ART 245 Spring 2011

Final Writing Assignment:

 Power and Space

            One of the most widespread spiritual wisdoms today is practicing the discipline to remain present.  Often time, people find themselves so mentally involved in the past and future that they miss out on their life as it is happening in the now.  For instance, a father may be sitting at the dinner table performing the ritual of eating and being with his family, but really his mind is still at the office or obsessing about tomorrow’s schedule.  His senses are becoming desensitized and he is losing his zest for life.  Common interventions include such practices as yoga or meditation to heal the crazed mind.  However, every now and then, something exceptional occurs that adds layers to the meaning of being present without ever having to take on the initiative for change.  It happens on a level so deep that those who come across its path have no choice but to stop and be in the moment demanded of them.  This remarkable power is found within the culmination of intellect, imagination and work, also known as art.

            The married artist/architectural team of Elizabeth Diller and Ricardo Scofidio and the electronic artist, Rafael Lozano-Hemmer are at the forefront of advanced technological, conceptual art manifested through natural forces and public spaces.  The effects of their creations are jarring and thought-provoking.  Both sets of artists use space as form while manipulating the most basic elements of life adding surreal dimensions.  However, the undeniable individuality of these artists’ works of art, places them at very different ends of the spectrum in the means they take to evoke the senses. 

            Diller and Scofidio met at New York City’s Cooper Union in the 1970s where Scofidio taught and Diller studied.  They later married and together became firmly established architects known as Diller + Scofidio.  Their approach cultivated a new form of modernism in their endeavor to use space to explore social behavior.  They believed that social norms confined within the walls of society dictated the way people responded to their environments.  The goal of Diller + Scofidio was to free them.  As their highbrow reputations grew, they became recipients of such prestigious awards as the MacArthur Foundation “Genius” Grant.  One of their most high-profile works, and at the time, a defining work, was Blur Building created for the Swiss Expo in 2002 over Lake Neuchâtel.  The presence of this building was beyond anything, or rather nothing, that the public had ever experienced. 

            Blur Building was 300’ wide, 200’ deep, and 75’high.  It consisted of no dimension, no form, and no scale.  The building was made of water, and water was all that one could see or even do.  31,500 high-pressured nozzles shot a fine mist of fog up through the structure regulated by computer technology, which detected climate changes and maintained control while regulating nozzle pressure.  Upon entering the space, one had to first trek down the 400’ long ramp leading into the clouded mist where the only thing to be seen was the loss of vision itself.  Synchronized with the whiteout was the white noise of spraying nozzles.  The only concept of direction or space for that matter were strategically placed lights set up for safety purposes.  The bottom level featured a water bar selling bottles of water from all over the world while the top level maintained a Godly presence as though ascending above the cloud and into the heavens.  From what originated as a sketch on a napkin, came a project that took 2 years and a path of calamity ending with a well-deserved product of praise.  Although Diller + Scofidio suffered the omission of their most interactive concept for the building, “braincoats” (raincoats designed to light up and respond to one another) they received remarkable reviews.  The Swiss press claimed that Blur Building was “deliciously without purpose” and a “crazy, idiosyncratic thing!”  With all the hype of “nothingness” Diller mentions that in actuality, the topic is the weather and its universal alliance.  This alliance is something all people from all ends of the spectrum can find in common, much like in the work of Lozano-Hemmer.

 Diller Scofidio + Renfro, Elizabeth Diller and Ricardo Scofidio Blur Building, 2002

