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SA245:Project#2 Reflection of Project
I think my work worked well in installation location, and I feel the way of installation, the scale, materials and the color used for images all supported my intention. I invited some people to view my installation, by following the clues I left in each image, most audiences found book finally. And they told me that the whole process was similar to a detective game which was really interesting and triggered their curiosity. And most of them were interested in why I used this way to instal my work, and what was the connection between the installation and the theme of seven sins, and some of them talked their understanding about seven sins with me. I used a video to document my project. However, during the critique, I found that audiences were hard to understand the way of installation and they were easily to ignore the information in each image. I though that this misunderstanding was used in lack of real participation. Then, I got some advice about how to make document more touchable, even audiences didn’t view your work in first-hand experience, but they still can understand what you want to express.If document my project again, I will adjust the angle of shooting of the video, and provide more information in the video. And before playing video, I will give more introduction for the project.
G.U.M.
The authors of Grammar to Get Things Done start off the book by explaining what grammar is and how we have misunderstood it. Crovitz and Devereaux state that “...grammar is really about understanding, not about ‘correctness’” (C&D, 2). This statement stood out to me because I have always been taught that grammar was punctuation, proper tenses, etc. While these are important when talking about standard English, they don’t mean much when it comes to understanding the meaning of what someone is saying. Cultural dialects and the way we speak are languages that are also grammatically correct, simply in their own way. In the book, the example the authors use is “He and me went to the store” compared to “He and I went to the store” (2). It is important to understand that even though the first example does not fit the typical idea of being grammatically correct, it still is because we can understand the meaning of it.
Access Sources - Artists
Yoko Ono
According to Ono, her original intention was to harness the Buddhist mentality (Buddha, born a wealthy prince, achieved enlightenment by giving up everything and sitting under a tree for seven years), with a feminist subtext: women too often need to give up everything. This performance was a demonstration of that reality. Ono's Cut Piece was the first performance piece to address the potential for sexual violence in public spectacle. It is also among the first examples of Performance Art.
THe Art Story http://www.theartstory.org/artist-ono-yoko-artworks.htm#pnt_6
Félix González-Torres
After doing all these shows, I've become burnt out with trying to have some kind of personal presence in the work. Because I'm not my art. It's not the form and it's not the shape, not the way these things function that's being put into question. What is being put into question is me. I made "Untitled" (Placebo) because I needed to make it. There was no other consideration involved except that I wanted to make art work that could disappear, that never existed, and it was a metaphor for when Ross was dying. So it was a metaphor that I would abandon this work before this work abandoned me. I'm going to destroy it before it destroys me. That was my little amount of power when it came to this work. I didn't want it to last, because then it couldn't hurt me. From the very beginning it was not even there - I made something that doesn't exist. I control the pain. That's really what it is. That's one of the parts of this work. Of course, it has to do with all the bullshit of seduction and the art of authenticity. I know that stuff, but on the other side, it has a personal level that is very real. It's not about being a con artist. It's also about excess, about the excess of pleasure It's like a child who wants a landscape of candies. First and foremost it's about Ross. Then I wanted to please myself and then everybody.
ArtPress http://web.mit.edu/allanmc/www/gonzaleztorres1.pdf
On Kawara
A sampling of 39 of the “Paris-New York Drawings” add a sense of restless experimentalism to the show’s first gallery. Their motifs include delicate stripes and grids like those of the Minimalist painter Agnes Martin, yet also parody the style, as in a drawing of a pink box sprouting irregular black wires. Minimalism frazzled, after a hard day at the office. Other drawings depict installation pieces that fill rooms with networks of string. There are savvy intimations of earthworks and performances and numerous signs of Kawarian things to come: interests in language, maps, lists and numbers; an airmail envelope addressed to the artist. Especially prescient is a meticulous all-capitals Helvetica rendering of the word EGG, which echoes the earliest work here, from 1963: a drawing that simply and tantalizingly states “SOMETHING.”
The New York Times http://www.nytimes.com/2015/02/06/arts/design/the-guggenheim-shows-first-on-kawara-retrospective.html
3D Creative Practice Evaluation
Today (3rd November 2016) marks the end of the 3D Creative Practice rotation and also the end of the rotations altogether. It’s been a very hectic past 8 weeks but I feel that exploring all these different areas of art and design has really helped me to narrow down what I actually want to do at university. The 3D Creative Practice rotation was one of the more interesting rotations in my opinion, it covered a very broad area of subjects which I was quite surprised by. The work we had to do was enjoyable and helped to further my skills within 3D Design. Rebecca, our tutor, was also very helpful; she was always willing to help out if anyone was stuck and she has given me very good advice when it comes to my work at UCA and what I can do to improve it and earn the highest grades I can. She made me realize today that when it comes to my work at UCA, I’m just completing it and submitting it without really making it personal, she made a good point that I don’t really make the work my own, I don’t use my own style in my work much and I think that’s something I really need to start doing to differentiate my work from others when it comes to my portfolio and universities. I feel better about myself after these rotations and I feel that I can move into the specialisms now where I’ll make the best work I possibly can, with my own touch to each piece.
28th October 2016 - Editing “Make Some Noise”
The whole of my Friday was spent editing the Make Some Noise short film that we had been recording the previous day. Whilst the clip itself isn’t that long, it took me a while because I was experimenting with a few different styles of editing such as dual channel video and syncing the audio with different clips. In the end I decided to go with a simple edit style where the audio slowly comes together to create a sort of orchestra of sound. The finished video is available to view above.
This week’s assigned podcast was an episode of Design Matters featuring illustrator and writer Marian Bantjes. The interview started with Bantjes discussing her illustrative typographic style and the “downright weird” experimental pieces she would create. The focus of the episode, however, was on her recently published book I Wonder.
The book is a collection of her thoughts and reflections on art and life in general, but the real interest around the book is centered on its presentation. The book is printed in full color with gold leaf spread throughout; each page is adorned with a variety of Bantjes’s trademark swirling patterns and motifs. Beyond the messages and lessons in the words, the book itself makes an artistic statement because the book itself is an artistic object. The way the illustrations are handled help to facilitate the book’s message, and guide the reader emotionally as they read.
In what Bantjes has created, the act of turning pages and enjoying the spreads of the book visually has become a decadent experience. It is in this idea of bookmaking as a journey for the reader that our Dutch folio project begins.
This week’s readings in Layout Essentials were focused on horizontal hierarchy. Most relevantly, there was a chapter especially focused on using timelines on a spread as illustrative elements instead of just displaying information. This is cannot only be directly utilized in our current projects, but correlates with the kind of artwork that Marian Bantjes was talking about. Beauty can be used as an aid to written communication, or even guide the meaning of words.
My takeaway from all of this is that I need to pay special attention to the way I handle my visual elements in this folio, especially since I’m representing another artists work. Making sure that I really pin down the feeling I want my audience to have as they read and interact with my book will determine my success, and for my own sake, I’d like to create a book that is beautiful and memorable as an object and experience.