they do not connect, my answer is, that this is t)he best we can do. This inability to show physical affection is in our heritage.” While the myth that material comfort ensures personal contentment is an alluring one, "
(although my photographs will span all economic stature not just the elite like Barneys' this disconnect between individuals is still apparent.)
"So the Story Goes." The Art Institute of Chicago. Web. 02 Oct. 2010. <http://www.artic.edu/aic/exhibitions/story/barney.html>.
- a link to an interviewwith the artist or a review
interview
- link to gallery representing artist
http://www.janetbordeninc.com/artists/Barney
- link to artist website
http://www.gallery339.com/html/artistresultsFull.asp?type=All
http://www.janetbordeninc.com/artists/Barney
- 4 images
- Small paragraph explaining why you have chosen this artist in relation to your Studio practice
When I found Tina Barneys' photographs I was immediately struck by the eye contact and strangeness of the individuals in the photographs. I had been wanting to achieve a strange oddness in my photos that did not come across cheesy or immature. I find there to be a guarded hollowness in her photographs that I find disturbing. There is a lot of technical things I find appealing about her photographs though.
- Artist Biography (can use quotes from critics or galleries)
Born in New York, New York in 1945, Barney now lives and works between Rhode Island and New York City. Barney has had a multitude of solo and group shows some more resent have been; “The Portrait. Photography as a Stage”, Kunsthalle Wien, Austria“, "The Art of Caring,” New Orleans Museum of Art, and New Orleans, LA, and “The Portrait. Photography as a Stage” Kunsthalle Wien, Vienna in 2009. Barneys' editorial work has been in such publications as, The New York Times ,The Daily Telegraph, W Magazine, The Fashion, and Vogue Homme
- 2 Quotes - provide quotes with MLA citations commenting on ideas you are interested in the artist you are highlighting
"A narrative is suggested, but as the title [Marina’s Room, 1987] implies, the picture is as much about the things found in the room, as it is about the people who occupy it."
Museum of Contemporary Photography. Web. 03 Oct. 2010. <http://www.mocp.org/collections/permanent/barney_tina.php>.
“When people say that there is a distance, a stiffness in my photographs, that the people look like they do not connect, my answer is, that this is t)he best we can do. This inability to show physical affection is in our heritage.” While the myth that material comfort ensures personal contentment is an alluring one, "
(although my photographs will span all economic stature not just the elite like Barneys' this disconnect between individuals is still apparent.)
"So the Story Goes." The Art Institute of Chicago. Web. 02 Oct. 2010. <http://www.artic.edu/aic/exhibitions/story/barney.html>.
- a link to an interviewwith the artist or a review
interview
- link to gallery representing artist
http://www.janetbordeninc.com/artists/Barney
- link to artist website
http://www.gallery339.com/html/artistresultsFull.asp?type=All
http://www.janetbordeninc.com/artists/Barney
- 4 images
Wednesday, September 29, 2010
Idea post #5 Thursday September 30, 2010
Idea post #5 Thursday September 30, 2010
Topic: Social conformity
Quote 1:
"Three major and universal characteristics of human nature are involved in issues concerning individuality and social conformity. First is the conservative tendency in the physical part of our human nature which seeks safety and security and clings to that which offers that security and resists all new impacts and changes that threaten to disturb the source of that security. This is what I referred to earlier as habit and unwillingness to change in my posting in the individuality forum. There is a second urge that seeks activity and interaction with other people though on the basis of established tradition and usage. There is a third urge which is a product of our unique mental creativity which sets us apart from other organisms. This mental urge seeks change and improvement by applying our mental powers of invention and discovery to favorably modify the environment around us." "Individuality and Social Conformity | World Academy of Art & Science." World Academy of Art & Science | UNITY IN DIVERSITY. Web. 30 Sept. 2010. <http://www.worldacademy.org/forum/individuality-and-social-conformity>.
Although this comment from Ashok Natarajan seems blog like or conversational. The information discussed does not seem ill-advised. The intellectual insight into group thought process and why individuals conform was fascinating. in the small section I quoted he breaks down three reasons.
Quote 2:
"The present study explains why we often automatically adjust our opinion in line with the majority opinion," says Dr. Klucharev. "Our results also show that social conformity is based on mechanisms that comply with reinforcement learning and is reinforced by the neural error-monitoring activity which signals what is probably the most fundamental social mistake—that of being too different from others."
In the quote Dr. Klucharev explanes the findings of the experiments they completed. The scientific explanations of the monitoring of the brain in relation to conformity was very interesting and provided a different less emotional reasoning behind social conformity.
Relevance to my work:
In my work it seems to be a social structure to be accepting of this loss of community. this idea of social conformity shows up in my other ideas, such as this protection mechanism of filling your space and life with belongings. I find the scientific explanation as well as the emotional explanation to be very interesting in understanding the tendencies of humans.
Monday, September 27, 2010
Miguel Palma Lecture Question/Response
"Miguel Palma is a Portuguese artist who creates large-scale installations out of industrial and used objects that often take the form of intricate, self-sustaining systems. Since 1989, Palma’s projects have explored matters related with the world’s hurried technological development, proposing alternative (and ironic) paths to this hunger of new."
http://www.vcu.edu/arts/sculpture/dept/visiting/visiting_home.html
miguel-palma
Questions for the artist:
It has been said your, " work also examines the social practices and impacts that develop from technologies." and that you are "particularly interested in ideas about reciprocity and value. " do the things you create, have more value after or is their value the same just in a different light. brought to our attention by its new form?
As addressed in his Reconstruction project. The value of the oriental vase increased dramatically.
Your work also seems to play with scale. From very large to very small. What seems to be more effective in conveying the intended message?
seems that large scale projects have a more aw inspiring feel. However the small scale projects create an intimacy that is otherwise .
- Using three words, define the core of the artist's practice and artwork.
scale, abundance, earth.
- What is the most interesting thing you learned about the artist that you did not know before?
I did not know that he thought of his work at " low budget" when some of his large scale projects are clearly not.
- What image or artwork do you find the most compelling and powerful after hearing the artist describe it?
the collections
- Do you have any new questions in regards to the artist?
http://www.vcu.edu/arts/sculpture/dept/visiting/visiting_home.html
Questions for the artist:
It has been said your, " work also examines the social practices and impacts that develop from technologies." and that you are "particularly interested in ideas about reciprocity and value. " do the things you create, have more value after or is their value the same just in a different light. brought to our attention by its new form?
As addressed in his Reconstruction project. The value of the oriental vase increased dramatically.
Your work also seems to play with scale. From very large to very small. What seems to be more effective in conveying the intended message?
seems that large scale projects have a more aw inspiring feel. However the small scale projects create an intimacy that is otherwise .
| Rescue Games, a Prosepct.1 New Orleans installation by Miguel Palma |
What was the most interesting quote of the lecture and why?
The lecture was slightly hard to follow, but I enjoyed his discussion about collecting things. he said this in regards to his shelves of cars, "its part of my obsession, I keep adding and buying cars"
The lecture was slightly hard to follow, but I enjoyed his discussion about collecting things. he said this in regards to his shelves of cars, "its part of my obsession, I keep adding and buying cars"
- Using three words, define the core of the artist's practice and artwork.
scale, abundance, earth.
- What is the most interesting thing you learned about the artist that you did not know before?
I did not know that he thought of his work at " low budget" when some of his large scale projects are clearly not.
- What image or artwork do you find the most compelling and powerful after hearing the artist describe it?
the collections
- Do you have any new questions in regards to the artist?
I wish there wasn't technical difficulties and he would have spoken more about his intent behind some of his projects.
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