Invisible Venue(s): Alternatives to the Institution

http://www.artandeducation.net/papers/view/23

Just thought this was interesting. Check it out if ya'll want to.

of things and such.

2 Things to say today:

1. Justifying my existence (in the art world):

I am in the art world and justify my existence in it because of my passion for art and the amount of work I've put into it. If I were to put so much work into any world, I deserve to be part of it - anybody does. ln addition to this I am automatically part of the art world because of the art I've put into it. This justifies my existence in the art world and also the real world. We are justified by what we do and put into it; whatever we are is justified by some means because otherwise we would not be where we are. Whether the means we used to reach that position are pure or polluted - the position an individual occupies is justified because of the actions he made to get there. I am justified to be where I am in the art world because of the actions I made to arrive there. I am here because I am here and therefore I am justified in being here because I AM here.

2. Random stuff floating around the blogosphere:

One of the questions I've been asking sculptors has been, "How does technology influence your art?". I didn't get any brilliant answer from any of the students that I "interviewed", but have been keeping my eyes open for some interesting uses of technology. Here's some sculptor's I find most intriguing:

http://www.travesssmalley.com/images.html

He's actually a grad student from VCU, (after graduation from Cooper Union) and is currently living in New York! I shot him an e-mail with some questions... he *might* respond, and if he does I'll post it.

Got caught up on some blog reading today... somebody might find this stuff interesting...

How NOT to approach a curator

Shows that are hot and cool right now

Public sculpture/art + we have one on campus I think

"Unmistakable, clear-as-the-nose-on-your-face rule number one: If the place where you put your art looked better before you put art the art there, you’ve screwed up. Patently evident rule number two: If a work of art is less interesting after you’ve placed it in the public environment, you’ve likewise made a misstep."\

Seems like art dealer aren't doing so hot right now....

How do you Justify what you do?

I believe awareness is the successful result of communication. To be able to communicate your thoughts and ideas to others in a clear and effective manner, can create awareness about an idea. However, if this method and process of communication can connect with your audience on a deeper level, and still remain visually appealing or striking; then I think that this process can successfully promote the kind of awareness in the public, and in turn can give cause to positive combative action.

In order to first solve problems, in my opinion, awareness must first be created about the problem. Today there is an untold amount of suffering, corruption, and deterioration in this world, and until the public is made aware of, and educated about such problems, solutions cannot be created to solve them. Therefore, Graphic Design can provide a vehicle to aid solving communication problems. I want to be able to artfully engage the public and perhaps enable the creation of answers to pending local, national, and global problems by spreading awareness.

However, on more pragmatic note, Graphic Design enables consumers to more readily connect to their products, in the hopes that a more artistically appealing product will enable it to sell. Similarly, Graphic Design gives a visual voice to concepts envisioned by people who need another mode of communication to reveal their ideas to the larger population. In this way the functional aspect of Graphic Design serves a direct purpose in the economy—to increase consumerism.

Justify Yo'self.

Being asked to explain myself as a young artist is somewhat of a tricky thing for me, because I believe that most peoples' reasoning for pursuing art rather than math, sciences, or other "core academics" in upper level education/life is more emotional and abstract than concrete. If someone genuinely enjoys doing something, they, in most cases, make an effort to invest themselves in it before career opportunities really come into consideration. If they don't, perhaps they're running away from themselves. It starts simply in the search for personal happiness - to work intensively on creating something, find great pleasure in doing so, and wind up, after all is said and done, with a finished product that one can feel proud of - a physical, aesthetically or emotionally pleasing object that mirrors the creator's ideas or feelings.

Personally, I use my art as a sort of means for catharsis. My emotions need to be funneled into something - put to use and allowed to escape - lest they sit stagnant and uncomfortable. The release of working on a drawing, painting, animation, object, or piece of music keeps me in check as a person and makes me feel better about things - more sane, even - and accomplished when I have something to show, in the end. It also gives me a means to convey ideas that I have in an abstract way, without having to use words - without having to directly explain to someone exactly what I mean or think. Being ambiguous and leaving things open to interpretation, the way I see it, is an interestingly effective way to get points across, because, upon analysis, if you're subtle in all the right ways and places, the viewer will feel as if they are his own interpretations. Often they are. And the beauty of art is that it is a fluid, amorphous thing that the audience can take in any way they choose.