            Lozano-Hemmer was born in Mexico City and has a background in Physical Chemistry.  He too finds himself at a meeting point of architecture, digital art and social behavior.  He has been commissioned for such events as the Millennium Celebration in Mexico City, as well as the 2010 Winter Olympics, and has exhibited in various museums in over 40 countries. Lozano-Hemmer’s central focus is in creating spaces for the public to become a part of through established, predetermined experiences.   Among his most distinguished installations was a visual light show of green rays at the central oval field of Madison Square Park titled Pulse Park.  After the sun had set, the park would begin to flood with visitors eager to participate in the unique experience.  Participation involved registering at a kiosk where visitor’s heart rates would be measured resulting in the surreal experience of a metrical light show.  Once one person had been measured, their reading would be passed onto a corresponding light followed by the next persons reading and then to the following light.  The lights, set up along the perimeter of the park, would pulsate to the exact rhythms of the heartbeats to which they had been registered.  The result was a visual documentation of heartbeats, naturally and electronically igniting Madison Square Park.  People found gratitude in their personal contributions to the installation.  After registering, many sat in awe experiencing the body through the visually rhythmic show.  It was important to Lozano-Hemmer for the installation to occur during the months where darkness came early and at a location where families often frequented.  Remarkably, the installation was generated from biodiesel fuel and used only one-tenth of the power it takes for a typical hockey game.  Aside from the shows technicalities, Lozano-Hemmer eloquently defines the purpose of the installation as “the remains of people who have left their hearts behind.”  It is also noted that this romantic concept was originally inspired after hearing the heartbeats of his unborn twins.

Rafael Lazano-Hemmer Pulse Park, 2008

            Like Diller+Scofidio, Lozano-Hemmer operates on a universal level.  He appropriated something as significant as the heart to recreate an organic space using the force of life made visual through the power of light. As Otto Piene says on his artwork ‘Light Ballet’: ‘my endeavour is a twofold: to demonstrate that light is a source of life which has to be continuously striving for larger space. We want to reach the sky. We want to exhibit in the sky, not in order to establish there is a new art world, but rather to enter new space peacefully – that is, freely, playfully and actively, not as slaves of war technology.”   This insight into freedom and the expansion of self runs parallel to the emotional response of both sets of artists’ works.  Although Diller prefers to mention their Blur Building as being significant through the unification of weather, it can’t go unnoticed the commonality of water and the heart as mutual life forces made to be seen with the eyes through these interactive spaces.  Two different sets of artists and yet their creations unify people through harmony, bringing them into the present moment while simultaneously expanding their own versions of reality.   These artists' methods have created reintroductions to life consequently and positively bringing all visitors to the same energy level.  These highly intelligent and motivated artists do as much for humanity as their well-deserved, esteemed reputations say they do, reemphasizing Diogenes when he stated "I am a citizen of the world."  Diller + Scofidio and Lorenzo-Hemmer are prime examples of global culture within the new age of Enlightenment.

References:

Digital Currents: Art in the Electronic Age, Margot Lovejoy, Routledge: New York,  2004
http://www.lozano-hemmer.com/pulse_park.php

http://www.lozano-hemmer.com/bio.php

http://en.wikipedia.org/wiki/Elizabeth_Diller

http://www.dsrny.com/

http://www.archidose.org/writings/blur.html

http://www.artelectronicmedia.com/artwork/pulse-park 

http://nymag.com/arts/art/features/51352/

Final Projects, Crowdsourcing, Part 2:

Cloudsourcing Edited

Cloudsourcing

Cloudsourcing is an online collaboration of people from all over the world submitting photographs they take of clouds that hold an uncanny resemblance to any-crazy-thing we recognize in this zoo of a world!

A person who visits the site has the option of either touring the zoo or participating in the project by submitting photographs and adding to the zoo exhibits.  Taking a tour occurs by clicking on the "Enter The Zoo" icon, transforming the page into a colorful, illustrated, two-dimensional map of the zoo sky’s endless exhibits.  Select an exhibit and experience a variety of themed cloud photographs methodically placed within a soothing composition.  Click on an inspiring cloud to view it enlarged and then traced to better identify the uncanny resemblance the cloud holds.  One will also discover the cloud's original geographical location, highlighting different areas of the world where people have participated as well as observing different clouds and their unique environmental formations. 

In choosing to contribute, the participant will upload their chosen photograph to Cloudsourcing.  The site will ask for relevant personal information to correspond with the uploaded image.  In addition, Cloudsourcing will require a description of the cloud(s) along with an outline of the image made possible with tools found within the registering process.  Once all items have been received, Cloudsourcing administration will input the data and place the photograph in its new exhibit.  Upon completion, the participant will be notified with details of their cloud’s chosen exhibit.

