Senior Studio

[amani-seniorstudio]

Visualize the Show

As I've continued working this term I've become very unsure what my final project will look like. My latest brainstorm uses the portraits I've taken and working over them directly on the gallery wall, and as backup using just the portraits. It's hard for me to visualize the outcome in the gallery, but I suspect it will be attached directly to the wall of the gallery

The reality:

Print portraits (13x19 paper)

Hang portraits (how?)

Make work

[amani-seniorstudio]

PREVIEW: "[Being bi-racial] can be useful, but annoying."

[amani-seniorstudio]

PREVIEW: "Being biracial is full of assumptions."

[amani-seniorstudio]

Midway Video Reflection

[amani-seniorstudio]

PREVIEW: "Race is something to be valued."

[amani-seniorstudio]

PREVIEW: "I am completely misunderstood."

[amani-seniorstudio]

PREVIEW: "Being bi-racial is challenging, but unique."

[amani-seniorstudio]

PREVIEW: "I don't know how to identify."

[amani-seniorstudio]

Group Critique: Notes #2

In our second group critique I brought up the question of whether or not I should really write over my photos. I explained Ms. Patel's thought that it may distract from the photos taking away from the personality one can feel from a simple portrait. My group members expressed that they enjoyed the experiments I had done so far with the writing. We discussed whether this should directly overlay my photo or be on a separate clear sheet an inch or two from the photograph so the viewer can have a full experience of the portrait as well. Still not sure where this will go in my final project...

I also talked about my process of photographing. I explained my plan to photograph subjects as well as video and audio record my conversations with these subjects so I can return the the information they share with me later on. One group member alerted me to the fact that the video piece may make some individuals uncomfortable and deter people from wanting to participate in my project. This wasn't something that had even crossed my mind, so it was great to have it brought to my attention. However, having a video also felt like an important piece to me to document this journey and the audio serves as backup so I can ensure I have captured the conversation. As I've begun to photograph my subjects, I've started by asking their permission to video if they are comfortable. So far, everyone has been very open to it, but if I photograph subjects who would rather not be videoed I will have the conversation when I've finished photograph so I can take notes.

[amani-seniorstudio]

Documentary Storytelling (Ms. Roberts Meeting)

I have two options, which have very different messages: I may decide I want to photograph bi-racial subjects and use my words and my poetry to convey my experience being bi-racial. I could also let my subjects take me on a journey. Treat this as more of a documentary portrait project. Let bi-racial subjects tell me their stories. And, in that case maybe I don't need to know exactly what it is I'm going to do with my final photographs. They will tell me.

When it comes to subject I'm also stuck in between. Are they all unknown (from outside of the Beaver community)? This means everyone will have an initial reaction to the face they see. Everyone will form an assumption only to have that broken by whatever story I chose to tell. Or, are they subjects from within Beaver. Maybe the audience will learn something new, unexpected. Maybe they will see familiar faces and still be surprised by the stories being told.

It's time for me to decide what Amani wants to do, take a break from looking at other artists and just DO. This could mean talking or photographing. It might also be writing, my writing has been another source of exploration and ideas.

Ultimately what do I want this project to look like visually. All these are ideas I am going to be exploring for a long time. So, right now, it's time to focus on senior studio.

Turn up my music.

[amani-seniorstudio]

Ms. Patel Meeting

Passport/Identification. What if I showed some sort of identity card for each subject I photograph? Of course omitting private information for security.

Location. What if I asked my subjects where THEY want to be photographed. Choose a spot that holds some meaning to them and let them take me on a journey. As long as the background is fairly blank this could be anywhere.

Lighting. Use windows, try for daytime. Natural lighting is best

What do I want to ask my subjects? What kind of conversation do I want to direct? Do I want them to scribe, do I want to scribe, do I want a voice recording? All these are things to think about in terms of the content of the message I am trying to send.