How do you justify what you do?

One in the arts world can be just as justified in what he does as someone in the medical world or the world of business. Although an illustrator may not be able to perform open heart surgery or discover the cure for cancer, he can have as much of an impact on an individual or a group of people in different ways.

I personally believe that in order to be justified in what one does (regardless of one’s occupation) that some measurable and successful impact must be made. This reigns especially true in regards to the arts. Whether influencing a group of people or impacting the physical environment, there has to be some sort of impact made. For example, Joe is a painter and cannot justify what he paints if it is kept behind closed doors and is never exposed to the world around him. There has to be a communication with the rest of the world so that Joe’s work is known, otherwise it can never have any sort of impact.

There are many ways that someone’s work can make an impact. An interior designer’s work impacts the physical space and environment in which it is located in a functional way, whereas an art educator impacts an audience or class by revealing and teaching what he knows about certain aspects and techniques of art. A painter or sculptor can justify what they do by influencing others to create or by satisfying the demands of a particular customer.

Not only does one have to make an impact in order to be justified in what he does, but the impact must also be measurable and successful. If an architect decided to build a bridge that would be used daily and built one that was beautifully decorated but highly unstable, then how can the architect justify his work when it cannot serve its purpose? In order to be justified in what one does, he must successfully accomplish what he had originally intended to do. An artist is just as much justified in what he does as anyone else holding any other position or occupation as long as he successfully makes an impact and accomplishes what he had planned to.

Justify your existence. How do you justify what you do?

This is a heavy question that I’m not quite sure how to answer. I do art because art feels right. It’s something I’ve done, it’s something I’m pretty okay at and it gives me pleasure. Can it be as simple as that?

I enjoy exploring emotions through visual images. I like challenging myself with different mediums. I like expressing myself in my own way, without using words someone else came up with like “serotonin and dopamine have been released into my synapses and caused this happy feeling” or “based on Freudian psychology, this anger and frustration is from deep set penis envy”. Besides, I’m not good at using words and art fills in that gap for me. Art is my translator.

It was a hobby and I’m trying to make it a career. I want to do what I love; fuck the rest, and all that jazz. Here’s my art. Imagine what I was thinking while drawing this. I was probably hitting my head against the wall. But, I just created something. It feels awesome to create or change something into another something. Take this sheet of paper. Make something beautiful or ugly, but it’s no longer the same sheet of paper.

I do art. It’s like breathing. How does one justify breathing other than to live?

Justifying Art...

I feel that the creation of a piece of art is justified by what it’s trying to accomplish. In that light, there are several ways to justify art making, for example: communication, therapeutic purposes, and to make money.

Firstly, communication is the general, overarching justification for art. Though an artist is paying massive amounts of money to say something, it’s really his ticket to make a statement, whether it regards politics, environmentalism or any other personal opinion. Displaying art puts forth a totally different dimension of saying something— it gives people a way to communicate without literally speaking to each other, a visual aid in understanding an idea. So ultimately, the effort put into buying materials and spending time is justified by the silent, mental and emotional connections made among the artists and viewers.

In the same way, art therapy is a means of communication for those who are socially incapable of normal verbal communication (or are not functioning normally). However, the cost and time spent are also justified, in this case, by the medicinal properties of art making— it promotes the expression of feelings, which can serve as therapy to clients or patients that need it. And this idea of therapy justifying art leads to the idea of personal fulfillment in creation.

Not only is art justified by the connections people make with others, but it can be personally fulfilling for the artist as well. This is similar to the justification for art therapy, only that it doesn’t require the relationship between two people. Many artists’ justifications of using money and materials are simply that they want to. Art making is a personal experience that enhances an artist’s wellbeing, and the expression connecting the individual to the canvas may just be worth it.

