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Index

H/W #1 - Introduce Yourself

QCQ #1

Independent Museum Visit

3 Vision Boards thesis ideas: Vision Board 1 , Vision Board 2, Vision Board 3.

QCQ #2 Chapter 2: The Eye and the Spectator

QCQ #3 Chapter 3: Context and Content

QCQ #4

Redo/Undo Final

Self Directed Practice Final

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QCQ #3 Context and Content

Quote: "In one of those bad puns he loved, Duchamp turned the exhibition topsy-turvy and 'stood you on your head.' The ceiling is the floor and the floor, to drive home the point, is the ceiling."

Comment: This quote refers to Marcel Duchamp's artistic gesture involving the inversion of the gallery space during the International Exhibition of Surrealism. Duchamp subverted the traditional expectations of an art exhibition by transforming the ceiling into the floor and vice versa. The act challenged the conventional relationship between the viewer and the gallery space, emphasizing Duchamp's inclination towards unconventional, thought-provoking concepts. The inversion served as a metaphorical commentary on the dynamics of art, context, and perception.

Question: How does Duchamp's act of turning the exhibition "topsy-turvy" challenge the traditional expectations of gallery spaces and the viewer's experience?

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QCQ #2 The Eye and the Spectator

Quote: "The Spectator, also called the Viewer, sometimes called the Observer, occasionally the perceiver? It has no face, is mostly a back. It stoops and peers, is slightly clumsy. Its attitude is inquiring, its puzzlement discreet."

Comment: This quote captures the complicated and evolving nature of the Spectator in the world of modern art. The viewer which is described as the spectator, viewer, observer, or perceiver, is an enigmatic figure that represents the many roles viewers play in engaging with and interpreting contemporary artworks. The absence of a face and the predominantly back view suggest a universal quality, inviting a diverse range of individuals to step into this role. The stooping, peering, and slightly clumsy demeanor imply an active involvement, an inquisitive posture that reflects the evolving and participatory nature of the viewer's experience.

Question: In what ways does the Spectator's described demeanor — stooping, peering, and slightly clumsy — reflect the active and participatory role that viewers play in engaging with the complexities of modern art? How might these physical descriptions symbolize the viewer's interaction with the evolving artistic landscape?

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Self Directed Practice

This collage was created with film photographs I have taken and collected over the years. I assembled the pieces comprised of places I have traveled to, to create a surrealist dreamscape that would effectively flow as one. I plan on collaging much more of my photography to create more landscapes or surreal scenes.

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Redo/Undo

For my Redo/Undo project I chose to do a painting for the medium switch up. I wanted to focus more on the emotion behind my history with my knee surgeries, particularly the tiredness of the repeated procedures I had to endure and the disconnect I felt from my body as I moved through the many months of recovery. I put more emphasis on the expression on her face over her actual body. The choice to keep her unclothed was to capture the sense of vulnerability I felt in those years.

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Introduce Yourself

For my introduce yourself assignment I had chosen 3 segments from my thesis 1 board project. The reason for choosing this piece was partly because by the time the semester began I knew I wanted to continue and push this concept further. This project provided me the opportunity to explore the emotions and difficulties behind having had 6 reconstructive knee surgeries and how to put forth those concepts into a physical piece. There tends to be much range to my work, I don't particularly stay working with one medium for very long before I eventually circle back around to it, making experimentation and exploration a big part of my art as a whole.

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Thesis 2 Vision Board 3

Large scale Self Portrait using photography of knees along with medical records and x rays. 

My goal with thesis 2 is to create a cohesive and natural progression from my previous project.

I want to pivot to a more emotional rendition, in thesis 1 because the subject was purely my knees there was a certain disconnect between me as a person and what I went through. It took on a more bio/scientific feel because of this and although that was part of the intent I would like to approach things differently this time around. The idea is for the viewer to be forced to acknowledge me before they do my struggle. My face would be recognizable from afar but once it is approached you see the things the portrait is made of which would be the materials I used previously. 

Hannah Hoch

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Thesis 2 Vision Board 2

Using relevant items, casting plaster, socks, metal like aluminum crutches or surgical screws.

For my final in intermediate sculpture I created a piece made of vinyl fabric to mimic skin and used play sand to mold from the inside the shape of a person on their knees hunched over. 

I would be approaching this in a similar way but with relevant materials, in an abstract way shaped so that it would convey pain or lack of mobility. 

Dorothea Tanning

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Thesis 2 Vision Board 1

Vision board 1 - 

Light box x-ray collage 

Artists inspo, Rachel Fein-Smolinski and Hugh Turvey, Magda Von Hanau

Japanese paper, emulsions, gelatinous paper for x ray effect that can hold up well visually inside lightbox 

Bridging the gap between art and science 

In doctors offices x-rays are presented with a lightbox, I would be channeling the same idea but in a more layered manner. Utilizing different kinds of papers I would create simple collage snippets of medical records alongside copies of my x-rays. 

Magda Von Hanau

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H/W Assignment #2: Monday, August 28th (QCQ)

Quote: “The way pictures are hung makes assumptions about what is offered. Hanging editorializes on matters of interpretation and value, and is unconsciously influenced my taste and fashion. Subliminal cues indicate to the audience its deportment. It should be possible to correlate the internal history of paintings with the external history of how they were hung.”

Comment: I have been taught about mindful placement when presenting work in the past but never considered the importance of considering the context and presentation of artwork to fully appreciate its historical and cultural significance. The way an artwork is hung or displayed is a form of communication that reflects on the artists or curators vision. Whether obvious or not, by inspecting how artwork was displayed throughout history, we can gain insight to the changing ways in which society has interacted with and valued art.

Question: In what ways might the historical context and societal values impact the way artwork is displayed?

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Project #5 Index

1. QCQ #6: Corners

2. Corners: Research

3. Corners: Final

4. Basel Dump: Art Basel Visit

5. Final PDF Portfolio: Link

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Corners: Research

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Corners Final

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Corners Final

In the Chapter we read relating to our prompt the author mentioned corners not being architectural space but rather like a safe space. I thought about my association with “corners” and found that my association is isolation, not a safe space per-say but rather a place I go to mentally when I retreat. I thought about the feelings and motions I go through in these situations and narrowed it down to heaviness. I wanted to create something simple but that embodied that feeling. I bought vinyl fabric in a fleshy tone and several bags of sand. The intention was to create a “bag” in the realm of the uncanny valley, for it to appear as if it’s a person kneeled down hunched over. This piece had to be molded from the inside out and the end result ended up being roughly 200 pounds total.

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Project #4 Index

1. QCQ #5: Oscar Tuazon 

2. A Structure Within a Structure: Line, Circle, Line 

3. A Structure Within a Structure: Research 

4. A Structure Within a Structure: Final

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A structure within a structure: Line, Circle, Line