Think about how I want to use maps/words. People may not be willing to have me write on their bodies, and is this what I really want? Writing directly on the portrait can also distract for the photographs. Is it taking away from the connection I want my viewers to make? For example, Emma is quiet, her portrait is quiet, the words across her are making noise. Does the map take away from seeing Mr. Yeoh’s face? What is I write/print on transparency that is hung with a few inches separating it from the photograph… this might help see both the photo and the message.

Maybe stick with the natural straight on pose, hands clasped together. Keep the hands. Hands can tell you a lot about a person, they are interesting.

Carry a stool around? Regardless of location everyone will be sitting at the same height

Go to kinkos/staples and get paper samples, decide on size and material (weight)

[amani-seniorstudio]

Aren't we all just shades of brown?

[amani-seniorstudio]

Logistics

I've been thinking some about the logistics of my final project and what potential challenges I need to consider. I love the idea of taking portraits of previously unseen or unknown subjects, but this most likely means I cannot take my photographs at school. This poses several challenges.

Background? My initial thought was a white backdrop so as not to distract or take away from the rest of the piece at all. Where will I find/how will I create this?

Lighting. I don't own my own lights so I have to consider how it will be possible for me to create an environment where I can produce well lit photographs

Projector... I've been thinking about projecting directly onto my subjects. Is this still something I want to try? How?

Subjects. Who? How will I get access to these people? Where and how will I make time and space for them? All things I need to start thinking about and brainstorming now. Possibly talking to family friends, members of my synagogue, friends of my parents. How can I reach further than this?

Another logistical piece I have to consider is size. Right now I am thinking somewhere in the area of 20x24. I will need to consider not only how and where I will print my photographs to this size, but also any transparency I am going to overlay (and what the cost of these things might be).

[amani-seniorstudio]

[amani-seniorstudio]

Art and Fear: Conceptual Worlds

What is the difference between craft and art?

There is a fine line between the definitions of craft and art. Both encompass rather large bodies of work, and thus it is difficult to draw a clear distinction. However, when reading the article three defining points stuck out to me. 

"A work of craft is typically made to fit a specific template... with craft, perfection is possible" Craft is the act of making something that may be painstaking difficult, or not, but there is an end goal a replica one is trying to create, a pattern one is trying to fill. There is a template and there is a "correct" result, which is what makes perfection attainable.

Art is the creation of something new, or possibly the repetition of many old things combined in a new fashion, but regardless "art is less polished -- but more innovative -- than craft." In art making, no matter how hard you try, you can never reach perfection. There is no set standard or template which the artist is trying to fill and therefore what one artist is doing at one moment is entirely new and different (even if the same thing has been attempted by another artist at a different time, something about their influences or circumstances were different). Art requires more "outside-of-the-box" thinking in order to create something new, but unlike craft I would argue that art itself cannot be mastered because it cannot be perfected. An artist might master a particular brush stroke or be skilled in a specific medium, but given different circumstances their work would be completely different.

"Art lies embedded in the conceptual leap between pieces, not in the pieces themselves." Since art cannot be perfected, much of it is left up to the artists interpretation of the world around them. Five artists could be surrounded by the same environment, and each would certainly make a different piece of artwork. Each artists' second piece of work would again be different from the others and from their own initial piece. To me, this says that not only is art a reflection of what each individual knows to be true, but art is also what the artist has opened their eyes to and learned since the creation of their first work.

What do the authors mean when they refer to artist habits as a style? What is your style as an artist?

Every artist, just like every person in the world, picks up different nuances as they walk through the world. Each of these small details that some of us register more than others become the unique habits of each artist. A habit could be always curving strokes in a specific manner or always using a certain hue of green, but what the authors have found in common with every artists' habits is that they are visible throughout their works. However, the authors do mention that it is only when an artist gets comfortable in their own work and begins to add their own personal touch that these habits show through. Many times in an artists' early works (even the best!) it is the habits of their teachers' or others who inspire them that are visible in the art.