Finally, to justify art making, there is the idea of monetary profit. In this way, an artist’s success/profit gain in selling out to consumers justifies the initial money spent on materials and time on labor. Sometimes—probably most of the time— this is seen as a very shallow reason to make art, but it’s inevitably the driving force of many artists. Many amount success to the fatness of one’s wallet.

Ultimately, these are just a few things that justify art making. There are a vast array of justifications, many of them much more specific than these. And to those who argue that there really is no existent justification to art— I’m sure that art would be much more sparse than it is if its justifications didn’t hold true.

Kinetic Imaging Presentation

http://prezi.com/mux3w850o4va/art-worlds-ki-artists/

Just thought I should eventually post this to the blog. Also, found an interesting image pertaining to us artists..

Ideas

Aren't ideas what really compose each individual art world? Where do ideas come from? How are they generated? How do we come up with a really good idea? Each art world can be seen as an enormous exchange of ideas: the ideas prevalent are what make each world unique. This video explains very well how ideas come about, and this relates to art worlds because these ideas are what define each world. Let's get down to the basics of how the art world is built.

So basically I'm posting this because I feel that the paces where artists hang out (school, coffee shop, big meetings) are where they get their ideas. And of course I'm also posting this because the video is amazing. :P

Ideas are what define the art world, and therefore the places where artists get them should be of interest to us, no? I'm thinking it would be really exciting if we could also do some research on where and how artists get these ideas, because ultimately we will have to find ways to access these places as well if we want to be successful as artists. To understand the "future art history" (art worlds) we must delve into the ideas and the places ideas come from so we can see how they will evolve.

Comments? Discussion? Thoughts?

Interview with Brian Chippendale - Artist/Printmaker/Weirdo.

Here's that video that I was planning on showing in my slide show last class - a sort of interview/conversation with Brian Chippendale during his latest gallery show in Brooklyn. I thought it was pretty interesting. He talks a little bit about the processes he uses when putting his work together.

Talking to Brian Chippendale at Cinders Gallery from Impose on Vimeo.

Documentary

http://www.nytimes.com/2010/09/17/movies/17affleck.html?_r=1&hpw

New York Info

Here is a good intro into Pace Gallery, one of New York's biggest art gallery empires. We will surely visit it on our trip to the city.

And here is an interesting article on Rob Pruitt, an NY-based art world provocateur.

Also, if you haven't responded to my email about your area of concentration, please do.

Totally informal research on Interior Environments:

Technically, it is a MFA degree in Design that specializes in Interior Environments. SO… It’s a concentration?

“Postprofessional track … one of about 10 available nationally, that allows students who already have an undergraduate degree in interior design or architecture the opportunity to develop an individualized direction in scholarship.” – VCU Bulletins

1. Are there geographic hot spots associated with your discipline?

a. Not necessarily… Depending on the style

b. It manifests almost everywhere because of the need for housing and other buildings

2. What are the top schools in this field? (When speaking Interior Design, these are the ones I found… But searching professional degrees in Interior Environments was a bit confusing.)

a. The University of Cincinnati in Ohio

b. Pratt Institute in New York

c. Kansas State in Kansas

d. Cornell in New York

e. Arizona State in Arizona

f. The Art Institute of Toronto in Toronto, Canada

g. American Intercontinental University in London, UK

3. Who are the important critics?

a. The consumer

b. Authors of magazine articles? i.e. Architectural Digest, Dwell, Interior Design

4. Who are the people (what type of people) organize this work?

a. Architecture and Design firms, stagers, realtors

5. What signifies success in the field?

a. Form

i. Aesthetically pleasing, thus more consumers incorporate the design into their homes/properties

b. Function

i. The design works well in the space provided

6. Are there recent issues in this field right now? (i.e. eco friendly design)

a. DIY – Popularity of networks like HGTV promote the idea of homeowners and such designing for themselves… Not necessarily sure if this is an issue or just a shift in the range of participants of this discipline of the art world.

b. Certainly environmentally friendly design

i. Sustainability (lower impact on the environment)

