1. Is cloning animals a form of art?
2. Is nature alone art? Wouldn't this be based on the viewer's own perception? What's the difference of a nature photo (which is art) and seing nature in person?
3. Is any alteration of nature an artistic manipulation? Is the human hand on nature art? Does this help or hurt nature?
4. What would artists of old time think of tech artists of now, for instance any kind of computer art? Or the fact that a computer can actually make art?
5. What is the diffenence between nature and technology is not the universe the ultimate machine?
Sunday, April 11, 2010
Art and Abstraction
1. Why did abstraction stay untouched until the early 20th century?
2. Does abstract painting have less concept?
3. Can abstraction really be broken down?
4. Has abstraction always been in the arts but only recognized and accepted in the 20th century?
5. Could graphitti be considered abstraction of words?
6. What is the difference betwwen abstraction and realism when technique is concerned?
2. Does abstract painting have less concept?
3. Can abstraction really be broken down?
4. Has abstraction always been in the arts but only recognized and accepted in the 20th century?
5. Could graphitti be considered abstraction of words?
6. What is the difference betwwen abstraction and realism when technique is concerned?
Tuesday, April 6, 2010
Saturday, March 6, 2010
Radicant Questions pgs 141-175
1.
When recycling art is there a good or bad representation in the new form?
2.
Could not someone choose anthing as a readymade?
3.
Is there more aura in creating new work and is the aura of copied work made stronger or weaker in its reproduction or rerepresentation?
4.
Why so much referencing to old literature when talking about contemporary art?
5.
Does not more money mean more art? More people more art?
More designs more art? Is that not a good thing? And doesn't the internet pull it all together?
When recycling art is there a good or bad representation in the new form?
2.
Could not someone choose anthing as a readymade?
3.
Is there more aura in creating new work and is the aura of copied work made stronger or weaker in its reproduction or rerepresentation?
4.
Why so much referencing to old literature when talking about contemporary art?
5.
Does not more money mean more art? More people more art?
More designs more art? Is that not a good thing? And doesn't the internet pull it all together?
Friday, February 26, 2010
Radicant Questions pgs. 79-140
1.
When artwork enters society is it not rarely changed and in these galleries and museums is it not permanant?
2.
Is there a problem with having a "database" of art?
3.
Who is doing any representation of work outside of the city, for instance farms, oceans, mountains, and desert?
4.
Is not a spray paint graphitti artist an excellent wanderer, looking for unique places to show their tag name?
5.
Does the internet help or hurt the artworld, or is it destroying art's aura?
6.
Is my path as a sculptor already been traveled or because I work hard and create am I bringing new ideas to the world?
7.
Can we bring all our art throughout our journey on our backs? How do we carry the abundance as things accumulate, is this not where the computer and photodocumentation makes things easier to keep our artistic aura?
8.
What about a sculpture floating in space in zero gravity there would be no top or bottom, no base, just a form?
When artwork enters society is it not rarely changed and in these galleries and museums is it not permanant?
2.
Is there a problem with having a "database" of art?
3.
Who is doing any representation of work outside of the city, for instance farms, oceans, mountains, and desert?
4.
Is not a spray paint graphitti artist an excellent wanderer, looking for unique places to show their tag name?
5.
Does the internet help or hurt the artworld, or is it destroying art's aura?
6.
Is my path as a sculptor already been traveled or because I work hard and create am I bringing new ideas to the world?
7.
Can we bring all our art throughout our journey on our backs? How do we carry the abundance as things accumulate, is this not where the computer and photodocumentation makes things easier to keep our artistic aura?
8.
What about a sculpture floating in space in zero gravity there would be no top or bottom, no base, just a form?
Saturday, February 20, 2010
Radicant Questions up to pg. 78
1.
If one sees the art with no background information about the piece can it then be critiqued without background of the artist?
2.
Does not the population that an artist deals with make a difference with local competition and ideals, for instance the flaux of NYC?
3.
Is not all of America from somewhere else in some sort of timeline, how does that differ from old Europe, and is there more concrete historical contexts?
4.
QUESTION QUOTE: "Where should we go?"
5.
Does not graphitti and invention of new materials make for "new" art?
6.
Am I radical or radicant, or both?
If one sees the art with no background information about the piece can it then be critiqued without background of the artist?
2.
Does not the population that an artist deals with make a difference with local competition and ideals, for instance the flaux of NYC?
3.
Is not all of America from somewhere else in some sort of timeline, how does that differ from old Europe, and is there more concrete historical contexts?
4.
QUESTION QUOTE: "Where should we go?"
5.
Does not graphitti and invention of new materials make for "new" art?
6.
Am I radical or radicant, or both?
