Friday, September 18, 2020

ART 125 / FIST 318 Francis Alys' lines

Sometimes we need to think about how lines on paper translate to life on the street. This photo shows Alÿs carrying a dripping can of green paint along the armistice boundary that Moshe Dayan marked on a map with green pencil after Israel’s War of Independence ended in 1948. It questions the physicality and cultural relevance of the Green Line, its function as a social and spiritual division in the city of Jerusalem, and its role in the Arab-Israeli conflict. 

Sometimes form is created simply by the act of walking, as in this poignant and gorgeous 1997 film by Alys;

 
Francis Alÿs Cuentos Patrióticos, 1997 

"In his wanderings through his adopted home country of Mexico, Belgian artist Francis Alÿs (b. 1959) addresses the topic of urban power structures – for instance, in his film Cuentos Patrioticos, which plays out on the Zócalo, Mexico City’s main square. The square was laid out by the Spanish conquistadors as an emblem of their victory over the Aztecs and has repeatedly been the scene of demonstrations of power. In Alÿs’ film Cuentos Patrioticos we see a man taking a sheep on a lead in a circle around the large flagpole on Zócalo square. With every ring of the bell more sheep join the bellwether. Sheep are gregarious animals and accordingly, at the sight of the strange parade on this square so steeped in history, the automatic temptation is to see them as blind followers. In his film Cuentos Patrioticos Alÿs is referencing a real event which took place here in 1968. At the height of the political unrest thousands of civil servants were forced to demonstrate for the government on this central square in the Mexican metropolis. In an act both subversive and, at the same time, humorous, the civil servants rebelled against this directive in the following way: Although they did flock to the square, they turned their backs on the government platform and bleated like sheep. A framed text chosen by the artist and a postcard referring to the events are part of the work and are exhibited alongside the film." 
-- from YouTube post

Wednesday, September 16, 2020

ART/FIST 240 More Kaari Upson

Kaari Upson. As Long As It Takes – Part I: The Head. 2007. Video with sound. 50 min., 8 sec.
https://visual-worlds.org/2019/05/21/kaari-upson-and-the-tragedy-of-the-self/ Here's a great overview/analysis of Kaari's work by F.Donini Ferretti. “There is no such thing as outside could mean that you cannot escape from your own self, that you must live in that dollhouse together with that subconscious, perhaps even with your other self, or selves." Also pretty good; http://evenmagazine.com/kaari-upson/

Thursday, September 10, 2020

Art 125/FIST 318 Smart Phone Art Phone...Welcome!

Hello and welcome to our online class! Here we'll be posting art on social media platforms while identifying and applying conceptual design concepts. The art you're making doesn't need to be created or posted with a phone...we are just assuming that this is how it will be viewed. This blog will be shared with my ART/FIST 240 class, which will explore related ideas.

The concepts we'll be implementing are taken from the Graphic Design The New Basics book, where our first reading acknowleges the influence of the Bauhaus school...



These ideas can take on broad applications...to sound, movement, or what-have-you.

Although we had a taste of this last term, the process of creating a community of artists across the country, and world, seems incredible to me! This is an amazing opportunity to learn about and appreciate everyone's art via public presentation on social media with a bit of background on process via your blogs.

Sunday, May 31, 2020

Art 340/540 New Media- Paul McCarthy

What contemporary artist relates most directly to this Simulations book we're reading?...maybe Paul McCarthy, a multi-media madman (not at all really) whose work many consider to be about the most primal level of human experience. Maybe it is intuition that takes him to these hyperreal worlds, or maybe that butter and hamburger-covered head is packed full of late 20th century theory? We shouldn't care, in art it may not matter.
'The Painter' is so hilarious that it's almost dangerous for me to watch...


But what are we watching here...exactly? It's clearly satire, but it's a super-intense artist playing the role of a super-intense artist of maybe one generation back, in a way that becomes self-satire, particularly in its unmasking of artistic focus. It's humorous, but not 'comedy', the character drifts from being a clownish actor to being Paul himself, mocking his own work (tube of shit, etc.) and humiliating himself. Drifting from hyperrealness to simulation to...maybe even some kind of elusive true real.

