Tuesday, October 28, 2014
Proof of Community-is-Good-100-Question Quiz
Thursday, October 23, 2014
Reflections on the "FANTASY' Project: Photoshoot, Performance, & Everything Else
Photoshoot: It was much lengthier than planned, but it was a nice build up for the real material even if it felt like it was an unnecessarily large iceburg of time. I did my poses and Rothrock proposed to collect the taken photos for everyone including me, so thank you professor! Either way, background music was playing and then I eventually intervened with a track of my style after asking her and much communication issue. In sheer spite of this, a lot of the costumes had great, enjoyable diversity.
Performance: This is the fun part that took up the rest of the class time that we fortunately had remaining at an ample level. Even so, each phase was interesting: The 1st one had three out of four people with long swingable weapons, but because of the random tag ballet, I was for the 4th (final) performance group. The 1st one was relatively aggressive as is; chaotic, easily improvised, and lots of sword and spear dueling, not to mention loud pops of balloon sounds. The 2nd phase was unexpectedly even more aggressive and rough than the already-intense start as the 1st phase. The prisoner performer was out to get everyone and even managed to take out the wind girl's umbrella as she was flying, while the crow woman managed to get back up and fight back in the performance. The 3rd turn was the most unorthodox; a poor fashionable woman throwing and scattering coins as a way of both defense move and a pay day act while the others fluster and play along and around with it. Then comes the 4th, the conclusion: I went up there and turned on my neon blue light saber and used it as a dance conductor; the sound rules out the rhythm for the Hawaiian flower girl and the exquisite dresser girl to dance in relatively organized coordination while swinging the sword itself helped force them to keep going as a way of dancing by avoiding physical contact with the saber I controlled. I was like a lady's man, which is more than I bargained for, but it was a delightful tango, even if I looked like a badass Outlaw Sith Commander in US ARMY woodland camo-green.
Here is me:
Performance: This is the fun part that took up the rest of the class time that we fortunately had remaining at an ample level. Even so, each phase was interesting: The 1st one had three out of four people with long swingable weapons, but because of the random tag ballet, I was for the 4th (final) performance group. The 1st one was relatively aggressive as is; chaotic, easily improvised, and lots of sword and spear dueling, not to mention loud pops of balloon sounds. The 2nd phase was unexpectedly even more aggressive and rough than the already-intense start as the 1st phase. The prisoner performer was out to get everyone and even managed to take out the wind girl's umbrella as she was flying, while the crow woman managed to get back up and fight back in the performance. The 3rd turn was the most unorthodox; a poor fashionable woman throwing and scattering coins as a way of both defense move and a pay day act while the others fluster and play along and around with it. Then comes the 4th, the conclusion: I went up there and turned on my neon blue light saber and used it as a dance conductor; the sound rules out the rhythm for the Hawaiian flower girl and the exquisite dresser girl to dance in relatively organized coordination while swinging the sword itself helped force them to keep going as a way of dancing by avoiding physical contact with the saber I controlled. I was like a lady's man, which is more than I bargained for, but it was a delightful tango, even if I looked like a badass Outlaw Sith Commander in US ARMY woodland camo-green.
Here is me:
Monday, October 20, 2014
Thursday, October 16, 2014
MINT Experience (Refined and edited)
When I went to the MINT Museum, it was a rushed start, but I managed to knew exactly what I needed to do: Take footages, photos, and capture as much note-like evidence with everything to the arts that I have observed and understood the surface aura upon, all with the use of my personal 2012 CANON PowerShot CLPH 110HS (HD) pocket-fittable camera. The building was intriguing due to its old and 20th-century structure, and most of the paintings and intricate collection of jars, vases, masks, plates, etc. grouped together and/or standalone in a sophisticated manner were image-worthy for my eyes and mind. The arts and the architecture had a sense of reason, class, and careful decoration including the ever-dazzling store; both a place of commodity/function and art/fashion. The design of going to places was a bit strange; almost dungeon-like esp. thanks to the mapping and lighting, but it did not really bother me as long as I knew what I was doing, and it reminded me in retrospect of video games that I used to play when I was much younger that involved a lot of smart adventuring and complex dungeon-crawling anyway. That all said, here are the images:
African Arts (& among much more to see):
An Image of the African arts section:
An Image of the European arts section:
Although it's more like a collection, a lot of these looks as if they would be wearable had they not been put up in the museum for art. They too could also be used as a minor commodity for fun, but I will say that these collections of items are indeed vibrant, charming, and enticing all at the same time. It's not a particularly bad look nor is it a terrible set up, but it's a bit random to have other stuff in it that isn't all about fashion unless it's information about the fashion related artwork set itself.