Saturday, February 13, 2010
Postproduction Questions
1. When artists use others work to create their own would that be considered a readymade similar to those of Modern art?
2. What is the difference between showing someone elses work for your own or seeing the original in a gallery or museum?
3. Do we now show work of other people showing/using these others work and then again showing again and again the ever showing over and over? When does it stop? Maybe until the first work is gone, dubbed over until it is no further recognized?
4. Is the original artwork changed from its reproduction? Is it thought of different after this new twist is spun onto it?
5. If displayed originally could not anything be art? Is it the object or the act of showing in a gallery? Does putting "it" in a gallery make it art?
6. Has the new form been lost? Has it really all been done before?
7. Why did it take the artworld so long to come up with Postproduction? Is there really that much more stuff in the modern world? How come it did not take off with Duchamp's readymades? Or did it?
8. Is reusing other people's work a way of taking the easy way out of the artistic processes? So is new work all the better because so much has been created already? New ideas should outrank old ones or is it new ideas from ideas only? What is left?
9. Does reusing art help to see the old art as art, and make it stronger than it was in the past, but now in the current and contemporary? Does bringing it back give the work a second chance?
10. Does everything have an artistic potential if manipulated creatively?
2. What is the difference between showing someone elses work for your own or seeing the original in a gallery or museum?
3. Do we now show work of other people showing/using these others work and then again showing again and again the ever showing over and over? When does it stop? Maybe until the first work is gone, dubbed over until it is no further recognized?
4. Is the original artwork changed from its reproduction? Is it thought of different after this new twist is spun onto it?
5. If displayed originally could not anything be art? Is it the object or the act of showing in a gallery? Does putting "it" in a gallery make it art?
6. Has the new form been lost? Has it really all been done before?
7. Why did it take the artworld so long to come up with Postproduction? Is there really that much more stuff in the modern world? How come it did not take off with Duchamp's readymades? Or did it?
8. Is reusing other people's work a way of taking the easy way out of the artistic processes? So is new work all the better because so much has been created already? New ideas should outrank old ones or is it new ideas from ideas only? What is left?
9. Does reusing art help to see the old art as art, and make it stronger than it was in the past, but now in the current and contemporary? Does bringing it back give the work a second chance?
10. Does everything have an artistic potential if manipulated creatively?
Sunday, February 7, 2010
Key Elements of Walter Benjamin's Essay
A)
-"withers in the age of mechanical reproduciton is the aura"
-points beyond the realm of art
-"changes in medium of contemporary perception: decay of aura"
-"aura of latter unique phenomenon of a distance however close it maybe"
-brings things closer
-aura is "uniqueness"
-"for the last time the aura emanates from the early photographs in the fleeting expression of a human face"
-"aura is tied to his presence there can be no replica of it"
-"the fim responds to the shriveling of the aura with an artifical build-up of the "personality" outside the studio
B)
-illustrate everyday life
-keep pace with speech
-"photographic reproduction can capture images which escape natural vision"
-beholder/listener's own situation shattering tradition
-contemporary mass movements
C)
-"works of art reproduced becomes the work of art designed for reproductibilty"
-"with the emancipation of the various art practices from ritual go increasing opportuunities for the exhibition of their products
-art is more commonplace and easy to create
-with film and photo art is more accessable
-the "ritual" of art is lost in the mass quantity of creations
-technology is helping the arts
-reproduction is done with easier effort and no detail is lost
D)
-computer programs for sound and video
-internet displaying anything whenever
-3D imaging and laser cutting creating any shape
-Digital devices and external hard-drives that can store a large amount of information
-prints/texts books/magazines/blogs/web-sites
-college
-"withers in the age of mechanical reproduciton is the aura"
-points beyond the realm of art
-"changes in medium of contemporary perception: decay of aura"
-"aura of latter unique phenomenon of a distance however close it maybe"
-brings things closer
-aura is "uniqueness"
-"for the last time the aura emanates from the early photographs in the fleeting expression of a human face"
-"aura is tied to his presence there can be no replica of it"
-"the fim responds to the shriveling of the aura with an artifical build-up of the "personality" outside the studio
B)
-illustrate everyday life
-keep pace with speech
-"photographic reproduction can capture images which escape natural vision"
-beholder/listener's own situation shattering tradition
-contemporary mass movements
C)
-"works of art reproduced becomes the work of art designed for reproductibilty"