1. Bamboo flooring, continues to grow even after cutting

2. Nontoxic paint

3. Low energy lighting

ii. Recycled materials, i.e. glass, wallpaper, salvaging furniture

iii. Energy efficiency

1. Steel rather than aluminum (less energy to produce)

7. Who are the legendary people in the field that have set the standards?

a. Charles and Ray Eames, Herman Miller – American modern furniture/interior design

b. Movements - Victorian, Islamic, Minimalist, English Georgian, Gothic, Art Deco

8. What are the famous institutions for this discipline and how are artists supported?

a. Leadership in Energy and Environmental Design (LEED) of the U.S. Green Building Council sets the standard for “green” design

b. (Given that there is an inevitable overlap in architecture and interior design) Architecture and Design Firms all across the world, for example, in Richmond, Glavé & Holmes

Furniture Design

Geographic Hotspots:
     -NYC
     -London
     -LA

Top Designers:
     -Reinhard Dienes
     -Nacho Carbonell
     -Thomas Heatherwick
     -Maarten Bas

Top Schools:
     -Savannah College of Art & Design
     -Rhode Island School of Design

Recent Hot Topics:
     -The Helix Chair by Karmelina Martina
     -Glass bathtubs
     -"Smoker's Bench" with integrated ash receptacles

Critics:  the customer!

Websites:
http://www.designtopnews.com/
http://www.designweek.co.uk/
http://www.dezeen.com/
http://www.furniturestoreblog.com/

The Culture Wars

Hey Y'all-

Remeber how in class on Wednesday I had a little diversion into the "culture wars" of the 1990's? Well here's an event examining it 20 years later.


The Vera List Center for Art and Politics at The New School
Vera List Center for Art and Politics presents How Obscene Is This! The Decency Clause Turns 20

Public programs on the impact of the Culture Wars on the arts

September 15 and September 22, 2010

The New School
Tishman Auditorium, 66 West 12th Street
New York City

http://www.veralistcenter.org/currentprograms/?p=1393
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Vera List Center for Art and Politics at The New School in collaboration with the National Coalition Against Censorship.

On the 20th anniversary of the U.S. Congressional mandate that the National Endowment for the Arts (NEA) consider “general standards of decency and respect” in awarding grants, the Vera List Center for Art and Politics and the National Coalition Against Censorship present two panel discussions and a video interview project evaluating censorship and arts funding today.

Prominent artists, non-profit arts organization directors, art dealers, and founders of alternative spaces examine issues related to how the introduction of the decency clause in particular, and the Culture Wars in general, have affected funding, free speech and self-censorship, and how attitudes towards notions of decency and respect for the values and beliefs of the American public have changed over the past twenty years.

Laura Flanders of GritTV moderates both panels.

Survival vs. Autonomy: Public Funding of the Arts, Free Speech and Self-Censorship
Wednesday, September 15, 2010 – 6:30 to 8:30 p.m.
The New School, Tishman Auditorium, 66 West 12 Street, New York
Free admission

Beka Economopoulos, Founder of Not an Alternative and No-Space Gallery
Bill Ivey, Former Chair of the NEA (1998-2001)
Magdalena Sawon, Owner and Director of Postmasters Gallery
Nato Thompson, Chief Curator at Creative Time
Martha Wilson, Founding Director of Franklin Furnace


What Offends Us Now? Decency, Respect and Community Standards
Wednesday, September 22, 2010 – 6:30 to 8:30 p.m.
The New School, Tishman Auditorium, 66 West 12 Street, New York
Free admission

Wafaa Bilal, artist, censored in Iraq and the U.S.
Holly Hughes, one of the NEA4
Trevor Paglen, provocateur and experimental geographer
Carolee Schneemann, pioneering feminist artist


Power, Taboo and the Artist
Online launch

This ongoing video interview series addresses questions of arts funding and censorship around the world and features statements by Sofia Hernández Chong Cuy, Ricardo Dominquez, David Glasser, Samia Halaby, Steve Lambert, Oleg Mavromatti, Denis Mustafin, Boryana Rossa, Dread Scott, Martha Wilson and others.


