Introduction: Creating an Artistic Self
After reading the introduction, it was a bit tricky to understand progressively as a way of following it after much thought and performance. However, what I subtracted from the reading was that our artistic sides are unbelievably more different for each person as a realistic fact of such notion. Plus, we're probably not able to truly discover our inner artistic spirit right away as it may take time to discover, but that's acceptably natural.
Response to Ursula von Rydingsvard: "Ona":
Ona is a bronze sculpture that sits outside the Baclays Center in Brooklyn, New York. The meaning of the word "Ona," in Polish, refers to a female. (gender notion) Rydingsvard states that she sense the feminine energy from the sculpture itself, which is why the name is given to the artwork piece. Von Rydingsvard uses a Patina type of process in order to blend and mix in the hues of coloring to the bronze as a way of juxtaposing the rusting metal of the colossal arena. That being aid, it has that subtle "V" like shape, which is often usually a symbol of feminism --representing a loose abstraction of the shape that comes from the birth canal figure. He has worked in Brooklyn for over 37 years and is content to have one of her works and sculpture on display to that place.
Reponse to Iñigo Manglano-Ovalle: The "Oppenheimer"
The figure "Oppenheimer" Manglano-Ovalle represents is a figure, projecting Oppenheimer himself, who is standing in a jungle setting. The view of the camera circles around the figure, in which the subject is immobile. He says that the purpose of this artwork piece is to show Oppenheimer living in just one moment, but with the looping of the film, the viewer is shown to relive that one moment. It provokes a strong memory to one quality moment of time.
Shirin Neshat:
Shirin creates film installations that reflect upon her religious heritage and chronology. The view points of her installations are presented from a feminine perspective. When reading and observing about it, I found that her images from "Rapture" are mesmerizing and proportionately disturbing simultaneously. Her "Interview with Shirin Neshat" was worth the intrigue and collection of new information altogether. She sounds quite grateful to be able to create her art as well as for the people who helped her out along the way, both by inspiration and direct cause. She's however not particularly into the business nor marketing side of selling and promoting her art, but rather, only wants to concentrate on creating the art itself towards its spectacular existence and leaves the business to be managed by other people. Thinking about that would be a bit strange and off-putting to me. In that case, a person would most certainly need to be surrounded and supported by an array of people that you absolutely know and trust in order to give up control of your business-related choices to someone else. At least it's not excessively stressful that way either as it evens out the workload for people and most importantly, yourself.
Response to Mark Dion & the ART21 Segments
Mark Dion in his ART21 interview, talks about his interest in the "ecologies" of the areas where he creates his arts. Dion desires to understand the relationships between people-to-people, and people-to-the-environment, with the inclusion of being between different forces within an environment.
Dion describes and states himself as an unprofessional, amateur archaeologist + biologist, "eclipsing their methodology."
Taken from the ART21 short "Herbarium Perrine," he displays a collection of marine algae in detail that has been pressed into paper as part of the process. Dion admits that the seaweed has a natural adhesiveness, so once the specimen is stuck onto paper, it reflects and mimics a drawing for the art piec
No comments:
Post a Comment