-"with the emancipation of the various art practices from ritual go increasing opportuunities for the exhibition of their products
-art is more commonplace and easy to create
-with film and photo art is more accessable
-the "ritual" of art is lost in the mass quantity of creations
-technology is helping the arts
-reproduction is done with easier effort and no detail is lost
D)
-computer programs for sound and video
-internet displaying anything whenever
-3D imaging and laser cutting creating any shape
-Digital devices and external hard-drives that can store a large amount of information
-prints/texts books/magazines/blogs/web-sites
-college
Sunday, January 31, 2010
Art of This Time 2010
define:
-a movement towards the undone of fresh and new
-shock art
-bright from not only close-up
-straightout of sketch books
name:
Neo-Futurism
when?:
-mid 1990's to the future
how?:
-computers; new media
-universal hipness
-vivid personalities
-extreme outgoing societies
principles:
-in your face video
-surreal sounds of sonic measures
-graphitti
-post graphitti
-loud
artists:
-myself
-all of my peers
-professors
-all living people
aesthetic character:
-chaos
-shows all the time everywhere
-post modern's strong support helping current and future
-a movement towards the undone of fresh and new
-shock art
-bright from not only close-up
-straightout of sketch books
name:
Neo-Futurism
when?:
-mid 1990's to the future
how?:
-computers; new media
-universal hipness
-vivid personalities
-extreme outgoing societies
principles:
-in your face video
-surreal sounds of sonic measures
-graphitti
-post graphitti
-loud
artists:
-myself
-all of my peers
-professors
-all living people
aesthetic character:
-chaos
-shows all the time everywhere
-post modern's strong support helping current and future
Post-Modern Movement
define:
-"lumping together multiple versions of the after"; Bourriaud
-cultural hybridization
-decolonizing methodology
-note: Jean Francois Lyotard termed "post-modern in 1979
when?:
-1970's to current; still a circulating body of work
-ended with computer internet and the fall of Communism
how?:
-art picked up where Vietnam left off
-rock n roll; post-Beatles
principles:
-dealing with satellites
-direct communication
who?:
Rirkit Tiravanija
Pierre Huyghe
Liam Gillick
Dominique Gonzalez-Foerster
Jorge Pardo
Phillippe Parreno
Maurizio Cattelan
Pierre Joseph
Donald Judd
Jeff Koons
Damien Hirst
aesthetic character:
-no unknown world
-all living in awareness of others
-growth of new-media
-increase in number of artists, galleries, shows, and so on!
-Public art
-"lumping together multiple versions of the after"; Bourriaud
-cultural hybridization
-decolonizing methodology
-note: Jean Francois Lyotard termed "post-modern in 1979
when?:
-1970's to current; still a circulating body of work
-ended with computer internet and the fall of Communism
how?:
-art picked up where Vietnam left off
-rock n roll; post-Beatles
principles:
-dealing with satellites
-direct communication
who?:
Rirkit Tiravanija
Pierre Huyghe
Liam Gillick
Dominique Gonzalez-Foerster
Jorge Pardo
Phillippe Parreno
Maurizio Cattelan
Pierre Joseph
Donald Judd
Jeff Koons
Damien Hirst
aesthetic character:
-no unknown world
-all living in awareness of others
-growth of new-media
-increase in number of artists, galleries, shows, and so on!
-Public art
Modern Art Movement
define:
-western cultural phenomenon
-brake away from taditional
-experimentation
-nature of materials
-functions of art
-abstraction
-readymade
when?:
1860's to 1970's
How?:
-"Olympia" by Manet
-loose painting/position of model
-looking at viewer up front and personal
-prostitute as a well recognized person
-beginning of street art
-unfinished canvas
Principles:
-purity to medium
-action of process
-art as a language
-recognizable styles
Who?:
Manet
Picasso
Duchamp
De Kooning
Georgia O Keefe
Warhol
Braque
David Smith
Brancusi
Mattisse
Edward Hopper
Jackson Pollock
Jasper Johns
Aesthetic Character:
-freedom of form
-vivid and reaching away from norms
-art for arts sake
-money
-technology
-growth of society
-western cultural phenomenon
-brake away from taditional
-experimentation
-nature of materials
-functions of art
-abstraction
-readymade
when?:
1860's to 1970's
How?:
-"Olympia" by Manet
-loose painting/position of model
-looking at viewer up front and personal
-prostitute as a well recognized person
-beginning of street art
-unfinished canvas
Principles:
-purity to medium
-action of process
-art as a language
-recognizable styles
Who?:
Manet
Picasso
Duchamp
De Kooning
Georgia O Keefe
Warhol
Braque
David Smith
Brancusi
Mattisse
Edward Hopper
Jackson Pollock
Jasper Johns
Aesthetic Character:
-freedom of form
-vivid and reaching away from norms
-art for arts sake
-money
-technology
-growth of society
List of Post-s
post modern
post colonial
post pop
post minimal
post impressionism
post war(s)
post production
post industrial sculpture
post creation
post reniassance
post cubism
post expressionist
post painterly abstraction
post structuralism
post feminist
post human
post historical
post colonial
post pop
post minimal
post impressionism
post war(s)
post production
post industrial sculpture
post creation
post reniassance
post cubism
post expressionist
post painterly abstraction
post structuralism
post feminist
post human
post historical
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