Indecent Exposure
Film program

The panel discussions are complemented by the film screening Indecent Exposure on September 27, at the School of Visual Arts, SVA Theatre, 333 West 23rd Street, at 6:30 p.m. Shorts by Matthew Barney, Cecily Brown, Marilyn Minter, Richard Prince, Sam Taylor-Wood, and others, produced by Neville Wakefield. Visit http://www.ncac.org/how-obscene-is-this for details.
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kInEtIc ImAgInG

WHAT IS KINETIC IMAGING?

VCU’s Definition:

The artistic exploration of video, animation and sound. Students are encouraged to use media for art-making, personal expression and experimentation.

a.k.a.: New Media/Digital MediA:

Includes:

- Animation

- Videography

- Sound Design

- Web Design

- Game Design

- Digital/Animated Graphics

- 3D Motion Graphics

- Interactive Environments (Digital & Real)

TOP SCHOOLS:

Virginia Commonwealth UniversitY - Kinetic Imaging

University of Florida School of Art - Digital Media ArT

Lamar Dodd School of Art - Art X: Expanded Forms

Savannah College of Art & Design

Animation, Sound Design, Motion Media Design, Interactive Design & Game Development, Visual Effect

School of the Art Institute of Chicago - Media Arts

Carnegie Mellon University

Rhode Island School of Design - Digital & Media Department

IMPORTANT CRITICS PUBLICATIONS & AWARDS:

• Digital Media Awards
• President’s Design Awards Singapore
• Independent Spirit Awards
• Villa Medici’s Hors Les Murs Award
• British Academy of Film and Television Arts - BAFTA
• FUSEBOX
• Oscars
• Sound Editing
• Animation
• Scanner
• YouTube
• Lost At E. Minor
• Animation World Network
• Mostly Online Blogs, magazines, or sites

GEOGRAPHIC HOTSPOTS

• United States:
• California - L.A., Hollywood
• New York
• Washington - Seattle
• Europe:
• England - London
• Germany - Berlin
• France - Paris
• Asia:
• Japan
• Singapore

• LEGENDARY FIGURES

• 
• Ann Kroeber - Sound Designer
• 1999 - founded Sound Mountain company

• sound effects for films:
• Lord of the Rings: The Return of the King,
• Pirates of the Caribbean,
• The Lion, The Witch, and The Wardrobe,
• Gladiator,
• The English Patient,
• A Bug’s Life,
• K-19,
• The Village,
• Hidalgo,
• Star Wars Trilogy

CHECK OUT EXAMPLES OF HER WORK

• http://vimeo.com/9218699

Sound Mountain - Reel V.4 from Michael Coleman on Vimeo.

• 
• Jem Cohen - Filmmaker

• Known for films with observational portraits of cityscapes
• Films: A Road in Florida, Light Years, What does Away Mean?, Talk About The Passion, Buried In Light, The Foxx and Little Vic, Smells Like Teen Spirit, Free, etc.

• Jeanne Verdoux
• Illustrator, Animator, Filmmaker, Graphic Designer
• Le Livre, Typographie

• (Kinetic Art Sculpture by Joachim Sauter)

• Joachim Sauter
• Artistic Director of Art+Com
• Invisible Shape of Things Past - 1995
• Working with Spatial Architecture

CHECK HIS WORK OUT HERE:

• http://www.medienkunstnetz.de/works/invisible-shape/

• 
  
• Nathalie Renard
• Senior Prodecer ka-chew!
• Live Action & Animation combinations
• Check her work out here:
• http://www.kachew.com/

• Studio AKA
• Animation Company
• Grant Orchard, Marc Craste, Philip Hunt, Steve Small, Studio Soi, Christian Andrews, Chris Gray, Clayton Junior, Mutanthands
• BAFTA awarded for JoJo In The Stars animation
• 
  
• Check Their Work Out Here:
• http://www.studioaka.co.uk/#

• Also Check out Podcast:

Advanced Beauty
:

http://itunes.apple.com/us/podcast/advanced-beauty/id284954863

(Here are some examples :D)

Advanced Beauty from Marc Kremers on Vimeo.

Advanced Beauty from mate on Vimeo.

Advanced Beauty from Peppermelon on Vimeo.

By Milgo