Additional features of interest will appear on the Cloudsourcing home page including top rated “clouds”, the most fascinating geographical locations and the group project of building a cloud castle.  Beyond the collaborative creation, Cloudsourcing participants will have the option of making charitable environmental donations.



Final Project, Crowdsourcing, Part 1:

The Johnny Cash Project
http://www.thejohnnycashproject.com/#/explore/TopRated/28a394a7cafa3b88588c27b59053dece7c67497c

My participation in The Johnny Cash Project included completing and submitting the above drawing to appear in the music video if approved.  After looking through several randomly chosen images, a frame that would allow for realistic detail juxtaposed with abstract mark making appeared.  I have always been drawn toward portraiture and found the connection between the man and bird to be particularly interesting.  The composition allowed room to play with the negative space substituting the vague, organic imagery of trees with a random, graffiti like scribble while maintaining the same tones and texture.  A very fine point drawing tip was used at a varying opacity to layer in as much detail as possible and maximize depth in the changing gradations. Artistically, this drawing was gratifying to complete in that it offered a variety of visual information layered with emotion.  I look forward to finding out the results of my submission and would definitely recommend this project to other people.  



Drawing Software: Easy to use and pleased with the option of tools. 

The Johnny Cash Project can be found at: http://www.thejohnnycashproject.com/

The One Million Masterpiece Project

http://www.millionmasterpiece.com/profile-1005844 

For the One Million Masterpiece Project I chose to do a drawing inspired by a simple line found within the project's mission statement, "capture a snapshot of the society in which you live."  This idea of people from all over the world contributing a visual representation of where they are from is a unique way to see the world and join together.  For my drawing I chose to work from a snapshot taken while at Burning Man.  The significance behind this decision runs parallel to the symbolic meaning found within the photograph.  The festival of Burning Man acknowledges a cultural celebration energized by the self-expression of our society.  The butterfly wings represent an animistic connection between humans and nature layered in the presence of the desert.  Finally, the wind is an energy flowing around the world carrying feelings and memories symbolizing unification.  It is my hope that this drawing will represent freedom of expression and respect for our land while contributing a positive example of western culture.

Drawing Software: Easy to use but the limited tools made any realism increasingly difficult as the colors and tools just wanted to look like child's art. 

 http://www.millionmasterpiece.com/

Critical Summaries

Meet the Curator: JoAnne Northrup on Leo Villareal: Animating Light

JoAnne Northrup's lecture was an informative and personal account of the evolution of Leo Villareal's art exhibition.  Originally inspired by Burning Man, Villareal created his first light sculpture as a simple tool to help him navigate back to his camp during the night.  His conceptual and technical process would continue to progress, but not after giving much thought to his educational history.  A Yale grad, Villareal loved studying computer technology and medieval art.  While interning at the Guggenheim Museum in Italy, Villareal discovered light as art for the first time.  These experiences combined with Burning Man inspired Villareal and he quickly began creating with the comfort of receiving little acknowledgement.  Burning Man became an experimental laboratory for Villareal, and although he did not consider his first creations art, after time his intent behind his pieces evolved and the art within the sculptures became obvious.

Villareal’s initial pieces were very basic in that they were simple turn off and on pieces.  Eventually, Villareal began playing with dimming and then layering.  The core of his work is about codes and sequencing manifested through light.  The end surface result is a very painterly and immersive creation that seems to envelop the body.  As a consequence of manipulating light, comes a manipulation of emotion.   It is impossible to not feel the atmospheric and personal quality in any of his pieces, especially those with emotional intent.  In his piece, Primordial, Villareal is expressing his and his wife’s personal experience with in vitro fertilization.  This instillation is about having a relationship to the body, imagining cells and the beginning of life.  In another example, Amanecer, presents the illusion of moving clouds while a sunset peers in to brighten the space and claim the viewer, much like the sun.  In conclusion, Northrup's lecture was eloquent and timely as she revealed the mystery behind the captivating art.

