macklin celebrini has autism
pixel skylines
Alisa U Zemlji Chuda
cherry valley forever
Xuebing Du
One Nice Bug Per Day
祝日 / Permanent Vacation
tumblr dot com
Cosmic Funnies
Sade Olutola
JBB: An Artblog!
Game of Thrones Daily
if i look back, i am lost
Janaina Medeiros
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oozey mess
"I'm Dorothy Gale from Kansas"
Not today Justin
Cosimo Galluzzi
Discoholic 🪩
seen from France
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@mathewsotelovt2
Index
QCQ #1: J20 QCQ #2: On Art and Activism QCQ #3: The Truth of Art
Self-Directed Presentation Research
“NO” Statement Self-Directed Practice #1: Introduce Yourself Self-Directed Practice #2: Medium Unspecific Self-Directed Practice #3: Research and Development Self-Directed Practice #4: “NO” Work Self-Directed Practice #5: Collaboration Self-Directed Practice #6: Redo/Undo (Side by side) Self-Directed Practice #7: 6 Works Self-Directed Practice #8: Postscript
Untitled, December 2017
This light and sound installation furthers my experimenting with how lighting can illuminate its environment and space. Too further occupy space and add another layer I have installed speakers placed on podiums to bounce sound in the space. The sound is looped live via a synthesizer. The way in which light and sound travel is intangible and cannot be seen but is still experienced by its result.
“Today we live in times of mass art production, rather than in times of mass art consumption. Contemporary means of image production, such as photo and video cameras, are relatively cheap and universally accessible. Contemporary internet platforms and social networks like Facebook, YouTube, and Instagram allow populations around the global to make their photos, videos, and texts universally accessible—avoiding control and censorship by traditional institutions.”
With the advancement of and accessibility of technology it leads us to more art production rather than consumption. The transition from wireless cellphones to now smartphones allows it user to produce images, videos and write text which could later be shared to social networks through the infinite space of the internet. Even the most simple and stripped cell phones contain the ability to do so (produce images, video and text). Everyone is now an artist even without thinking so. In terms of social media, the user consciously decides what content he or she wants to share publicly or privately with their network. That can be skewed to curate a certain lifestyle, interests or variety different of things. Which later, the user can attach to discover niches of similar content or have an algorithm to suggest one.
The design and digital architecture of these interfaces of social media are familiar of the conventions of presenting an art piece in a gallery, museum or an online portfolio. A grid is usually presented, by default everything aligned, thumbnail previews are presented at the same size and sometimes there’s even a slideshow button available for it all. The user can edit or place filters on your photos before sharing or they can trim a video or make a montage of them. This process can be similar of to what Boris Groys says of the creative process. Before the content is posted or shared, privately the user on their own device makes these decisions just as an artist would before showing.
With so much accessibility and platforms to produce/share/view an endless amount of content, do we overlook or become desensitized to it? What happens after the era of mass content production and sharing through the internet?
Self-Directed Practice #7: 6 Works
Each piece is placed in different spaces in the room to allow the viewer to interact with them individually. Collectively, each piece’s colored light source illuminates it’s own space and bleeds into others. This allows new hues of colors to be created in the spaces or walls between the pieces.
Untitled, November 2017
In this installation I redid the previous installation Denis and I collaborated on. With influence from that installation I decided to use the ceiling tiles again. However, I removed the ceilings tiles primarily to expose the interior of the ceiling roof and also to reflect or make a connection to that interior. While my previous works have been concerned with lighting in space and also objects this piece’s formal considerations are more guided by the physicality of the building and our classroom. Electricity and lighting are functional structural elements in the building and the hardware/cabling of them are usually hidden. Here, every connection from the outlet to the light are bare and exposed.
“The goal of design is to aesthetically improve the status quo—to make it more attractive. Art also accepts the status quo—but it accepts it as a corpse, after its transformation into a mere representation”
Boris Groys explains the differences in two approaches of aestheticization in both design and artistic modern/contemporary art. It’s interesting how he compares the institutionalized museum to a cemetery. He states it is a place of definitive death that allows no resurrection, no return of the past. He reinforces the idea that artistic aestheticization by means of discovering the dysfunctional, absurd or unworkable character goes against the conventions of design and what it wants to accomplish. In working in design or general studio art ideas, decisions and process can be similar. However, where they do turn oppositely is the end outcome or suggested outcome. In design, graphic designers, architects or industrial designers are guided by a client whereas the studio artists is guided by his or her own concepts or goals. The studio artist is not forced to but can accept the status quo as Boris Groys states. The designer is almost always forced trying to improve or polish the status quo.
Can design ever settle? Meaning can design accept the status quo and not forced to improve something? Is this reliant because of a client or clients needs?
Untitled, November 2017
Denis and I decided to combined our shared interest in using light. With this installation we decided to create a space in which our installed lights create hues of different colors (pink+yellow), shadows and illuminate the space/ceiling tiles. In this installation, we activated the space and deconstructed it by removing tiles and shining light on them.
grahpicdesignismypassion.jpeg, October 2017
This poster was designed in response to my no statement which makes references to the tribulations, stereotypes and conventions of graphic design/designers. Each element I consciously made in the design goes against the rules or standards of design and floods the space of the poster. The phrase “graphic design is my passion” is a mention of an internet meme about graphic design and designers.
Untitled, October 2017
This sculpture was created in response to my presentation on light, space, shadow and reflection in art+architectural space. The piece was made with ready made objects including a mirror, a guitar stand and LED strip light. It illuminates the floor, the surrounding environment and creates a shadow on the ceiling. The source of the light (the LED strip) balances on the stand which suggest a sense of tension and stress.
Negative Spaces, September 2017
The role of each looping color tile with text is to alter the environment it’s projected in via it’s color. The color is not only meant to illuminate the space but also cast emotions to the viewer with a flash of text. The selection of each word was guided by the color itself in reference to a negative psychological meaning of it. While that meaning can vary culturally and could be subjective to an individual the brief rapid flashing of the text can create a sense of anxiety or unease as pointed out in group review.
Untitled, April 2017
This piece encompasses both lighting and a take at industrial design. While the pieces’s formal considerations was guided by the design itself (a ceiling lamp), it is also a commentary on how both the material and actual design illuminates through lighting. Above all, how lighting affects the environment it’s in. How lighting can be setup in a variety of different spaces. Also, how the color of lighting can affect it’s environment and the viewers emotion through sensory spatial awareness.
Made with rebar tie wire
“Just as important as the impact of art is artists' grassroots organizing that accomplishes political and social justice. Such mobilization has the ability to generate discussion as much as disagreement, and it frequently leads to longer-term coalition building”
This quote holds weight and relevance to both the current social and political conditions in America at the moment. Gregory Sholette argues in response to Jone’s article that art and more importantly the artist themselves are well capable of boycotting against the normalization of the Trump administration culturally. More importantly, a well versed artist is able to strike a conversation with the viewer via their artwork. We can perceive ‘art’ it self as this conversation between the piece and it’s viewer. That relationship between the both has the ability to generate discussion. That ability that artists themselves have to generate a conversation can be done beyond the the artwork itself. Both collaboration and a DIY attitude are encouraged and expected in the practice or education of the arts. I believe that this can therefore (and should) lead to mobilization when it comes to address these specific issues.
Should artist themselves feel to be held responsible to take part in mobilization or grassroots organizing versus creating protest art or work in response to current social conditions? Is there any actual impact of this work created in response that will actually have an effect and move beyond the bubble of cultured art world?