Information of the Aztec / Mexican & Central American arts:
I didn't have a proper innate camera image of the image I had in mind so I'm going to provide a drawn image representing the mask from the museum rather than a photo, but the WOLF MASK in particular struck my eyes in captivation and hesitation from having to move so much; can't believe I even forgot to take an actual image of it. Either way, it's a unique way of how other masks are made and the choice of creature isn't too bad either; I found that the design was more customized as a fun art piece than something that is supposed to serve the purpose of hiding one's true identity. Even so, the soulful markings of its natural feel is what gives it its intrigue, and a result, it has my respect. It's definitely a standout from the masks, including the human types..
Monday, October 13, 2014
Combined-Info. Post: Nick Caves, Simpson, Koons, & Costume Idea & "Expressing..." Reading
Expressing an Artistic Attitude:
Lorna Simpson:
After much reading, there's one person that I lightly looked into: Lorna Simpson. It was strange on what she makes efforts to convey in her passage(s). It's nice to know that she utilizes as an advocate for African-American society, but a lot of her works are more opposite than what US citizens normally see. She took modern photos of them doing criminal activity and jail results instead of the historical slavery types of aesthetics that most people into that field would otherwise produce. It was said in the passage that "it investigates the thoughtful process of investigation," almost as if the entity of "slavery" isn't entirely over for African Americans, but rather, taken to a modern version form of it in today's developed world. It's an important message to realize, and I'm glad that Lora managed to provide a vital beacon to my eyes. Her art audience mode is low-interactive; open but passive/indirect.
Nick Caves:
When reading, I went to the assigned artist that I chose upon and Nick Caves was one of them that I decided to read about. His artworks are not like anyone else's, so it easily is the most distinguishable. His works inspire mt to utilize unique and creative ideas that I could consider adding to the project if so need be. The skills of his designing and intriguing wearable items are worth a shot of gazing and appreciating. For that matter, I hope to know how to do something like that since it's technically part of visual arts, and I'd at least like to know how to do every single type of art in the visual universe, even if mastering them to the best of any human's abilities is not guaranteed.
Jeff Koons:
Human history-themed, contains emotions, coloring is involved and his works intentionally take a long time to capture well and accurately into his works. His prices are just photographs and they are $300-400+; high value and quality of sheer editing; it's weird, but interesting at the same time. He only produced a certain amount at a time with those to both sell and represent/exhibit. It's a long process that he manages. He's more like a corporation of an artist of that type and sort. He encourages high interaction (direct) on his art and his use of colors is basically "color psychology," connected & edited in the computer.
****Costume Idea:
As a result of contemplation and improvising, my possible concepts to be worn upon would be:
• An all-out US Woodland US ARMY camouflaged star-soldier w/camo cap or camo cowboy hat, star wars camo-skin trooper t-shirt (black background), and a lightable SFX toy light saber sword of some kind that I can find in a store or quickly off the Internet on reliable specific research.
• A sound-friendly, durable/well-made dragon costume of some sort (how am I going to get something like that so quickly?)
• A pure-white dressed saint/middle-eastern-like person on holy-like attires, using many white shirts/items.
○ Something else, perhaps a Rocket Raccoon space attire suit, etc . . .
Lorna Simpson:
After much reading, there's one person that I lightly looked into: Lorna Simpson. It was strange on what she makes efforts to convey in her passage(s). It's nice to know that she utilizes as an advocate for African-American society, but a lot of her works are more opposite than what US citizens normally see. She took modern photos of them doing criminal activity and jail results instead of the historical slavery types of aesthetics that most people into that field would otherwise produce. It was said in the passage that "it investigates the thoughtful process of investigation," almost as if the entity of "slavery" isn't entirely over for African Americans, but rather, taken to a modern version form of it in today's developed world. It's an important message to realize, and I'm glad that Lora managed to provide a vital beacon to my eyes. Her art audience mode is low-interactive; open but passive/indirect.