        

Ben Hoffman: The Cartesian Medium

            Ben Hoffman’s exhibition at the Nevada Museum of Art was both a striking portrayal of nature as well as the end result of a lengthy and technical conceptual process.  The perfection that Hoffman was able to reach with his art through mathematics and digital software was stunning.  The pure symmetry found within every detail was soothing to the eye while the vibrancy of saturated color was seducing and captivating.  His use of mathematical equations layered within the composition added texture and rhythm increasing the interest for the viewer. 

With his art, Hoffman was able to accomplish a reintroduction to some of the most common and simple objects found within nature.  His approach journeyed deep within the mathematical DNA exposing the structural building blocks. The digital recreation enabled the given objects to shine in all of their glory.  The choice of scale for the pieces was of utmost importance.  Prior to his exhibition at the NMA, Hoffman exhibited these same pieces on a smaller scale at a local pub.  While the concept is enough to grab ones attention, the scale did not do justice to the imagery.  Showing them on a large scale really allows the pieces to demand respect and attention. 

            One of the most handsome pieces in the exhibition was the portrait of a pine cone called Cathedral.  This piece stood out as being very peaceful, grandiose, and enchanting.  Hoffman's choice of use for the color black as the negative space added to the complexity of the piece creating an infinite illusion within the depths of the pine cone.  The mathematical equations were placed next to the image in the same golden brown tones of the cone reading like a poem.  The use of light created soft movement across the composition seeming to disappear off the page.  Overall, this exhibition was smart and sophisticated, establishing Hoffman's place in the art world.

Ben Hoffman's work can be found at http://cartesianmedium.com/CM/Home.html

maria elena buszek

"Personal, Political, Popular: Contemporary Feminist Art, Music, and Scholarship"

 

tracy and the plastics (2004) 

  

The lecture given by Dr. Maria Elena Buzek was an entertaining but sometimes incomprehensible depiction of feminism within art history.  For the entirety of the lecture, Buzek chose to read from an essay she wrote specifically for the lecture.  Although she read with enthusiasm, the fast pace and wordy account of her research was only sporadically interrupted by coherent summarizations and examples by video.   If she had only chosen to speak to the audience, her message would have been clarified beyond the following summarization:  

            Buzek prides herself on experiencing art through the eyes of the artist rather than through the words of a page, discovering new layers of significance to popular feminist art.  Her initial inspiration came from music history, working as a young woman in a record store.  It was there that she discovered the written work of Lester Bangs who brought to light new parallels between cultural movements and the arts as well as a unique critical style of writing.   Discovering her voice, Buzek was able to begin verbalizing her observations of pop culture being a young persons game, temporary and oversexed.  Women's liberation was meant to unify and yet there was an obvious dissection between the selectively picked and airbrushed women rejecting feminism vs. artists like Tracy and the Plastics, Peaches and Le Tigre, to name a few. 

 These women are feminist artists whose technologically advanced works of digital art are layered with captivating, thoughtful and sometimes humorous messages.  Tracy and the Plastics for instance, chooses a hierarchy destroying approach, leaving the audience to consider if they are the audience or a part of the show and whether or not the person on stage is more real than the video behind her.  This technique of breaking down structure occurs with such charm that the realization of disintegration is an after thought.  Furthermore, the technicalities of the show push contemporary art to the next level, making a clear statement about the capabilities of women. 

The work of Buzek is important, interesting and complex.  Her research highlights the best of what is happening today while re-emphasizing the work of yesterday.  If only her lecture style was appropriated to the audience would the message have that much more of an impact, leaving the afterthought, that her books must be great.    

 

 

Project 5: Youtube Video Mixer!

 Please note:

After critiquing and comparing the overall effect of the video mixer following the requested instructions and then playing them all together, it has been determined that playing the videos all at once with full volume on all videos is the best way to experience the mixer.  Thank you. 

This project can be found at 
http://www.unr.edu/art/site/areas_of_emphasis/digital_media/projects/Ashley_Peck.html

Video Review:

Gary Hill: I Believe it is an Image

Hill is a technologically advanced artist who uses cameras, imagery, lights and words to manipulate the senses.  He creates different perspectives of reality using traditional imagery (i.e. the cross, words from books) juxtaposed with unusual relationships of the body and sensory triggers.  Hill’s style is jarring, chaotic, objectified and occasionally soothing.  His use of metaphors, rhythm and vibrations enhances his desired impact on the viewer.  Hill’s work is a meticulous documentation of artistic process created with intellect, obsession and distortion. 

