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Television I (large)

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Project #5: Index  

1. Self-Directed Practice #1: Research 

2. Self-Directed Practice #1: Final 

3. Self-Directed Practice #2: Research 

4. Self-Directed Practice #2: Final

5. Final PDF Portfolio 

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Television 1

Wood, cement dry wall, blue paint, screws

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Project #4: Index

1. To Remove the Work is to Destroy it: Site-Based Sculpture: QCQ

2. To Remove the Work is to Destroy it: Site-Based Sculpture: Research

3. To Remove the Work is to Destroy it: Site-Based Sculpture: Final 1 2 3 4

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Morning Ritual

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Twins

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Spring Break

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Religious Doubt

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Quote

The conflict between the product of heavy industry, unavailable for luxury consumption, and the sites of its exhibition, the commercial gallery and museum, intensified as Serra developed the implications of strike towards the total negation of the normal functions of gallery spaces. Rather than subserviently taking their cues from the formal conditions of room spaces, as sites specific works increasingly tied to purely aesthetic ideas began to do, Serras sculptures would not.

Comment

Serra went against pretty much every last convention art had at play. His large scale works made it almost impossible for it to be acquired unless major commitments were made by collectors and spaces. He challenged the idea of what works “worked” because of size and subject matter and continued in his search and negation of preconceived notions. While looking at a Serra piece one is just almost consumed and confused at the same time yet it delivers a calming sensation at least personally.

Question

Is this work closer related to minimalism or architecture?

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 Project #3: Index 1. Base Materialism (Final) 1 2 3

2. QCQ #4: Base Materialism

3. Self-Directed Presentation Research

4. Touch: ASMR (Final) 1 2 3

5. QCQ #5: X Marks the Spot 

6. Lost Objects I Research 1 2 3

7. Lost Objects I (Final)

8. Lost Objects II (Final)

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Sit Here 2020

Thought of immobility and mobility with this work. The suburbs are very crippling and yet you’re never necessarily stuck in place you’re just comfortable so you never move. The water tank serves as the only necessary thing which is nourishment and typically in the suburbs has that available for its residents wether it’s healthy or good is a different thing. I guess I thought of this work as an example of how crippling living in the suburbs could be.

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Plaster mold of an office phone. Repeated it to create a more formal composition. Office jobs are very repetitious and I think will become obsolete in the future to remote based careers. The plaster is a bit gray and wonky because of the clay and I preferred it this way because it brings the outdated reference out more.

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QCQ A User’s Guide to Entropy

Quote

If, however, McCollum’s impulse is to treat these “trace fossil” footprints as though they were readymades, as to parade them both as burgeoning sets of multiples and as the fussily colored items from the most kitsch of souvenir shops-thus industrializing not just the generic but also the generic- this is not simply from an irreverence for the idea of primal life.

Comment

McCollum was extremely a head of his time with this idea. People nowadays like Daniel Arsham are casting current or almost current items in pop culture history to industrialize them yet what McCollum had in mind was to do that with something that isn’t man made. The fact he chose fossils and he treated them as readymades almost makes one take a trip into the future and question what from now could be interpreted completely different in the future. Almost making it seem like anything we learn about could be interpreted as a readymade even if it’s a natural occurrence.

Question

Does this work belong in the future?

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Idea board 3

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Idea board 2

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Idea board 1

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For this one I thought more of the end of art school and how one struggles to extract only certain information learned during their studies in art school and even then you don’t really know what you’re unpacking until it’s all out.