[sosuperawesome]

Jeanne Rosier Smith on Instagram

[sosuperawesome]

Irina Cumberland on Instagram

[sosuperawesome]

Michele Poirier Mozzone on Instagram

[theartofanimation]

Ariduka55  -  http://ariduka.deviantart.com  -  https://twitter.com/13033303  -  http://ariduka55.tumblr.com

[theartofanimation]

Demizu Posuka  -   http://posuka.iinaa.net  -  https://twitter.com/DemizuPosuka

[bluelemmings]

Semester Reflection

I grew in an artist in this class by learning to incorporate many different skills and types of working into one project.  This has been especially helpful in branching out from single projects with limited scope into world building and a more expansive project. This has been immensely helpful in the conceptual development of my practice.

Technically, I gained experience working with sound and the audio editing software Ableton live.  My exploration in sound tied into my exploration of performance, learning how the voice and the body can come together to tell a story.  My greatest improvement this semester has been in my writing.  Learning from studying forms of poetry and essays on post-humanism, I was able to tie the visual aspects of my world building through costuming and videography with the written story.

[bluelemmings]

Bibliography

Bradbury, Ray. The Martian Chronicles. The Folio Society, 2015.

CAConrad. “Poetry & Ritual.” Literary Hub, 5 Feb. 2016, lithub.com/poetry-ritual/.

Clief-Stefanon, Lyrae Van. Open Interval. University of Pittsburgh Press, 2010.

De Saint Point, Valentine. “The Manifesto of Futurist Woman.” Wired, 12 Nov. 2008, www.wired.com/2008/11/the-manifesto-1/.

Friebert, Stuart, and David P. Young. Models of the Universe an Anthology of the Prose Poem. Oberlin College Press, 1995.

Hayles, Nancy Katherine. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature and Informatics. Univ. of Chicago Press, 2010.

Lights. Skin & Earth. Vol. 1, Dynamite Entertainment, 2018.

Massumi, Brian. Parables for the Virtual: Movement, Affect, Sensation. Duke University Press,2005.

Tate. YouTube, YouTube, 20 Nov. 2015, www.youtube.com/watch?v=neDcBFPldHI.

Thorne, Harry. “The Burlesque Worlds of Mary Reid Kelly and Patrick Kelley.” Frieze, 5 Apr.

2018, frieze.com/article/burlesque-worlds-mary-reid-kelley-and-patrick-kelley.

[bluelemmings]

Artist List

Maya Lin x

Mel Chin x

Cai Guo Qiang x

Daan Roosengaarde x

Kate Browne x

Tony Oursler x

Sam Van Aken x

Liss LaFleur x

Ushio Shinohara x

Hiwa K x

Cassils x

Jennifer West x

Janine Antoni x

NFB interactive x

Merissa Merz x

Jason deCaires x

Chitra Ganesh x

Anna Huff x

Mary Reid Kelley x

Paul Vanouse x

Helen Frankenthaler x

CAConrad x

Miao Xia Chun x

Maurice Benayoun x

Saya Woolfalk x

[bluelemmings]

Art and Fear Response

Reading Art and Fear was, in general, quite a depressing experience, bringing to light ‘truths’ about art-making that I usually try to shove to the back of my thoughts.  One section in particular caused a miniature existential crisis because it touched on something I was experimenting with at that particular moment.  Bayles and Orland describe artists that “fill their canvasses and monitors with charged particles ‘appropriated’ from other places and times’ to borrow from the power of these already accepted motifs to bring relevancy to their work (54).  The authors bluntly shut down this approach, stating that power cannot be “borrowed across space and time” (55).  At the time I read this passage, I was currently working on a series of paintings that incorporated and abstracted Buddhist paintings from Dunhuang, China.  Was I trying to borrow some of the energy from these historical paintings and infuse my own work with a power I didn’t think it could have on its own?  Are Bayles and Orland suggesting that any reference or use of another piece of artwork in the process of creating one’s own is some misguided attempt to steal a bit of that mystical aura of good art?  

The idea that you couldn’t draw from other works and time periods just didn’t sit well with me.  Including something just because your trying to elevate and bring relevancy to your work is tacky but surely that doesn’t mean every artist has to work in a black hole and reinvent the wheel each time?  After evaluating the reasons why I was using the Buddhist imagery, especially my decision to abstract it far enough that even people familiar with the paintings would not recognize it, I came to the conclusion that I was using this imagery as a starting point because it means something to me.  These paintings and my understanding of the history of the region elicit similar emotions that I hope to convey through the paintings.  I don’t particularly care if the audience ‘gets the reference.’ Therefore, the use of borrowed imagery is important in my personal process but not in the finished painting. Does this mean I’ve circumvented the trap Bayles and Orland was referring to?  I certainly hope so because I quite enjoy working in this way…

[bluelemmings]

[thunderstruck9]

Giorgio de Chirico (Italian, 1888-1978), Malinconia Torinese [Turin Melancholy], c.1965. Oil on canvas, 50 x 40 cm.

[leonpoubelle]

And Now it is animated. A bit, just a poetical way.

[bluelemmings]

[bluelemmings]

[constantarrival]

‘Playing the pipa behind the back’ is a special kind of Chinese gongfu that expresses flying in heaven at the Mogao caves in Dunhuang.

[animus-inviolabilis]

Cave Painting of Dancers

Dunhuang Caves

[missalsfromiram-deactivated2020]

Bodhisattva Leading the Way - c. 875, cave 17, Dunhuang, China.