"All art is autobiographical?" Based on what you read what is your opinion.

I firmly believe that all art is autobiographical. This may be literally and concretely exploring one's identity or taking a self portrait, or it could be a subconscious pull towards creating anything that appeals to the artist. Whatever the outcome of the piece, something drew the artist to the initial idea, and this says as much about their identity as the artwork itself. When the art is about someone else or in an aim to send a larger message to society, the artist's interest in their subject is still very much autobiographical. Even when drawing a still life or creating a replica of a previous work, the artists interpretation still adds a twist to the final artwork.

[amani-seniorstudio]

208 Squares, Week 6: “Maybe”

[amani-seniorstudio]

In what ways can art live in (and out of) the gallery?

Tony Oursler 1&2

I absolutely love Tony Oursler's first piece, with the eyes. From what I can see in the picture, his piece uses the entire room of the gallery space. He uses various levels and sizes to show his work, and the eyes seem to be projected on the wall and suspended from the ceiling. My favorite thing about this piece is that the viewer is obviously looking at the work, but the way the eyes are placed about the room give the illusion that the art is staring right back at the viewer. The second photo is also a Tony Oursler work. Here, too, there are many similarities in his use of lighting, size, and again the use of facial features. At first glance I thought each profile was a replica, but when I looked closer I noticed subtle differences. In the largest profile, the lips are slightly parted. In the smallest, the eyes seem to be completely closed. What I enjoy particularly about this is the work of art seems to be pretty large and definitely draws an initial attention to itself because of it's size, the lighting and the variation of size within the piece. But I also love how you have to look at the piece a little longer to notice other subtle differences, like there is more to be discovered.

Shepard Fairey 3&4

While I also looked at some of the work Shepard Fairey has shown inside galleries, my favorite pieces of his were outdoor works. In terms of purely visual effect, I love the way the colors make every image pop. I love the large scale look of his work and, as in the two images above, I love the way there are seemingly many different images that may not quite be related but still flow easily into one another. Shepard Fairey's work covers a large subject matter. He has done political artwork, graffiti, pop art, business art, "appropriation art", as well as much more. It's interesting to me that he has covered such a wide spectrum, and it makes me wonder whether he has personal preference for where each of these is shown. For example, it seems to me that more political pieces might have more impact as street art, but of course they could be eye-catching in a gallery as well.

Kara Walker 5

"'Most pieces have to do with exchanges of power, attempts to steal power away from others.' —Kara Walker

Kara Walker’s work is layered with images that reference history, literature, culture, and the darker aspects of human behavior. Connecting all of her work is an examination of power. The characters in her environments display power struggles of all kinds: physical, emotional, personal, racial, sexual, and historical."

As an artist who explores such big themes in her work as race, identity, sexuality, power, gender, and violence, I absolutely love the way her large scale silhouette cutouts encompass the viewer. Both the size, and the curve of the room where the show is seems to make the art dance around the viewer and engage the viewer in her exploration of these large topics in question. Not only does it engage the viewer, but the art is asking and even requiring the viewer to get involved and that, for me, makes the art come alive. I also really like the simplicity of the black and white and the play that that has with the questions she is asking. 

Kiki Smith 6

This last piece is another piece that feels very alive to me. I think both because it's on the floor, which is different, and takes up so much floor space and because there are creatures seemingly playing within the art. I think the lighting also adds a lot to the appearance of this piece. This piece made me stop and think about the question a little bit more because typically whether art is inside or outside I think of it against some sort of wall. If anything, I might imagine something suspended from the ceiling or a sculpture upright on the floor, but this piece for me enters a whole new realm. It is not only the size of the piece that gives this effect. Because it is blue, for one, it seems as if it is endless, like a puddle that could keep spreading. And the animals seem like they could jump out of the artwork at any moment. I love the way she uses many components to make the work feel alive.