Nick Caves:
When reading, I went to the assigned artist that I chose upon and Nick Caves was one of them that I decided to read about. His artworks are not like anyone else's, so it easily is the most distinguishable. His works inspire mt to utilize unique and creative ideas that I could consider adding to the project if so need be. The skills of his designing and intriguing wearable items are worth a shot of gazing and appreciating. For that matter, I hope to know how to do something like that since it's technically part of visual arts, and I'd at least like to know how to do every single type of art in the visual universe, even if mastering them to the best of any human's abilities is not guaranteed.
Jeff Koons:
Human history-themed, contains emotions, coloring is involved and his works intentionally take a long time to capture well and accurately into his works. His prices are just photographs and they are $300-400+; high value and quality of sheer editing; it's weird, but interesting at the same time. He only produced a certain amount at a time with those to both sell and represent/exhibit. It's a long process that he manages. He's more like a corporation of an artist of that type and sort. He encourages high interaction (direct) on his art and his use of colors is basically "color psychology," connected & edited in the computer.
****Costume Idea:
As a result of contemplation and improvising, my possible concepts to be worn upon would be:
• An all-out US Woodland US ARMY camouflaged star-soldier w/camo cap or camo cowboy hat, star wars camo-skin trooper t-shirt (black background), and a lightable SFX toy light saber sword of some kind that I can find in a store or quickly off the Internet on reliable specific research.
• A sound-friendly, durable/well-made dragon costume of some sort (how am I going to get something like that so quickly?)
• A pure-white dressed saint/middle-eastern-like person on holy-like attires, using many white shirts/items.
○ Something else, perhaps a Rocket Raccoon space attire suit, etc . . .
Wednesday, October 1, 2014
Reflections on the ECOLOGY Project & its Presentations
I had a lot of fun today observing and commenting vocally on each and everyone's project presentations involving stuff that goes on outdoors. Their methods, techniques, aesthetics, subject matters, themes, and topics were all varied and unique in all their own ways, and I had a lot of fun experiencing it. There's a lot I could say about it, but to make a long story short, people presented their about fungi, people interacting, littered trash, roadkill, nature vs. artifacts, man vs. nature, man vs. machine, etc. and each had an important conveying message and symbolism to what I also interpreted to each and every work of art they compiled.
On my presentation, mine was about Natural Elements, and it had three sub-themes in order to make the central theme exist as is; each of these sub-themes are represented as an element chosen upon; There's a lot of them, but for simplicity's sake, I chose three: Air (Wind), Water (Aqua), and Electricity (Lightning). I personally thought I did mediocre but I wasn't distraught nor bitterly discontent about it. I just wanted to get the job done and faithfully so. Oddly enough, mine did not have any actual animate life forms nor creatures involved; something that are already personified in some ways as opposed to lifeless objects and mobile matters. Each of my photos showed a setting where air is fully present (the skies, above the clouds, which was actually taken back in July way before the project itself was announced, let alone the semester), water (nearby, on ground, dripping, and flowing water), and electricity (I could not find any moments of lightning to capture, but I did snapshot light pols that are operated by electric energy as the closest and most feasible way to convey one of the sub-themes (element) outdoors for it.
On my presentation, mine was about Natural Elements, and it had three sub-themes in order to make the central theme exist as is; each of these sub-themes are represented as an element chosen upon; There's a lot of them, but for simplicity's sake, I chose three: Air (Wind), Water (Aqua), and Electricity (Lightning). I personally thought I did mediocre but I wasn't distraught nor bitterly discontent about it. I just wanted to get the job done and faithfully so. Oddly enough, mine did not have any actual animate life forms nor creatures involved; something that are already personified in some ways as opposed to lifeless objects and mobile matters. Each of my photos showed a setting where air is fully present (the skies, above the clouds, which was actually taken back in July way before the project itself was announced, let alone the semester), water (nearby, on ground, dripping, and flowing water), and electricity (I could not find any moments of lightning to capture, but I did snapshot light pols that are operated by electric energy as the closest and most feasible way to convey one of the sub-themes (element) outdoors for it.
ART 21 Readings, Artists Reflections, & Text(book) Notes
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
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
Subscribe to:
Posts (Atom)