Shirin Neshat: The Woman Moves

Neshat’s common theme of movement, isolation, and voice (spoken and written) creates a very subtle yet powerful perspective on the Iranian woman.  She suggests metamorphosis of the individual outside of her traditional culture.  Neshat’s personal story as an American Immigrant carries over into her art, allowing the viewer to act as an observer of and for change.  She is a woman, speaking for the Iranian woman, beyond women’s issues.  Although division occurs between man and woman, ideas are mirrored creating reflection and awareness. 

Tongues Untied by Marlon Riggs

Riggs, a black, gay activist, charismatically moves through various issues using rhythm, emotion and reflection.  He seamlessly tells a story of personal and social acceptance providing strong words and raw imagery.  Riggs is exposed to name calling, gay bashing, rejection, and inescapable depression.  Pain and moments of harsh interactions are often reflected in the intimate moments of the film, contrasted with humor, building a strong empathetic relationship with the viewer.  Riggs is eventful, never boring, and makes strong moral points while he evolves from an invisible man to one with purpose. 

All three works are informative and appropriate for their own purposes.  Riggs film was soulful and poetic, reading like a visual poem of emotion and events.  Neshat’s film seemed to move in slow motion, maintaining strong contrast and constant motion.  Hill’s film was sensual and disturbing in its never slowing pace.  Hill and Neshat were informative with process while Riggs is more concerned with his emotional point.  All of the films were very intriguing and while very different, they were each effective in creating strong feelings through manipulation and inspiration. 

Assignment #5: Video Reenactment

Original Video: www.ubu.com/film/fatboy-slim_weapon-of-choice.html

For the video reenactment project I chose to use the Fatboy Slim music video featuring Christopher Watkins.  As soon as I began viewing the video, I immediately thought of a good friend of mine, JD (featured in the reenactment), who shamelessly shows off his thespian skills at any opportunity available.  In making the video, I did find myself limited in only having my cell phone video camera available, poor lighting, and limited time due to scheduling.  Thankfully, JD’s wife, Dulce, was present in the making of the reenactment to help direct while I manned the camera.  In my best attempt to keep a steady hand, I sat in an office, rolling chair enabling smooth movement and steady arms.  Overall the video was a lot of fun, a lot of laughs, and the end product was well done.  My team was proud. 

Assignment #4: Website Re-Purposing-Interventionist Design

Original Website: http://www.unr.edu/

Mainstream music is about what sells.  It's meant for the general public, educated or not.  It doesn't require much thought, it's catchy and easy to listen too.  However, there is an underground world of music that requires thinking and is often based around current events, meaning anything from political to spiritual.  Underground Schooling is not meant to hate on higher education, but rather to piggy back on its sophistication and drive for accomplishment.  The underground music culture (in this case hip-hop) is full of bright, charismatic and skilled men and women who are spreading an intimate word of individualization.  The incredible content of poetry, knowledge, and musical genius is without a doubt an education on the most talented of levels. 

Assignment #2: Animation

Questions for Reading Discussions

Digital Currents: Chapter 5
1. In reading chapter 5 I couldn't help but think of critiques we have had in class regarding body image. In discussion it seemed to be the general opinion that looking at images of women that have been photoshopped and manipulated into looking like something "better" than nature's norm, has negative affects on the human psyche.  On page 159 the author states "the remarkable nature of simulation is that there are no limits to what can be realistically represented." Does the process of glorifying what is not real, regardless of the subject matter, create a world that cannot be achieved leaving people in discontent?

2. With all the hyper stimulation of the senses occuring in digital simulation, are the human senses at a greater risk in everyday life if overloaded with these virtual realities? For example: hearing complications, sight complications, or a lack of empathy?