His most recent work has been in virtual reality...


Here's a PowerPoint...


https://drive.google.com/file/d/1oVNxUFzzuJXjQkR__EiGF-6PD8XVJhod/view?usp=sharing


YOU WILL NEED TO DOUBLE CLICK 2020mccarthy.pptx AND THEN SELECT THE CloudConvert APP TO OPEN THE FILE OR DOWNLOAD THE FOLDER TO YOUR HARD DRIVE.




Sunday, May 24, 2020

Art 340/540 New Media; The World We Now Live In

Jean Baudrillard related to Robert Venturi and Denise Scott-Brown; How an actual sign can exist as a Sign

Coming soon to every corner.

Why do we live in the wold we now live in?


Learning from Las Vegas...


 And from Photography...



 Look at this PowerPoint!!!

https://drive.google.com/drive/folders/1Ppb1LzQZSCtzkw2jXASHBkDNmpkpgezB?usp=sharing

 YOU WILL NEED TO DOUBLE CLICK llv.pptx AND THEN SELECT THE CloudConvert APP TO OPEN THE FILE OR DOWNLOAD THE FOLDER TO YOUR HARD DRIVE.

Thursday, May 21, 2020

Art 330/530 Street Photography: Intimacy and Distance

The catalog and beyond

 Google Street View has a straightforward conceptual goal...to make a continuous panorama that encompasses every public street on earth.

Artists who make photographs in public spaces need not be so dogmatic in their approach. Saul Leiter sought-out small visual miracles, where aspects of the street came together in a 1/60th of a second that created brilliant, harmonious mosaics of color and form.

"'Seeing is a neglected enterprise,' Mr. Leiter often said. Where other New York photographers of the period were apt to document the city's streets discreetly- streets, people, buildings - Mr. Leiter captured the almost indefinable spaces where all three intersect, many of them within a two-block radius of the East Village apartment in which he had lived since the early 1950s." -(Margalit Fox, Saul Leiter, Photographer who Captured New York's Palette, Dies at 89, The New York Times)

"I go out with my camera because I enjoy catching certain moments. Of course I don't know that I'm going to get what I'm going to get. It takes time." -Saul Leiter,  In No Great Hurry: 15 Lessons in Life with Saul Leiter (Thomas Leach, director, 2014)



Saul Leiter, Taxi, 1956

Saul Leiter, Barbershop, 75, 1950's


Saul Leiter, Street Scene, 1959


Saul Leiter, Dog in Doorway, Patterson, 1952


Saul Leiter, Foot on El, 1954


Richard Renaldi, Touching Strangers

 

For some artists the street is a place for theater, where quickly orchestrated social maneuvers can unfold into tender, awkward moments that become monumental.

CBS Evening News, June 20, 2014

Richard Renaldi, From the series "Touching Strangers"



From; The New Yorker Magazine - 24 Hours at the Epicenter of the Pandemic

Richard Renaldi, 12:11p.m. Washington Square Park

Richard Renaldi, 12:21p.m. Greenwich Village

Richard Renaldi, 1:53 p.m. SoHo


Saturday, May 16, 2020

Art 340/540 New Media; Carved in Stone (?)

COUNTERFEIT;


The Parthenon in Nashville's Centennial Park is a full-scale copy of the original Parthenon in Athens. It was originally stucco and was later rebuilt in concrete.


PRODUCTION;


Erik Sommer’s sculpture/installation “Volvo 240”: a real Volvo, coated completely in concrete.

SIMULATION; 


 The Stucco Angel 

 The Wisconsin Concrete Park is an outdoor museum with 237 embellished concrete and mixed media sculptures built between 1948 and 1964 by Fred Smith.

 It's only a recording...

https://drive.google.com/drive/folders/14Ot-70NTxLqCj2XArB_uYgOhUIrtLWcQ?usp=sharing

YOU WILL NEED TO DOUBLE CLICK humanoid.pptx AND THEN SELECT THE CloudConvert APP TO OPEN THE FILE OR DOWNLOAD TO YOUR HARD DRIVE.