Digital Currents: Chapter 4
1. The chapter discusses ideas per minute (IPM) in reference to music videos and one's inability to completely absorb all ideas during one sitting of a video do to their extremely compact format.  Although this may make videos interesting, if information is lost in translation, what is the purpose of this information overload? Is it simply for effect and not about content? Why take the time to create something that will never be noticed?

2. At the end of chapter 4, the author discusses the medium of video as evolving from an advanced artist medium to that of a standard consumer item.  As the art world leads the way with experimantation and manipulation of technology, are they sumaltaneously educating the public to think on a more artistic level within consumerism?

Digital Currents: Chapter 3
1. It seems as though postmodern artists reacted against the information overload of television and the media through acts of conceptual and technological visual processes.  While these experiments of communication are incredibly smart on one level, they seem to be too "out there" for the general public to grasp. Is it this movement that gave art a bad name?

2. Lovejoy states that, "television's image flow has created a visual cultural phenomenon...television has the power to transform the public mind set." Why has our culture allowed itself to live through other people's lives and ideas rather than think for themselves?  Why is it more interesting to watch Real Housewives than to step to a blank canvas whether it's on a computer, an isle or on the street?

3. Why is "illegal" graffiti art such an offense and the billboard on my street isn't?

The Medium is the Massage

1. On page 61, McLuhan talks about "the idea of detention in a closed space as a form of human punitive corrective action." This idea follows much dialogue regarding the expansion of the self, relationships, current events, and production.  It is interesting to think about this inevitable road of connection that humans are relentlessly conquering through technology in contrast to the above mentioned quote.  Is McLuhan implying that infinite connection is freedom and that no connection is hell?

2. In reference to recent studies, it is said that television has negative effects of brainwashing.  For instance, if an individual falls asleep to infomercials, this information enters into the subconscious mind affecting that persons reality.  Would McLuhan have an opinion on this and if so, would he be for the further manipulation of the affects of television on the viewer/listener or against it?

Digital Currents: Introduction
1. In Digital Currents, the author speaks of the aura of original works of art.  She explains that as a result of the Industrial Revolution, original art and its aura became endangered due to the abundance of media.  Does this imply that prior to the industrial revolution, people sought after art that contained some sort of spiritual attraction rather than a monetary or reputable value?
2. Is the media the only force that has ever caused a frenzy to buy art?

Project #1 Triptych Montage





Hooker

It seems like we waited years to be together.  I had moved into my first apartment after my grandfather had come over to determine that it was suitable.  I traveled to Costa Rica to do yoga in the jungle from 6am to 8pm for 18 straight days where I finally felt my heart chakra open.  It was amazing.  The journey had taken me 7 years, 9 countries and a string of romantic flings interrupted by that one tsunami of a relationship that undoubtedly cycled through without invitation.  And all the while, he was still there and I was still there and finally the time came for us to be there...at that first apartment.  It was red and hot pink and we made love all night.  We shared secrets and made love again.

I was sitting on my sofa when I received a text message from the landlord, who was a long time family friend, explaining to his assistant, who he thought he was texting but really he text me, that his "little hooker friend" (me) was moving out and into her second apartment and that the old lady downstairs should be happy to not hear me "hookin" anymore!  What the %&$@?! 

The melodrama of this appalling incident landed like front page news on the cell phones of my dearest friends and of him, my partner in crime. Digital impulses pulsating like the blood through my veins.  Me, private and intimate, turned into that, public and baffled.  Could it be more fitting that in this so called private apartment, during the most private of moments, an old lady peers in like a pop up message while scanning through pictures online? I find myself feeling diluted and paranoid sensing Big Brother, or rather Old Lady, watching my every step.

In creating the artwork Hooker the delicate balance and imbalances of life are compared and exemplified.  Popular symbology is manipulated through association of sexuality and profanity.  The undertone of something sacred hints at the demoralizing actions of gossip and judgment while the admitted hypocrisy of backlash is made known.  Digital imagery is the ideal medium to further create a lack of personal identity in a desensitized reality while the triptych suggests the different emotional stages of the incident. Like in the song he played on my stereo, fare is what you pay to get on a train and maybe to her I am just a frivolous blonde Barbie doll.